Joshua Reiss

Nelly Garcia, Aditya Bhattacharjee, Gabryel Mason-Williams et al.

Sound design workflows frequently oscillate between time-consuming library searches and the complexity of procedural synthesis, with practitioners typically relying on disconnected tools to address each challenge separately. This paper introduces Quality Audio Prototyping (QuAP), a working prototype that unifies content-based audio retrieval and procedural sound generation within a single interface, reducing the procedural distance between a narrative concept and its sonic realisation. QuAP integrates a similarity-based retrieval engine with real-time procedural audio models, complemented by a rule-based assistant that provides perceptually informed parameter guidance, offering definitions and recommendations derived from empirical optimisation rather than requiring prior synthesis knowledge. Preliminary evaluation confirms the viability of this approach: subjective assessment demonstrated statistically significant quality improvements in five of six embedded synthesis models, and an encoder ablation study established the preferred retrieval architecture on a sound effect dataset. A user evaluation with 16 practitioners confirmed the tool's workflow utility, with all participants agreeing that the parameter assistant preserved creative agency while lowering the barrier to procedural interaction.

Nelly Garcia, Joshua Reiss

Creating sound for storytelling is crucial to establishing the environment in productions such as films, TV series and video games. This process often involves repeating, layering and recording real objects or using sound libraries, which can be time-consuming and repetitive. To address these challenges, procedural audio, also known as digital foley, offers a solution by allowing sound designers to quickly generate samples. Despite its efficiency, questions remain about the believability of synthetic samples compared to real ones. In our study, we compared synthetic samples generated by an online procedural engine and integrated them with both animated and live-action visuals. Our results indicate that procedural audio is highly effective and perceived as believable in drama and sci-fi scenes, particularly for sound models such as lasers, hits, air and rockets, whereas synthetic sounds weren't as believable in cartoon productions when representing everyday actions. Finally, we identified specific models that needed optimisation and highlighted audio features that needed improvement with feedback from audio professionals.

Jiachen Luo, Huy Phan, Joshua Reiss

Accurately detecting emotions in conversation is a necessary yet challenging task due to the complexity of emotions and dynamics in dialogues. The emotional state of a speaker can be influenced by many different factors, such as interlocutor stimulus, dialogue scene, and topic. In this work, we propose a conversational speech emotion recognition method to deal with capturing attentive contextual dependency and speaker-sensitive interactions. First, we use a pretrained VGGish model to extract segment-based audio representation in individual utterances. Second, an attentive bi-directional gated recurrent unit (GRU) models contextual-sensitive information and explores intra- and inter-speaker dependencies jointly in a dynamic manner. The experiments conducted on the standard conversational dataset MELD demonstrate the effectiveness of the proposed method when compared against state-of the-art methods.

Nelly Garcia, Joshua Reiss

Artificial intelligence is increasingly being integrated into professional audio production workflows, yet a gap persists between the tools developers produce and the requirements of practising sound designers. This paper investigates this gap through a mixed-methods study comprising a survey of 76 practitioners and follow-up semi-structured interviews with 20 industry professionals. Results were analysed using descriptive statistical analysis and thematic analysis to identify patterns across both datasets. Five themes emerged from our analysis: Context, Workflow, Potential, Risks, and Right Use. Our work indicates that current AI tools perform adequately in fast-consumption media contexts but lack the narrative sophistication required for high-end sound design (films, immersive experiences etc). Practitioners demonstrate a preference for assistive, task-specific applications, particularly in audio restoration and library management, over end-to-end generative systems. This work contributes to the on-going discussion on the use of AI and AI-enhanced tools in the creative industries. We report on the current status of the field from the point of view of sound designers and creative audio practitioners, and offer a set of recommendation for sound technologist and developers based on our findings to guide the development of more informed AI tools for sound design.

Jiachen Luo, Huy Phan, Lin Wang et al.

Multi-modal emotion recognition in conversations is a challenging problem due to the complex and complementary interactions between different modalities. Audio and textual cues are particularly important for understanding emotions from a human perspective. Most existing studies focus on exploring interactions between audio and text modalities at the same representation level. However, a critical issue is often overlooked: the heterogeneous modality gap between low-level audio representations and high-level text representations. To address this problem, we propose a novel framework called Heterogeneous Bimodal Attention Fusion (HBAF) for multi-level multi-modal interaction in conversational emotion recognition. The proposed method comprises three key modules: the uni-modal representation module, the multi-modal fusion module, and the inter-modal contrastive learning module. The uni-modal representation module incorporates contextual content into low-level audio representations to bridge the heterogeneous multi-modal gap, enabling more effective fusion. The multi-modal fusion module uses dynamic bimodal attention and a dynamic gating mechanism to filter incorrect cross-modal relationships and fully exploit both intra-modal and inter-modal interactions. Finally, the inter-modal contrastive learning module captures complex absolute and relative interactions between audio and text modalities. Experiments on the MELD and IEMOCAP datasets demonstrate that the proposed HBAF method outperforms existing state-of-the-art baselines.