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116
M M: Sonification of Musicians’ Ancillary Gestures
- In Proc. ICAD
, 2005
"... This paper describes the sonification of movements of three clarinetists’. Rather than quantifying the different kinds of movements and presenting such information using visual methods such as graphs or tables, sonification of such gestures provides a complementary way of analysing movements which i ..."
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Cited by 8 (3 self)
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This paper describes the sonification of movements of three clarinetists’. Rather than quantifying the different kinds of movements and presenting such information using visual methods such as graphs or tables, sonification of such gestures provides a complementary way of analysing movements which is possibly more informative than visualisation of data. This paper describes the design methodologies, mappings, and synthesis techniques used in transforming a set of data markers each with x, y and z cartesian coordinates into informative and intelligible sonifications. 1.
Statistics and Music: Fitting a Local Harmonic Model to Musical Sound Signals
, 1998
"... Statistical modeling and analysis have been applied to different music related fields. One of them is sound synthesis and analysis. Sound can be represented as a real-valued function of time. This function can be sampled at a small enough rate so that the resulting discrete version is almost as goo ..."
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Cited by 8 (4 self)
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Statistical modeling and analysis have been applied to different music related fields. One of them is sound synthesis and analysis. Sound can be represented as a real-valued function of time. This function can be sampled at a small enough rate so that the resulting discrete version is almost as good as the continuous one. This permits one to study musical sounds as a discrete time series, an entity for whichmany statistical techniques are available. Physical modeling suggests that manymusical instruments' sounds are characterized bya harmonic and an additive noise signal. The noise is not something to get rid of rather it's an important part of the signal. In this research the interest is in separating these two elements of the sound. To do so a local harmonic model that tracks ch...
Adaptive Phase Distortion Synthesis
"... This article discusses Phase Distortion synthesis and its application to arbitrary input signals. The main elements that compose the technique are presented. Its similarities to Phase Modulation are discussed and the equivalence between the two techniques is explored. Two alternative methods of dist ..."
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Cited by 7 (5 self)
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This article discusses Phase Distortion synthesis and its application to arbitrary input signals. The main elements that compose the technique are presented. Its similarities to Phase Modulation are discussed and the equivalence between the two techniques is explored. Two alternative methods of distorting the phase of an arbitrary signal are presented. The first is based on the audio-rate modulation of a first-order allpass filter coefficient. The other method relies on a re-casting of the Phase Modulation equation, which leads to a heterodyned form of waveshaping. The relationship of these implementations to the original technique is explored in detail. Complementing the article, a number of examples are discussed, demonstrating the application of the technique as an interesting digital audio effect. 1.
Digital sound synthesis, acoustics and perception: A rich intersection
- In Proceedings of the COST G-6 Conference on Digital Audio Effects
, 2000
"... The early years of digital sound synthesis were filled with promise following Max Mathews ’ publication in 1963 of his pioneering work at Bell Telephone Laboratories [1]. The digital control of loudspeakers allowed for the production of any conceivable sound given the correct sequence of numbers (sa ..."
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The early years of digital sound synthesis were filled with promise following Max Mathews ’ publication in 1963 of his pioneering work at Bell Telephone Laboratories [1]. The digital control of loudspeakers allowed for the production of any conceivable sound given the correct sequence of numbers (samples). Producing the correct sequence of numbers, however, turned out to be a formidable task. Acoustics and psychoacoustics, the first a well-developed field of knowledge and the second less so, did not provide information at the level of detail required to simulate even the simplest sound of an acoustic instrument. The enormous potential of digital synthesis counterpoised with an enormous knowledge deficit were the initial conditions for interdisciplinary research that continues to this day. Discoveries have been made and insights gained that are of consequence in the general field of digital audio. 1.
Designing sound Towards a system for designing audio interfaces using timbre spaces
- IN: BARRASS S, VICKERS P (EDS) PROCEEDINGS OF THE 10TH INTERNATIONAL CONFERENCE ON AUDITORY DISPLAY, SYDNEY 2004, PP 1–5
, 2004
"... The creation of audio interfaces is currently hampered by the difficulty of designing sounds for them. This paper presents a novel system for generating and manipulating non-speech sounds. The system is designed to generate Auditory Icons and Earcons through a common interface. Using a timbre space ..."
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Cited by 5 (1 self)
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The creation of audio interfaces is currently hampered by the difficulty of designing sounds for them. This paper presents a novel system for generating and manipulating non-speech sounds. The system is designed to generate Auditory Icons and Earcons through a common interface. Using a timbre space representation of the sound, it generates output via an FM synthesiser. The timbre space has been compiled in both Fourier and Constant Q Transform versions using Principal Components Analysis (PCA). The design of the system and initial evaluations of these two versions are discussed, showing that the Fourier analysis appears to produce higher quality results, contrary to initial expectations.
Ad-hoc synthesis of auditory icons
- in Proceedings of the 5th International Conference on Auditory Display
, 1998
"... www-ihm.lri.fr/~conversy This article introduces ad-hoc synthesis, an approach to designing auditory icons and synthesis algorithms that emphasizes the perception of the sounds by users instead of the analysis of actual sources and sound. We describe two substractive synthesis algorithms for generat ..."
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www-ihm.lri.fr/~conversy This article introduces ad-hoc synthesis, an approach to designing auditory icons and synthesis algorithms that emphasizes the perception of the sounds by users instead of the analysis of actual sources and sound. We describe two substractive synthesis algorithms for generating and controlling wind and wave sounds in real-time by means of high-level parameters. Even though these sounds are not audiorealistic, they convey information in a non-intrusive way and therefore are suitable for monitoring background activities. These sounds capture the main invariants of the sounds they imitate, enabling users to recognize and understand them easily. We then push the approach further by showing how an auditory illusion, i.e. a sound that does not exist in the real world, can be used to convey the notion of speed in a natural and non-intrusive way. 1
Musical Gestures and Audio Effects Processing
"... We introduce the notion of musical gestures as time varying measurements which identify the audio input stream's musical skeleton without attempting to implement any involved model of musical understanding. Living comfortably at an intermediate level of abstraction between wave forms and mus ..."
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Cited by 5 (0 self)
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We introduce the notion of musical gestures as time varying measurements which identify the audio input stream's musical skeleton without attempting to implement any involved model of musical understanding. Living comfortably at an intermediate level of abstraction between wave forms and music transcriptions, these musical gestures are used to control the behavior of an audio processing module. The resulting scheme qualifies as an audio effects processing system as it essentially transforms an audio stream into another. 1 Introduction Audio effects are used extensively not only by producers and mastering engineers but also by musicians, who often consider effects to be critical extensions to their instruments. If a complex combination of compressors, distortions, noise gates, delays, phase modulators, pitch shifters and other modules leads to a deep metamorphosis of the audio input then the resulting system may qualify as a sound-controlled synthetic instrument. A direct functio...
Evolutionary Computation Applied to the Control of Sound Synthesis
, 2008
"... The difficulty of controlling a sound synthesizer’s timbre tends to increase in proportion to its power and expressiveness. A wider range of possible outputs demands a greater number of more sensitive inputs, presenting an obstacle especially to many novice and non-technical musicians. Such users mi ..."
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Cited by 4 (2 self)
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The difficulty of controlling a sound synthesizer’s timbre tends to increase in proportion to its power and expressiveness. A wider range of possible outputs demands a greater number of more sensitive inputs, presenting an obstacle especially to many novice and non-technical musicians. Such users might benefit from methods of control which hide the low-level details of synthesis algorithms and parameters: evolutionary computation (EC) can provide such methods. Both interactive EC (via a graphical user interface or GUI) and non-interactive EC (with fitness defined via a signal-processing function measuring sound similarity) can be run: this thesis addresses both, though the bulk of the work concerns the former. The aims are to improve interactive performance through new GUIs and to apply a rigorous experimental method to investigating new and existing EC synthesis techniques. New EC-based GUIs are developed which allow real-time user-controlled interpolation among the population (sweeping), making audition and evaluation of the population much more efficient — a key problem in interactive EC. The technique of running a non-interactive EC process in parallel with an interactive one (background
Digito: A Fine-Grain Gesturally Controlled Virtual Musical Instrument ABSTRACT
"... This paper presents Digito, a gesturally controlled virtual musical instrument. Digito is controlled through a number of intricate hand gestures, providing both discrete and continuous control of Digito’s sound engine; with the finegrain hand gestures captured by a 3D depth sensor and recognized usi ..."
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Cited by 4 (0 self)
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This paper presents Digito, a gesturally controlled virtual musical instrument. Digito is controlled through a number of intricate hand gestures, providing both discrete and continuous control of Digito’s sound engine; with the finegrain hand gestures captured by a 3D depth sensor and recognized using computer vision and machine learning algorithms. We describe the design and initial iterative development of Digito, the hand and finger tracking algorithms and gesture recognition algorithms that drive the system, and report the insights gained during the initial development cycles and user testing of this gesturally controlled virtual musical instrument.
