Download Time Varying Frequency Warping: Results And Experiments Dispersive tapped delay lines are attractive structures for altering the frequency content of a signal. In previous papers we showed that in the case of a homogeneous line with first order all-pass sections the signal formed by the output samples of the chain of delays at a given time is equivalent to compute the Laguerre transform of the input signal. However, most musical signals require a time-varying frequency modification in order to be properly processed. Vibrato in musical instruments or voice intonation in the case of vocal sounds may be modeled as small and slow pitch variations. Simulations of these effects require techniques for time- varying pitch and/or brightness modification that are very useful for sound processing. In our experiments the basis for time-varying frequency warping is a time-varying version of the Laguerre transformation. The corre- sponding implementation structure is obtained as a dispersive tapped delay line, where each of the frequency dependent delay element has its own phase response. Thus, time-varying warping results in a space-varying, inhomogeneous, propagation structure. We show that time-varying frequency warping may be associated to expansion over biorthogonal sets generalizing the discrete Laguerre basis. Slow time-varying characteristics lead to slowly varying parameter sequences. The corresponding sound transformation does not suffer from discontinuities typical of delay lines based on unit delays.
Download A generalized 3-d resonator model for simulation of non rectangular shapes A rectangular enclosure has such an even distribution of resonances that it can be accurately modeled using a feedback delay network, but a non rectangular shape such as a sphere has resonances that are distributed according to the extremal points of the spherical Bessel functions. This work proposes an extension of the already known feedback delay network structure to model a non rectangular shape such as a sphere. A speci c frequency distribution of resonances can be approximated, up to a certain frequency, by inserting an allpass lter of moderate order after the delay line within the comb lter structure. The feedback delay network used for rectangular boxes is therefore augmented with a set of allpass lters allowing parametric control over the enclosure size and the boundary properties. This work was motivated by informal listening tests which have shown that it is possible to identify a basic shape just from the distribution of its audible resonances.
Download More Acoustic Sounding Timbre From Guitar Pickups Amplified guitars with pickups tend to sound ’dry’ and electric, whether the instrument is acoustic or electric. Vibration or pressure sensing pickups for acoustic guitars do not capture the body vibrations with fidelity and in the electric guitar with magnetic pickups there often is no resonating body at all. Especially with an acoustic guitar there is a need to reinforce the sound by retaining the natural acoustic timbre. In this study we have explored the use of DSP equalization to make the signal from the pickup sound more acoustic. Both acoustic and electric guitar pickups are studied. Different digital filters to simulate acoustic sound are compared, and related estimation techniques for filter parameters are discussed.
Download Low bit-rate audio coding with hybrid representations We present a general audio coder based on a structural decomposition : the signal is expanded into three features : its harmonic part, the transients and the remaining part (referred as the noise). The rst two of these layers can be very e ciently encoded in a wellchosen basis. The noise is by construction modelized as a gaussian (colored) random noise. Furthermore, this decomposition allows a good time-frequency psycoacoustic modeling, as it dircetly provides us with the tonal and nontonal part of the signal.
Download Visual representations of digital audio effects and of their control This article gathers some reflections on how the graphical representations of sound and the graphical interfaces can help making and controlling digital audio effects. Time-frequency visual representations can help understand digital audio effects but are also a tool in themselves for these sound transformations. The basic laws for analysistransformations-resynthesis will be recalled. Graphical interfaces help for the control of effects. The choice of a relation between user control parameters and the effective values for the effect show the importance of the mapping and the graphical design. Graphical and sonic editor programs have both in common the use of plug-ins, which use the same kind of interface and deal with the same kind of approach.
Download CA: A system for Granular Processing of Sound using Cellular Automata is a tool for the granular processing of sound using cellular automata developed on the SGI-Indy platform. It investigates the effects of change in the timbre of sound using a cellular automaton in real-time. The cellular automaton generated by the chosen rule controls parameters of a bank of filters. The system uses standard infinite impulse response filters and a general model of three neighborhood cellular automata. The composer1 can configure the filter banks by adjusting bandwidths and center frequencies through the graphical interface. CA is very well suited as a tool for computer music composition because it is capable of creating a new palette of sounds for the composer and it is easy to use.
Download Separation of Musical Instruments based on Perceptual and Statistical Principles The separation of musical instruments acoustically mixed in one source is a very active field which has been approached from many different viewpoints. This article compares the blind source separation perspective and oscillatory correlation theory taking the auditory scene analysis as the point of departure (ASA). The former technique deals with the separation of a particular signal from a mixture with many others from a statistical point of view. Through the standard Independent Component Analysis (ICA), a blind source separation can be done using the particular and the mixed signals' statistical properties. Thus, the technique is general and does not use previous knowledge about musical instruments. In the second approach, an ASA extension is studied with a dynamic neural model which is able to separate the different musical instruments taking a priori unknown perceptual elements as a point of departure. Applying an inverse transformation to the output of the model, the different contributions to the mixture can be recovered again in the time domain.
Download 3-D Audio with Dynamic Tracking for Multimedia Environtments This papers deals with a 3-D audio system that has been developed for desktop multimedia environments. The system has the ability to place virtual sources at arbitrary azimuths and elevations around the listener’s head based on HRTF binaural synthesis. A listener seated in front of a computer and two loudspeakers placed at each side of the monitor have been considered. Transaural reproduction using loudspeakers has been used for rendering the sound field to listener ears. Furthermore the system can cope with slight movements of the listener head. Head position is monitored by means of a simple computer vision algorithm. Four head position coordinates (x,y,z,φ) in order to allow free movements of the listener are continuously estimated. Cross-talk cancellation filters and virtual sources locations are updated depending on these head coordinates.
Download Modulation And Delay Line Based Digital Audio Effects In the field of musicians and recording engineers audio effects are mainly described and indicated by their acoustical effect. Audio effects can also be categorized from a technical point of view. The main criterion is found to be the type of modulation technique used to achieve the effect. After a short introduction to the different modulation types, three more sophisticated audio effect applications are presented, namely single sideband domain vibrato (mechanical vibrato bar simulation), a rotary speaker simulation, and an enhanced pitch transposing scheme.