Recent Advances in Real-Time Musical Effects, Synthesis, and Virtual Analog Models

Pakarinen, Janne; Välimäki, Vesa; Fontana, Federico; Lazzarini, Victor; Abel, Jonathan S.

doi:10.1155/2011/940784

Cited by 17 publications

(4 citation statements)

References 36 publications

(51 reference statements)

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“…On one hand, the hardware that implements it allows for the solution of problems containing continuous variables, whereas digital circuitry implies a discretisation of these (even in models that assume underlying continuous quantities). In the case of music, the possibility of time and amplitude-continuous computation is significant, considering the amount of work that has been dedicated to solving discretisation issues in areas such as virtual analogue models [16].…”

Section: Introductionmentioning

confidence: 99%

The Analogue Computer as a Voltage-Controlled Synthesiser

Lazzarini,

Timoney

2019

Preprint

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This paper re-appraises the role of analogue computers within electronic and computer music and provides some pointers to future areas of research. It begins by introducing the idea of analogue computing and placing in the context of sound and music applications. This is followed by a brief examination of the classic constituents of an analogue computer, contrasting these with the typical modular voltage-controlled synthesiser. Two examples are presented, leading to a discussion on some parallels between these two technologies. This is followed by an examination of the current state-of-the-art in analogue computation and its prospects for applications in computer and electronic music.

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Section: Introductionmentioning

confidence: 99%

The Analogue Computer as a Voltage-Controlled Synthesiser

Lazzarini,

Timoney

2019

Preprint

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“…One approach is the physical simulation of the processes involved, 1 whether these be acoustical processes such as reverberation 2 or "virtual analog modeling" of circuit elements. [3][4][5] The other main approach has been to emulate the requisite audio features via signal processing techniques which seek to capture the salient aspects of the sounds and transformations under consideration. Both of these approaches are typically performed with the goal of faithfully reproducing one particular effect, such as audio compressors.…”

Section: Introductionmentioning

confidence: 99%

Profiling musical audio processing effects with deep neural networks

Hawley

Colburn

Mimilakis

2018

The Journal of the Acoustical Society of America

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In this work we present a data-driven approach for predicting the behavior of (i.e., profiling) a given non-linear audio signal processing effect (henceforth "audio effect"). Our objective is to learn a mapping function that maps the unprocessed audio to the processed by the audio effect to be profiled, using time-domain samples.To that aim, we employ a deep auto-encoder model that is conditioned on both time-domain samples and the control parameters of the target audio effect. As a test-case study, we focus on the offline profiling of two dynamic range compression audio effects, one software-based and the other analog. Compressors were chosen because they are a widely used and important set of effects and because their parameterized nonlinear timedependent nature makes them a challenging problem for a system aiming to profile "general" audio effects. Results from our experimental procedure show that the primary functional and auditory characteristics of the compressors can be captured, however there is still sufficient audible noise to merit further investigation before such methods are applied to real-world audio processing workflows.

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“…Many manufacturers developed clones of the Hammond tonewheel organ [17,[32][33][34][35]. Commercial efforts have been accompanied by popular and academic work in virtual analog modeling [36]. Gordon Reid wrote a series of articles for Sound on Sound on generic synthesis approaches to modeling aspects of the Hammond organ [17,[32][33][34][35].…”

Section: Introductionmentioning

confidence: 99%

Modal Processor Effects Inspired by Hammond Tonewheel Organs

Werner

Abel

2016

Applied Sciences

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Abstract:In this design study, we introduce a novel class of digital audio effects that extend the recently introduced modal processor approach to artificial reverberation and effects processing. These pitch and distortion processing effects mimic the design and sonics of a classic additive-synthesis-based electromechanical musical instrument, the Hammond tonewheel organ. As a reverb effect, the modal processor simulates a room response as the sum of resonant filter responses. This architecture provides precise, interactive control over the frequency, damping, and complex amplitude of each mode. Into this framework, we introduce two types of processing effects: pitch effects inspired by the Hammond organ's equal tempered "tonewheels", "drawbar" tone controls, vibrato/chorus circuit, and distortion effects inspired by the pseudo-sinusoidal shape of its tonewheels and electromagnetic pickup distortion. The result is an effects processor that imprints the Hammond organ's sonics onto any audio input.

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Recent Advances in Real-Time Musical Effects, Synthesis, and Virtual Analog Models

Cited by 17 publications

References 36 publications

The Analogue Computer as a Voltage-Controlled Synthesiser

The Analogue Computer as a Voltage-Controlled Synthesiser

Profiling musical audio processing effects with deep neural networks

Modal Processor Effects Inspired by Hammond Tonewheel Organs

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