Adaptive Digital Audio Effects

Verfaille, Vincent; Arfib, Daniel; Keiler, Florian; Knesebeck, Adrian von dem; Zölzer, Udo

doi:10.1002/9781119991298.ch9

Cited by 9 publications

(7 citation statements)

References 25 publications

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“…The high-level signal flow of an adaptive effect is depicted in Figure 8. The construction of an adaptive digital audio effects includes three steps [137]:…”

Section: Adaptive Digital Audio Effectsmentioning

confidence: 99%

“…1. the analysis/feature extraction aspect 2. the mapping between features and effects parameters 3. the transformation and resynthesis aspect of the digital audio effect Adaptive digital audio effects may be classified in in the following categories [137]:…”

Section: Adaptive Digital Audio Effectsmentioning

confidence: 99%

“…Audio features in particular with respect to adaptive digital audio effects are reviewed in Reference [1]. Detailed discussion about these audio features, their extraction, and mapping to control parameters can be found in References [137,147]. Although these adaptive digital audio effects as described by Verfaille et al [83] can be considered a new class of audio effects, the audio transformations themselves are, for the most part, based on established signal processing techniques and audio effect algorithms.…”

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confidence: 99%

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A History of Audio Effects

et al. 2020

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Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects.

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“…The high-level signal flow of an adaptive effect is depicted in Figure 8. The construction of an adaptive digital audio effects includes three steps [137]:…”

Section: Adaptive Digital Audio Effectsmentioning

confidence: 99%

Section: Adaptive Digital Audio Effectsmentioning

confidence: 99%

mentioning

confidence: 99%

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A History of Audio Effects

et al. 2020

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“…Things like the amplitude-controlled spatial granulation described above, and in general new spatialisation approaches along the lines of 'Adaptive Digital Audio Effects' (Verfaille and Arfib 2001) are just one example of such an area. One form this has taken in the BEASTmulch project has been the question of where to draw the line between using the library and using the system application.…”

Section: Conclusion and Caveatsmentioning

confidence: 99%

Rethinking the BEAST: Recent developments in multichannel composition at Birmingham ElectroAcoustic Sound Theatre

Wilson

Harrison

2010

Org. Sound

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This paper outlines some recent developments in multichannel composition at the Electroacoustic Music Studios, University of Birmingham and its performance wing, BEAST (Birmingham ElectroAcoustic Sound Theatre). In doing so it attempts to codify and define some emerging aspects of spatialisation practice which are found both within the BEAST community and beyond. The discussion covers software and techniques developed and adapted for use with BEAST, new and pragmatic approaches to composing for large-scale multichannel systems, such as n-channel composition and composing in 'stems', and issues arising from a resulting blurring between composition and performance practices.

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“…Whilst the axes of the two-dimensional space are somewhat arbitrary, underlying timbral characteristics are projected onto the space via a training stage using two-term musical semantics data. In addition to this, we propose a signal processing method of adapting the parameter modulation process to the incoming audio data based on feature extraction applied to the long-term average spectrum (LTAS), as detailed in [17][18][19], capable of running in near-real-time. The model is implemented using the SAFE architecture (detailed in [20]), and is provided as an extension of the current Semantic Audio Parametric Equaliser (available for download at [21]), as shown in Figure 1a.…”

Section: Aimsmentioning

confidence: 99%

Semantically Controlled Adaptive Equalisation in Reduced Dimensionality Parameter Space

2016

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Abstract:Equalisation is one of the most commonly-used tools in sound production, allowing users to control the gains of different frequency components in an audio signal. In this paper we present a model for mapping a set of equalisation parameters to a reduced dimensionality space. The purpose of this approach is to allow a user to interact with the system in an intuitive way through both the reduction of the number of parameters and the elimination of technical knowledge required to creatively equalise the input audio. The proposed model represents 13 equaliser parameters on a two-dimensional plane, which is trained with data extracted from a semantic equalisation plug-in, using the timbral adjectives warm and bright. We also include a parameter weighting stage in order to scale the input parameters to spectral features of the audio signal, making the system adaptive. To maximise the efficacy of the model, we evaluate a variety of dimensionality reduction and regression techniques, assessing the performance of both parameter reconstruction and structural preservation in low-dimensional space. After selecting an appropriate model based on the evaluation criteria, we conclude by subjectively evaluating the system using listening tests.

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Adaptive Digital Audio Effects

Cited by 9 publications

References 25 publications

A History of Audio Effects

A History of Audio Effects

Rethinking the BEAST: Recent developments in multichannel composition at Birmingham ElectroAcoustic Sound Theatre

Semantically Controlled Adaptive Equalisation in Reduced Dimensionality Parameter Space

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