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Publications (25)
Although the use of AI tools in music composition and production is steadily increasing, as witnessed by the newly founded AI song contest, analysis of music produced using these tools is still relatively uncommon as a mean to gain insight in the ways AI tools impact music production. In this paper we present a case study of "Melatonin", a song pro...
Although the use of AI technology for music production is still in its infancy, it has the potential to make a lasting impact on the way we produce music. In this paper we focus on the design and use of AI music tools for the production of contemporary Popular Music, in particular genres involving studio technology as part of the creative process....
Deep learning has given AI-based methods for music creation a boost by over the past years. An important challenge in this field is to balance user control and autonomy in music generation systems. In this work, we present BassNet, a deep learning model for generating bass guitar tracks based on musical source material. An innovative aspect of our...
Research applying machine learning to music modeling and generation typically proposes model architectures, training methods and datasets, and gauges system performance using quantitative measures like sequence likelihoods and/or qualitative listening tests. Rarely does such work explicitly question and analyse its usefulness for and impact on real...
In music and audio production, attenuation of spectral resonances is an important step towards a technically correct result. In this paper we present a two-component system to automate the task of resonance equalization. The first component is a dynamic equalizer that automatically detects resonances and offers to attenuate them by a user-specified...
At a large timescale, music pieces can be described as the succession of structural segments which form the global organization of the piece. The present article proposes a model called "System & Contrast", which aims at describing the inner organization of such structural segments in terms of : (i) a carrier system, i.e. a sequence of morphologica...
The tremendous success of rock music in the second half of the 20th century has boosted the sophistication of production and mixing techniques for this music genre. However, there is no unified theory of mixing from the viewpoint of sound engineering. In this paper, we highlight relationships between loudness and spectrum in individual tracks, esta...
The tremendous success of rock music in the second half of the 20th century has boosted
the sophistication of production and mixing techniques for this music genre. However, there
is no unified theory of mixing from the viewpoint of sound engineering. In this paper, we
highlight relationships between loudness and spectrum in individual tracks, esta...
By examining attributes of recorded music over many decades, larger patterns emerge as long-term trends. The authors suggested a set of signal features and examined the impact of limiters and compressors on a corpus of music tracks. From 1967 to 1984, mainstream music production tended toward high-fidelity and transparency, as a result of technolog...
Interest has been steadily growing in semantic audio and music information retrieval for the description of music structure, i.e. the global organization of music pieces in terms of large-scale structural units. This article presents a detailed methodology for the semiotic description of music structure, based on concepts and criteria which are for...
The semiotic description of music structure aims at representing the high-level organization of music pieces in a concise, generic and reproducible way as a low-rate stream of arbitrary symbols from a limited alphabet, which results into a sequence of " semiotic units ". In this context, the purpose of the System & Contrast model is to address the...
Music structure description, i.e. the task of representing the high-level organization of music pieces in a concise, generic and reproducible way, is currently a scientific challenge both algorithmically and conceptually. In this paper, we focus on semiotic structure, i.e. the description of similarities and internal relationships within a music pi...
At a low timescale (i.e. typically below 1 s) a music piece can be viewed as a combination of musical elements drawn from a limited inventory of predetermined conventional unitary items such as notes, duration values or chords. However, above a certain timescale, the organization of music is more relevantly described in terms of complex piece-speci...
This document proposes and describes guidelines for the annotation of music structure into elementary units called semiotic blocks, reflecting high-level and high-scale similarities across the music piece. The annotation process requires both the localization of block boundaries (segmentation) and the determination of block classes (labeling). The...
The approach called decomposition into autonomous and comparable blocks speci es a methodology for producing music structure annotation by human listeners based on a set of criteria relying on the listening experience of the human annotator. The present article develops further a number of fundamental notions and practical issues, so as to facilita...
In this paper we address the problem of the description of mu-sic production techniques from the audio signal. Over the past decades sound engineering techniques have changed drastically. New recording technologies, extensive use of compressors and limiters or new stereo techniques have deeply modified the sound of records. We propose three feature...
hy Music Sounds Worse”. “Fans Complain After Death Magnetic Sounds Better on Guitar Hero Than CD”. “Everything Louder Than Everything Else”. “Even Heavy-Metal Fans Complain That Today’s Music Is Too Loud!” “Dynamic Range Day heralds new movement against loudness.” “The Death of High Fidelity”... In the press and on the Web, the backlash is growing...
Sound sample indexing usually deals with the recognition of the source/cause that has produced the sound. For abstract sounds, sound effects, unnatural, or synthetic sounds, this cause is usually unknown or unrecognizable. An efficient description of these sounds has been proposed by Schaeffer under the name morphological description. Part of this...
Considering that M.I.R. content-extraction algorithms are evaluated over annotated test-sets, it is worth discussing the robustness of the concepts used for these annotations. In this paper we discuss the ro-bustness of local music annotations, more specifically "Music Structure" annotation. We define four conditions to be fulfilled by an annotatio...
Morphological description has been proposed by Pierre Schaeffer. It consists in describing sounds by identifying the temporal evolution of their acoustical properties to a set of profiles. This kind of description is especially useful for indexing sounds with unknown cause such as SoundFX. The present work deals with the automatic estimation of thi...
In the field of audio signaletics, most sound designers have their own recipes to make samples that convey a certain meaning, which we could call auditory function. The aim of the present article is to compare the perceptive representation and the functional representation with the usual sound categories designed to fulfill specific actions of user...
cote interne IRCAM: Susini02d
This article deals with the idea of hyperlinks in the auditory realm, "sonified hyperlink", which is analog to the visual hyperlinks of the HTML language. The aim of the present article is to propose acoustical recommendations for sounds used to underline a word in spoken text.
