Musical Instrument Sound Morphing Guided by Perceptually Motivated Features

Caetano, Marcelo; Rodet, Xavier

doi:10.1109/tasl.2013.2260154

Cited by 16 publications

(25 citation statements)

References 28 publications

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“…Singers gradually transform the tonality, duration, frequency contours, and even frequency ranges of units so extensively that prototypical units from a particular year are likely to be absent in songs recorded 5 years later. Even within a single bout of singing, a whale may gradually change acoustic features of units through repetition such that units late in the sequence contain no common acoustic features with units produced earlier in the sequence ( Figure 1A ), a case of natural sound morphing ( Caetano and Rodet, 2013 ). The sound repertoire used by singing humpback whales is both graded and dynamic.…”

Section: Song As Sexual Advertisementmentioning

confidence: 99%

The Sonar Model for Humpback Whale Song Revised

Mercado

2018

Front. Psychol.

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Why do humpback whales sing? This paper considers the hypothesis that humpback whales may use song for long range sonar. Given the vocal and social behavior of humpback whales, in several cases it is not apparent how they monitor the movements of distant whales or prey concentrations. Unless distant animals produce sounds, humpback whales are unlikely to be aware of their presence or actions. Some field observations are strongly suggestive of the use of song as sonar. Humpback whales sometimes stop singing and then rapidly approach distant whales in cases where sound production by those whales is not apparent, and singers sometimes alternately sing and swim while attempting to intercept another whale that is swimming evasively. In the evolutionary development of modern cetaceans, perceptual mechanisms have shifted from reliance on visual scanning to the active generation and monitoring of echoes. It is hypothesized that as the size and distance of relevant events increased, humpback whales developed adaptive specializations for long-distance echolocation. Differences between use of songs by humpback whales and use of sonar by other echolocating species are discussed, as are similarities between bat echolocation and singing by humpback whales. Singing humpback whales are known to emit sounds intense enough to generate echoes at long ranges, and to flexibly control the timing and qualities of produced sounds. The major problem for the hypothesis is the lack of recordings of echoes from other whales arriving at singers immediately before they initiate actions related to those whales. An earlier model of echoic processing by singing humpback whales is here revised to incorporate recent discoveries. According to the revised model, both direct echoes from targets and modulations in song-generated reverberation can provide singers with information that can help them make decisions about future actions related to mating, traveling, and foraging. The model identifies acoustic and structural features produced by singing humpback whales that may facilitate a singer’s ability to interpret changes in echoic scenes and suggests that interactive signal coordination by singing whales may help them to avoid mutual interference. Specific, testable predictions of the model are presented.

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Section: Song As Sexual Advertisementmentioning

confidence: 99%

The Sonar Model for Humpback Whale Song Revised

Mercado

2018

Front. Psychol.

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“…Sound morphing covers a wide variety of techniques whose aim is to "interpolate" between two sound signals, with perceptually relevant characteristics. A detailed review of most of existing approaches can be found in [37]. We presented in [8], [14] a morphing strategy based on Gabor Multipliers.…”

Section: A Audio Applications: Sounds Timbre Transformationmentioning

confidence: 99%

A Class of Algorithms for Time-Frequency Multiplier Estimation

Olivero

Torrésani

Kronland‐Martinet

2013

IEEE Trans. Audio Speech Lang. Process.

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Abstract-We propose here a new approach together with a corresponding class of algorithms for offline estimation of linear operators mapping input to output signals. The operators are modelled as multipliers, i.e. linear and diagonal operator in a frame or Bessel representation of signals (like Gabor, wavelets ...) and characterized by a transfer function. The estimation problem is formulated as a regularized inverse problem, and solved using iterative algorithms, based on gradient descent schemes. Various estimation problems, which differ by a choice for the regularization function, are studied in the case of Gabor multipliers. The transfer function actually provides a meaningful interpretation of the differences between the two signals or signal classes under consideration, and examples are discussed. Furthermore, examples of signal transformations with such Gabor transfer functions are also given.

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“…Processing audio examples by semantic descriptors and the inherent timbral transformations which take place are discussed in works by Caetano and Rodet in [8,9]. A similar theme is explored by Kazazis et al in their 2016 DAFx paper on sound morphing by audio descriptors in [26].…”

Section: Introductionmentioning

confidence: 99%

The Impact of Audio Effects Processing on the Perception of Brightness and Warmth

Bromham

Moffat

Barthet

et al. 2019

Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound

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It is not uncommon to hear musicians and audio engineers speak of warmth and brightness when describing analog technologies such as vintage mixing consoles, multitrack tape machines, and valve compressors. What is perhaps less common, is hearing this term used in association with retro digital technology. A question exists as to how much the low bit rate and low-grade conversion quality contribute to the overall brightness or warmth of a sound when processed with audio effects simulating early sampling technologies. These two dimensions of timbre are notoriously difficult to define and more importantly, measure. We present a subjective user study of brightness and warmth, where a series of audio examples are processed with different audio effects. 26 participants rated the perceived level of brightness and warmth of various instrumental sequences for 5 different audio effects including bit depth reduction, compression and equalisation. Results show that 8 bit reduction tends to increase brightness and decrease warmth whereas 12 bit reduction tends to do the opposite, although this is very much dependent on the instrument. Interestingly, the most significant brightness changes, due to bit reduction, were obtained for bass sounds. For comparison purposes, instrument phrases were also processed with both an analogue compressor and an equalisation plugin to see if any subjective difference was noticed when simulating sonic characteristics that might be associated with warmth. Greater significance was observed when the sound excerpts were processed with the plugins being used to simulate the effects of bit depth reduction. CCS Concepts: • Information systems → Speech / audio search; • Applied computing → Sound and music computing; Media arts; • Computing methodologies → Perception; • Software and its engineering → Semantics.

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Musical Instrument Sound Morphing Guided by Perceptually Motivated Features

Cited by 16 publications

References 28 publications

The Sonar Model for Humpback Whale Song Revised

The Sonar Model for Humpback Whale Song Revised

A Class of Algorithms for Time-Frequency Multiplier Estimation

The Impact of Audio Effects Processing on the Perception of Brightness and Warmth

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