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Discrete Frequency Warped Wavelets: Theory and Applications
 IEEE Trans. Signal Processing
, 1998
"... In this paper, we extend the definition of dyadic wavelets to include frequency warped wavelets. The new wavelets are generated and the transform computed in discretetime by alternating the Laguerre transform with perfect reconstruction filterbanks. This scheme provides the unique implementation of ..."
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Cited by 17 (8 self)
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In this paper, we extend the definition of dyadic wavelets to include frequency warped wavelets. The new wavelets are generated and the transform computed in discretetime by alternating the Laguerre transform with perfect reconstruction filterbanks. This scheme provides the unique implementation of orthogonal or biorthogonal warped wavelets by means of rational transfer functions. We show that the discretetime warped wavelets lead to welldefined continuoustime wavelet bases, satisfying a warped form of the twoscale equation. The shape of the wavelets is not invariant by translation. Rather, the "wavelet translates" are obtained from one another by allpass filtering. We show that the phase of the delay element is asymptotically a fractal. A feature of the warped wavelet transform is that the cutoff frequencies of the wavelets may be arbitrarily assigned while preserving a dyadic structure. The new transform provides an arbitrary tiling of the timefrequency plane, which can be designed by selecting as little as a single parameter. This feature is particularly desirable in cochlear and perceptual models of speech and music, where accurate bandwidth selection is an issue. As our examples show, by defining pitchsynchronous wavelets based on warped wavelets, the analysis of transients and denoising of inharmonic pseudoperiodic signals is greatly enhanced.
Physicsbased methods for modeling nonlinear vibrating strings,” Acta Acustica united with
 Acustica
, 2005
"... Nonlinearity in the vibration of a string is responsible for interesting acoustical features in many plucked string instruments, resulting inacharacteristic and easily recognizable tone. For this reason, synthesis models have to be capable of modeling this nonlinear behavior, when high quality resul ..."
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Cited by 4 (0 self)
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Nonlinearity in the vibration of a string is responsible for interesting acoustical features in many plucked string instruments, resulting inacharacteristic and easily recognizable tone. For this reason, synthesis models have to be capable of modeling this nonlinear behavior, when high quality results are desired. This study presents two novel physical modeling algorithms for simulating the tension modulation nonlinearity in vibrating strings in a spatially distributed manner. The first method uses fractional delay filters within a digital waveguide structure, allowing the length of the string to be modulated during run time. The second method uses a nonlinear finite difference approach, where the string state is approximated between sampling instants using similar fractional delay elements, thus allowing runtime modulation of the temporal sampling location. The magnitude of the tension modulation is evaluated from the elongation of the string at every time step in both cases. Simulation results of the two models are presented and compared. Realtime sound synthesis of the kantele, a traditional Finnish pluckedstring instrument with strong effect of tension modulation, has been implemented using the nonlinear digital waveguide algorithm. PACS no. 43.75.Gh, 43.75.Wx 1.
Arbitrary Bandwidth Wavelet Sets
 PROC. ICASSP'98
, 1998
"... In this paper we consider an extension of the wavelet transform leading to the construction of wavelets with arbitrary bandwidth. The new wavelets are complete, orthonormal and dyadic; nevertheless their bandwidth is not constrained to be one octave, rather it may be designed by selecting a set of ..."
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Cited by 3 (3 self)
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In this paper we consider an extension of the wavelet transform leading to the construction of wavelets with arbitrary bandwidth. The new wavelets are complete, orthonormal and dyadic; nevertheless their bandwidth is not constrained to be one octave, rather it may be designed by selecting a set of parameters. The construction of the new bases starts in the discretetime domain, exploiting properties of the Laguerre transform. Furthermore, we provide a procedure to define continuoustime warped wavelets. Flexibility of the bandwidth allocation allows for more and improved applications of the wavelet transform, such as signal coding, the design of auditory model based filterbanks and transient detection in pseudoperiodic signals, pointed out in the paper.
Once Again: The Perception of Piano Touch and Tone. Can Touch Audibly Change Piano Sound Independently of Intensity
 Proceedings of the 2004 International Symposion on Music Acoustics (ISMA’04
, 2004
"... This study addresses the old question of whether the timbre of isolated piano tones can be audibly varied independently of their hammer velocities — only through the type of touch. A large amount of single piano tones were played with two prototypical types of touch: depressing the keys with the fin ..."
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This study addresses the old question of whether the timbre of isolated piano tones can be audibly varied independently of their hammer velocities — only through the type of touch. A large amount of single piano tones were played with two prototypical types of touch: depressing the keys with the finger initially resting on the key surface (pressed), and hitting the keys from a certain distance above (struck). Musicians were asked to identify the type of touch of the recorded samples, in a first block with all attack noises before the tone onsets included, in a second block without them. Half of the listeners could correctly identify significantly more tones than chance in the first block (up to 86 % accuracy), but no one in block 2. Those who heard no difference tended to give struck ratings for louder tones in both blocks. 1.
ProjectTeams Poems and Magique 3d
, 2012
"... Modeling and simulation of a grand piano. ..."
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AIP/123QED Modeling and simulation of a grand piano
, 2013
"... A timedomain global modeling of a grand piano is presented. The stringmodelincludesinternallosses, stiffnessandgeometricalnonlinearity. The hammerstring interaction is governed by a nonlinear dissipative compression force. The soundboard is modeled as a dissipative bidimensional orthotropic Reissn ..."
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A timedomain global modeling of a grand piano is presented. The stringmodelincludesinternallosses, stiffnessandgeometricalnonlinearity. The hammerstring interaction is governed by a nonlinear dissipative compression force. The soundboard is modeled as a dissipative bidimensional orthotropic ReissnerMindlin plate where the presence of ribs and bridges is treated as local heterogeneities. The coupling between strings and soundboard at the bridge allows the transmission of both transverse and longitudinal waves to the soundboard. The hal00873089, version 1 15 Oct 2013 soundboard is coupled to the acoustic field, whereas all other parts of the structure are supposed to be perfectly rigid. The acoustic field is boundedartificiallyusingperfectlymatchedlayers(PML).Thediscrete form of the equations is based on original energy preserving schemes. Artificial decoupling is achieved, through theuse ofSchur complements and Lagrange multipliers, so that each variable of the problem can be updated separately at each time step. The capability of the model is highlighted by series of simulations in the low, medium and high register, and through comparisons with waveforms recorded on a Steinway D piano. Its ability to account for phantom partials and precursors, consecutive to string nonlinearity and inharmonicity, is particularly emphasized. PACS numbers: 43.75.Mn 2 I.
Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan Once again: The perception of piano touch and tone.
, 2004
"... This study addresses the old question of whether the timbre of isolated piano tones can be audibly varied independently of their hammer velocities  only through the type of touch. A large amount of single piano tones were played with two prototypical types of touch: depressing the keys with the f ..."
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This study addresses the old question of whether the timbre of isolated piano tones can be audibly varied independently of their hammer velocities  only through the type of touch. A large amount of single piano tones were played with two prototypical types of touch: depressing the keys with the finger initially resting on the key surface (pressed), and hitting the keys from a certain distance above (struck). Musicians were asked to identify the type of touch of the recorded samples, in a first block with all attack noises before the tone onsets included, in a second block without them. Half of the listeners could correctly identify significantly more tones than chance in the first block (up to 86% accuracy), but no one in block 2. Those who heard no difference tended to give struck ratings for louder tones in both blocks.
Poems team
, 2013
"... Abstract: A timedomain global modeling of a grand piano is presented. The string model includes internal losses, stiffness and geometrical nonlinearity. The hammerstring interaction is governed by a nonlinear dissipative compression force. The soundboard is modeled as a dissipative bidimensional o ..."
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Abstract: A timedomain global modeling of a grand piano is presented. The string model includes internal losses, stiffness and geometrical nonlinearity. The hammerstring interaction is governed by a nonlinear dissipative compression force. The soundboard is modeled as a dissipative bidimensional orthotropic ReissnerMindlin plate where the presence of ribs and bridges is treated as local heterogeneities. The coupling between strings and soundboard at the bridge allows the transmission of both transverse and longitudinal waves to the soundboard. The soundboard is coupled to the acoustic field, whereas all other parts of the structure are supposed to be perfectly rigid. The acoustic field is bounded artificially using perfectly matched layers (PML). The discrete form of the equations is based on original energy preserving schemes. Artificial decoupling is achieved, through the use of Schur complements and Lagrange multipliers, so that each variable of the problem can be updated separately at each time step. The capability of the model is highlighted by series of simulations in the low, medium and high register, and through comparisons with waveforms recorded on a Steinway D piano. Its ability to account for phantom partials and precursors, consecutive to string nonlinearity and inharmonicity, is particularly emphasized.
EURASIP Journal on Applied Signal Processing 2004:7, 926–933 c ○ 2004 Hindawi Publishing Corporation Physical Modeling of the Piano
, 2003
"... A project aimed at constructing a physical model of the piano is described. Our goal is to calculate the sound produced by the instrument entirely from Newton’s laws. The structure of the model is described along with experiments that augment and test the model calculations. The state of the model a ..."
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A project aimed at constructing a physical model of the piano is described. Our goal is to calculate the sound produced by the instrument entirely from Newton’s laws. The structure of the model is described along with experiments that augment and test the model calculations. The state of the model and what can be learned from it are discussed.