While modern 3D reconstruction excels at modeling object geometry and appearance, it largely ignores the rich acoustic cues revealed through physical interaction. Object impact sounds convey material, stiffness, and structural properties that complement vision, yet existing impact sound modeling approaches either rely on expensive physics-based simulation or require large datasets to generalize in a purely data-driven manner. We introduce Audio-Visual Modal Sound Field (AV-MSF), a novel object-level acoustic representation reconstructed from multi-view images and only a few impact sound recordings. AV-MSF builds on 3D Gaussian Splatting integrated with dense 3D visual feature to provide a strong geometry-aware prior, and represents the impact sound field using compact, physically meaningful modal parameters, enabling robust few-shot reconstruction. Experiments on two real-world datasets show that AV-MSF achieves state-of-the-art impact sound rendering, outperforming both physics-based and data-driven baselines. Furthermore, we demonstrate downstream applications enabled by our representation, including contact localization and object sound editing.
3D Gaussian Splatting (3DGS) turns captured or generated imagery into photorealistic 3D world simulations that users can freely explore, yet these worlds remain silent. Because existing audio generation methods condition on a single image or viewpoint, their sound is tied to that observation and cannot stay consistent while a listener moves. We introduce the task of generating a spatially consistent soundscape for a given 3DGS world through auditory grounding, identifying which objects in the world should emit sound and anchoring each to a persistent 3D position, and present Scene2Sound, a training-free framework built on this grounding. From the input world alone, our pipeline selects viewpoints that jointly cover the scene, identifies sound-emitting objects with a vision-language model, and associates the multi-view detections into 3D instances through Gaussian set matching, which measures the overlap between the Gaussian sets that render each detection. Each source then receives generated audio that a standard object-based audio engine spatializes in real time at arbitrary listener poses. We further propose two spatial-consistency metrics, one testing whether rendered audio responds consistently to listener motion and one testing whether the claimed sources are supported by views held out from their placement. On a curated set of generated 3DGS worlds and on 3DGS scenes generated from real-world 360-degree captures, Scene2Sound preserves the audio quality of strong per-viewpoint baselines while remaining spatially consistent where per-viewpoint and single-panorama pipelines do not, and a user study confirms the perceptual benefit. Project page: https://masaki-lmd.github.io/scene2sound/.
Optical vibration sensing enables recovering the scene sound directly from the surface vibration of nearby objects, turning everyday objects into ``visual microphones''. However, most prior methods had focused on capturing the vibrations of specific objects with highly favorable vibration responses. These include objects where the surface vibrations are generated by the object itself (e.g., speaker membrane or guitar body) or objects consisting of a thin membrane which is highly reactive to sound (e.g., a chip bag or the leaf of a plant). In this paper, we tackle sound recovery for a more challenging class of solid objects whose vibration responses are poor or highly resonant. We simultaneously capture vibrations for multiple surface points on the object using a speckle-based vibrometry imaging system. Then, we derive a novel physics-guided vibration formation model that relates the scene sound source to the captured multi-point multi-axis vibrations via the object's vibrational modes. The model is then used to reverse the resonant transfer function of the vibrating object, fusing multiple vibration signals to estimate the original sound source in the scene. We evaluate our approach by recovering sound from a variety of everyday objects, demonstrating that it significantly outperforms traditional single-point speckle vibrometry in challenging scenarios and other signal-processing-based methods for multi-signal fusing.
3D human mesh reconstruction (HMR) from RGB images often degrades under poor illumination, occlusion, and non-line-of-sight conditions. Acoustic sensing provides complementary spatial cues but suffers from low spatial resolution. We propose SonicMesh, which, to the best of our knowledge, is the first acoustic--visual framework for robust 3D human mesh reconstruction. SonicMesh first converts ultrasonic echoes into range--azimuth acoustic images through an Inverse Synthetic Aperture Radar (ISAR)-based imaging process. It then introduces a cross-dimensional anatomical registration module that maps modality-specific 2D joint features into a common canonical 3D human space. The registered anatomical representations are further integrated with acoustic and visual features through a two-stage fusion network for final mesh reconstruction. Experiments demonstrate that SonicMesh achieves accurate and robust 3D human reconstruction across normal, poor-light, occluded, and non-line-of-sight environments, consistently outperforming existing RGB-, radio-frequency (RF)-, and mmWave-based approaches under challenging sensing conditions.