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Signal Processing for Music Analysis
, 2011
"... Music signal processing may appear to be the junior relation of the large and mature field of speech signal processing, not least because many techniques and representations originally developed for speech have been applied to music, often with good results. However, music signals possess specific ..."
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Cited by 25 (3 self)
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Music signal processing may appear to be the junior relation of the large and mature field of speech signal processing, not least because many techniques and representations originally developed for speech have been applied to music, often with good results. However, music signals possess specific acoustic and structural characteristics that distinguish them from spoken language or other nonmusical signals. This paper provides an overview of some signal analysis techniques that specifically address musical dimensions such as melody, harmony, rhythm, and timbre. We will examine how particular characteristics of music signals impact and determine these techniques, and we highlight a number of novel music analysis and retrieval tasks that such processing makes possible. Our goal is to demonstrate that, to be successful, music audio signal processing techniques must be informed by a deep and thorough insight into the nature of music itself.
Analysis of polyphonic audio using source-filter model and non-negative matrix factorization
- in Advances in Models for Acoustic Processing, Neural Information Processing Systems Workshop
, 2006
"... •Framework for (polyphonic) audio — linear signal model for magnitude spectrum xt(k): x̂t(k) = N∑ ..."
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Cited by 20 (3 self)
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•Framework for (polyphonic) audio — linear signal model for magnitude spectrum xt(k): x̂t(k) = N∑
Unsupervised single-channel music source separation by average harmonic structure modeling
- IEEE Trans. Audio Speech Language Process
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Analysis of musical instrument sounds by source–filter–decay model
- In International conference of acoustics, speech and signal processing
, 2007
"... This paper proposes a way of modelling the time-varying spectral energy distribution of musical instrument sounds. The model consists of an excitation signal, a body response filter, and a loss filter which implements a frequency-dependent decay. The three parts are further represented with a linear ..."
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Cited by 12 (4 self)
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This paper proposes a way of modelling the time-varying spectral energy distribution of musical instrument sounds. The model consists of an excitation signal, a body response filter, and a loss filter which implements a frequency-dependent decay. The three parts are further represented with a linear model which allows controlling the number of parameters involved. A method is proposed for estimating all the model parameters jointly, taking into account additive noise. The method is evaluated by measuring its accuracy in representing 33 musical instruments and by testing its usefulness in extracting the melodic line of one instrument from a polyphonic audio signal. Index Terms — Music, modeling, least square methods, Viterbi decoding.
Memory extraction from dynamic scattering junctions in wave digital structures
- IEEE Signal Process. Lett
, 2006
"... Abstract—In this letter, we show that a computable tree-like in-terconnection of parallel/series wave digital (WD) adaptors with memory (i.e., characterized by reflection filters instead of reflec-tion coefficients) is equivalent to a like interconnection of standard (memoryless) adaptors whose peri ..."
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Cited by 6 (2 self)
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Abstract—In this letter, we show that a computable tree-like in-terconnection of parallel/series wave digital (WD) adaptors with memory (i.e., characterized by reflection filters instead of reflec-tion coefficients) is equivalent to a like interconnection of standard (memoryless) adaptors whose peripheral ports are connected to mutators (two-port adaptors with memory). In proving all this, we provide a methodology for “extracting the memory ” from a macro-adaptor, which can be fruitfully employed to simplify the implementation of WD structures. Index Terms—Physical modeling, scattering, sound modeling, wave digital filters (WDF). I.
Systematic methods for the implementation of nonlinear wave digital structures, submitted for publication [Online]. Available: http://www-dsp.elet.polimi.it/share0/IEEE-SPM/Sarti-TrCAS06.pdf
"... Abstract—Wave-digital (WD) structures containing adaptors with memory (characterized by port reflection filters) and non-linear elements are suitable for the modeling of a wide range of nonlinear circuits and physical structures. In this paper, we propose two methods for automating the construction ..."
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Cited by 5 (1 self)
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Abstract—Wave-digital (WD) structures containing adaptors with memory (characterized by port reflection filters) and non-linear elements are suitable for the modeling of a wide range of nonlinear circuits and physical structures. In this paper, we propose two methods for automating the construction of algo-rithms that efficiently implement such structures, starting from their symbolic description. The former is based on the solution of state-space equations, while the latter is based on direct structural inspection. The state-space approach starts from the blockwise construction of a tableau matrix for the direct implementation of a generic WD structure and, for this reason, is here referred to as the wave tableau (WT) method. It has very general applicability as it works for a generic WD structure. The second technique (binary connection tree) implements a WD structure through a direct inspection (scanning) of the treelike topological represen-tation of the reference model. Although valid for a slightly less general range of cases, this approach turns out to be much more efficient and flexible than that of the WT method. Such methods are particularly interesting for an interactive and immediate prototyping of physical models for the synthesis of sounds as they bring nonlinear WD structures with dynamic adaptors to a level of practical usability for a wide range of users while enabling the modeling of a wide variety of time-varying nonlinear physical models in an automatic fashion. The proposed solutions have been extensively tested on applications for the automatic modeling of acoustic interactions of musical interest. Index Terms—Physical modeling, sound synthesis, wave-digital filters (WDFs). I.
Model-based sound synthesis of the guqin
- J. Acoust. Soc. Am
, 2006
"... string model, friction model This report presents a model-based sound synthesis algorithm for the Chinese plucked string instrument called the guqin. The instrument is fretless, which enables smooth pitch glides from a note to another. A version of the digital waveguide synthesis approach is used, w ..."
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Cited by 5 (1 self)
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string model, friction model This report presents a model-based sound synthesis algorithm for the Chinese plucked string instrument called the guqin. The instrument is fretless, which enables smooth pitch glides from a note to another. A version of the digital waveguide synthesis approach is used, where the string length is time-varying and its energy is scaled properly. A body model filter is placed in cascade with the string model. Flageolet tones are synthesized with the so called ripple filter structure, which is an FIR comb filter in the delay line of a digital waveguide model. In addition, signal analysis of recorded guqin tones is presented. Friction noise produced by gliding the finger across the soundboard has a harmonic structure and is proportional to the gliding speed. For pressed tones, one end of a vibrating string is terminated either by the nail of the thumb or a fingertip. The tones terminated with a fingertip decay faster than those terminated with a thumb. Guqin tones are slightly inharmonic and they exhibit phantom partials. The synthesis model takes into account these characteristic features of the instrument and is able to reproduce them. The synthesis model will be used for rule based synthesis of guqin music. 1 1
Wave digital modeling of the output chain of a vacuum-tube amplifier
- in Proceedings of the International Conference on Digital Audio Effects (DAFx ’09
, 2009
"... This article introduces a physics-based real-time model of the output chain of a vacuum-tube amplifier. This output chain consists of a single-ended triode power amplifier stage, output transformer, and a loudspeaker. The simulation algorithm uses wave digital filters in digitizing the physical elec ..."
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Cited by 3 (2 self)
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This article introduces a physics-based real-time model of the output chain of a vacuum-tube amplifier. This output chain consists of a single-ended triode power amplifier stage, output transformer, and a loudspeaker. The simulation algorithm uses wave digital filters in digitizing the physical electric, mechanic, and acoustic subsystems. New simulation models for the output transformer and loudspeaker are presented. The resulting real-time model of the output chain allows any of the physical parameters of the system to be adjusted during run-time. 1.
Frequency-dependent boundary condition for the 3-D digital waveguide mesh
- in Proc. Int. Conf. Digital Audio Effects (DAFx’06
, 2006
"... The three-dimensional digital waveguide mesh is a method for modeling the propagation of sound waves in space. It provides a simulation of the state of the whole soundfield at discrete timesteps. The updating functions of the mesh can be formulated either using physical values of sound pressure or p ..."
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Cited by 3 (2 self)
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The three-dimensional digital waveguide mesh is a method for modeling the propagation of sound waves in space. It provides a simulation of the state of the whole soundfield at discrete timesteps. The updating functions of the mesh can be formulated either using physical values of sound pressure or particle velocity, also called the Kirchhoff values, or using a wave decomposition of these instead. Computation in homogenous media is significantly lighter using Kirchhoff variables, but frequency-dependent boundary conditions are more easily defined with wave variables. In this paper a conversion method between these two variable types has been further simplified. Using the resulting structure, a novel method for defining the mesh boundaries with digital filters is introduced. With this new method, the reflection coefficients can be defined in a frequency-dependent manner at the boundaries of a Kirchhoff variable mesh. This leads to computationally lighter and more realistic simulations than previous solutions. 1.
Towards physics-based control and sound synthesis of multi-agent systems: Application to synthetic hand clapping
- in Proc. Nordic Music Technology Conf
, 2006
"... Physics-based sound synthesis methods excel in their efficiency, expressiveness, and intuitive control, but they usually focus on a single sound source. Extending the control strategies to multiple sound sources is not straightforward because of the self-organization and complex group behavior exhib ..."
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Cited by 2 (2 self)
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Physics-based sound synthesis methods excel in their efficiency, expressiveness, and intuitive control, but they usually focus on a single sound source. Extending the control strategies to multiple sound sources is not straightforward because of the self-organization and complex group behavior exhibited by a large population of objects. By regarding each object of such a population as an agent, this contribution systematically evaluates the requirements and design principles of a multi-agent system for sound synthesis and control. In a restricted domain of hand clapping synthesis, it introduces a software application that partly corresponds to these requirements and principles. A list of updates for a better match has been deduced and prioritized. The subsequent versions of the software will incorporate these updates. 1.
