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REAL-TIME DETECTION AND VISUALIZATION OF CLARINET BAD SOUNDS 1
"... This paper describes an approach on real-time performance 3D visualization in the context of music education. A tool is described that produces sound visualizations during a student performance that are intuitively linked to common mistakes frequently observed in the performances of novice to interm ..."
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This paper describes an approach on real-time performance 3D visualization in the context of music education. A tool is described that produces sound visualizations during a student performance that are intuitively linked to common mistakes frequently observed in the performances of novice to intermediate students. The paper discusses the case of clarinet students. Nevertheless, the approach is also well suited for a wide range of wind or other instruments where similar mistakes are often encountered. 1.
GENERATION OF CONTROL SIGNALS USING PITCH AND ONSET DETECTION FOR AN UNPROCESSED GUITAR SIGNAL
"... This paper aims at extracting the pitch information of the notes being played on an electric guitar in real time. An ef-ficient onset detection algorithm is employed to detect the transients in the signal which signifies that a note has been played. Once a transient has been detected, it sets off a ..."
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This paper aims at extracting the pitch information of the notes being played on an electric guitar in real time. An ef-ficient onset detection algorithm is employed to detect the transients in the signal which signifies that a note has been played. Once a transient has been detected, it sets off a pitch detection routine which identifies the frequency of the note. The onset and pitch information is used to generate control signals in the form of MIDI messages which are fed back to the host Digital Audio Workstation. This information can be used to trigger other software instruments such as sampled violins or soft synths for instance. The main idea here is to enable a performer to be accompanied in a live performance by other instruments without actually needing physical play-ers to play on these instruments. In this paper, a new onset detection scheme called the Peak2 detection scheme has been proposed in place of ex-isting onset detection methods, as it has been found to work more efficiently for guitar signals. 1.
Fast, Accurate Pitch Detection Tools for Music Analysis
"... Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single ‘voiced ’ musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation ..."
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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single ‘voiced ’ musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented. Furthermore, we describe a real-time method to determine vibrato parameters- higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented. Our project ‘Tartini ’ provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields. ii Acknowledgements I would like to thank the following people: • Geoff Wyvill for creating an environment for knowledge to thrive. • Don Warrington for your advice and encouragement. • Professional musicians Kevin Lefohn (violin) and Judy Bellingham (voice) for numerous discussions and providing us with samples of good sound.
Time-Domain Alignment of Non-Stationary Signals
, 2007
"... Dedicated to My parents Time-Domain Alignment problems arise in various fields of Digital Signal Processing such as Audio Engineering and Speech Processing. Replacing a segment of audio data from a large continuous waveform with an alternative passage intrinsically holding near to perfectly similar ..."
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Dedicated to My parents Time-Domain Alignment problems arise in various fields of Digital Signal Processing such as Audio Engineering and Speech Processing. Replacing a segment of audio data from a large continuous waveform with an alternative passage intrinsically holding near to perfectly similar data, is not as straightforward as it may appear, and is often associated with cumbersome manual labor carried out by an audio edi-tor or recording engineer. For a large collection of audio data where multiple edits are needed manual segmentation and time alignment is impractical and expensive. This report outlines research into an automated software implementation aiming to optimally time align musically related audio data. The motivation for such an im-plementation is that optimal solutions may be sought for more efficiently for a large set of data minimizing the decisional requirements of an external operator. Through time and frequency domain feature extraction and analysis significant performance
Abstract Real-time Musical Analysis of Polyphonic Guitar Audio
, 2012
"... In this thesis, we analyze the audio signal of a guitar to extract musical data in real-time. Specifically, the pitch and octave of notes and chords are displayed over time. Previous work has shown that non-negative matrix factorization is an effective method for classifying the pitches of simultane ..."
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In this thesis, we analyze the audio signal of a guitar to extract musical data in real-time. Specifically, the pitch and octave of notes and chords are displayed over time. Previous work has shown that non-negative matrix factorization is an effective method for classifying the pitches of simultaneous notes. We explore the effect of window size, hop length, and other parameters to maximize the resolution and accuracy of the output. Other groups have required prerecorded note samples to build a library of note templates to search for. We automate this step and compute the library at run-time, tuning it specifically for the input guitar. The program we present generates a musical visualization of the results in addition to suggestions for fingerings of chords in the form of a fretboard display and tablature notation. This program is built as an applet and is accessible from the web browser.
Grame- Centre national de création musicale
"... Nous abordons la visualisation du jeu instrumental sous l’angle de la représentation objective du son, avec pour objectif de rendre apparentes des caracté-ristiques du signal en termes d’interprétation musi-cale. Cet article expose les différentes stratégiesmises en oeuvre pour exploiter voire ampli ..."
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Nous abordons la visualisation du jeu instrumental sous l’angle de la représentation objective du son, avec pour objectif de rendre apparentes des caracté-ristiques du signal en termes d’interprétation musi-cale. Cet article expose les différentes stratégiesmises en oeuvre pour exploiter voire amplifier la complé-mentarité des perceptions visuelles et sonores, avec un point de vue particulier sur les applications dans le domaine de la pédagogie de la pratique instrumen-tale. 1.
Grame- Centre national de création musicale
"... V est un projet de recherche européen qui a pour objectif le développement et la validation d’un systèmeouvert et interactif d’apprentissagede lapra-tique instrumentale. Il traite d’instruments à vent tels que la flûte traversière, le saxophone, la clarinette et la flûte à bec. Il s’adresse à des é ..."
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V est un projet de recherche européen qui a pour objectif le développement et la validation d’un systèmeouvert et interactif d’apprentissagede lapra-tique instrumentale. Il traite d’instruments à vent tels que la flûte traversière, le saxophone, la clarinette et la flûte à bec. Il s’adresse à des étudiants de niveau débutant à intermédiaire. Il propose une démarche innovante, tant d’un point de vue technologique que sur un plan pédagogique. L’article présente le pro-jet avec un accent particulier sur les technologies de feedback mises en oeuvre pour étendre les pratiques instrumentales et pédagogiques. 1.
