Introduction

Verfaille, Vincent; Holters, Martin; Zölzer, Udo

doi:10.1002/9781119991298.ch1

Cited by 5 publications

(8 citation statements)

References 24 publications

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“…We consider the listening environment as presented in Figure 13. A first-order head-shadow transfer function for the right ear is presented in Equation ( 6) [25,26]:…”

Section: Subjective Listening Testmentioning

confidence: 99%

Autonomous Technology for 2.1 Channel Audio Systems

Yao¹,

Huang²

2022

Electronics

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During the COVID-19 pandemic, smart home requirements have shifted toward entertainment at home. The purpose of this research project was therefore to develop a robotic audio system for home automation. High-end audio systems normally refer to multichannel home theaters. Although multichannel audio systems enable people to enjoy surround sound as they do at the cinema, stereo audio systems have been popularly used since the 1980s. The major shortcoming of a stereo audio system is its narrow listening area. If listeners are out of the area, the system has difficulty providing a stable sound field. This is because of the head-shadow effect blocking the high-frequency sound. The proposed system, by integrating computer vision and robotics, can track the head movement of a user and adjust the directions of loudspeakers, thereby helping the sound wave travel through the air. Unlike previous studies, in which only a diminutive scenario was built, in this work, the idea was applied to a commercial 2.1 audio system, and listening tests were conducted. The theory and the simulation coincide with the experimental results. The approximate rate of audio quality improvement is 31%. The experimental results are encouraging, especially for high-pitched music.

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“…We consider the listening environment as presented in Figure 13. A first-order head-shadow transfer function for the right ear is presented in Equation ( 6) [25,26]:…”

Section: Subjective Listening Testmentioning

confidence: 99%

Autonomous Technology for 2.1 Channel Audio Systems

Yao¹,

Huang²

2022

Electronics

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“…An interdisciplinary approach to digital audio effects classification (Verfaille et al 2006) identifies about 70 items. A subset of the available audio effects has been chosen for this project.…”

Section: The Ora Projectmentioning

confidence: 99%

“…The question was to explore the perceptive features and musical material obtained by interaction of organ sounds and audio effects rather than to make a systematic investigation of all possible effects. The main families of effect described in Verfaille et al (2006) on the basis of implementation techniques are represented in our project: spectral and time domain effects, including filters, delays, modulators, non-linear feedback processing, time-segment processing, time-source-filter processing, spectral processing and time and frequency warping. These audio effects modify the perceptual attributes of pitch (height and chroma); melody, intonation, contour, harmony and harmonicity; glissando; dynamics (nuances, articulation, legato, accents and tremolo); time (duration, tempo and rhythm); and timbre (formants, spectral colour, brightness or spectral height, quality, texture and harmonicity; vibrato).…”

Section: The Ora Projectmentioning

confidence: 99%

“…Digital audio environments are integrated to digital audio workstations, offering digital audio effect libraries and easy-to-use control interfaces. These tools have been widely used for augmenting musical instruments with digital audio effects (Miranda and Wanderley, 2006; Risset, 2002; Verfaille, Guastavino and Traube, 2006), recently also including pipe organs.…”

Section: Introductionmentioning

confidence: 99%

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Of Pipes and Patches: Listening to augmented pipe organs

d’Alessandro

Noisternig

2019

Org. Sound

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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.

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“…An audio delay can produce a rhythmical pulse for brief input signals on the one hand but an intermodulation for longer inputs featuring pitch glissandi on the other hand. Verfaille, Guastavino and Traube (2006) give different approaches to classification of digital audio effects based on underlying technology, type of control or perception. Using a data set derived from their subject’s usage of digital effect plugins, Stables, De Man, Enderby, Reiss, Fazekas and Wilmering (2016) analyse the semantic description of timbral transformations and show among other things that equalisation and compression share a common vocabulary while reverb and distortion have different description schemata.…”

Section: Sound Transformation As Personal Constructmentioning

confidence: 99%

Transformed Sound as Personal Construct

Plessas

2017

Org. Sound

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To better understand the function of sound within electronic music it is inevitable to consider the way composers and performers talk about such sound and its different qualities. An attempt to classify sound is a logical consequence of the desire to orient oneself in a vast field of possibilities. It remains difficult, however, to relate such a classification to the intuitive way we talk about sound. Heavily influenced by our individual upbringing, cultural and musical environment and, perhaps most strongly, by our peers in the creation and performance of music, words verbalised in relation to sound and music invite a systematic investigation. This article exemplifies such an investigation, attempting the elicitation and structuring of a vocabulary from eight musically trained individuals in a two-stage experiment. The words examined here are concerned with sounds created by transformation of acoustic sources through electronic processing methods.

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Introduction

Cited by 5 publications

References 24 publications

Autonomous Technology for 2.1 Channel Audio Systems

Autonomous Technology for 2.1 Channel Audio Systems

Of Pipes and Patches: Listening to augmented pipe organs

Transformed Sound as Personal Construct

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