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Báo cáo hóa học: " Editorial Digital Audio Effects"

Chia sẻ: Nguyen Minh Thang | Ngày: | Loại File: PDF | Số trang:2

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  1. Hindawi Publishing Corporation EURASIP Journal on Advances in Signal Processing Volume 2010, Article ID 459654, 2 pages doi:10.1155/2010/459654 Editorial Digital Audio Effects Augusto Sarti (EURASIP Member),1 Udo Zoelzer,2 Xavier Serra,3 Mark Sandler,4 and Simon Godsill (EURASIP Member)5 1 Dipartimento di Elettronica e Informazione (DEI), Politecnico di Milano, Milano, Italy 2 Department of Signal Processing and Communications, Helmut-Schmidt-University—University of Federal Armed Forces Hamburg, Germany 3 Music Technology Group, Department of Information and Communication Technologies & Audiovisual Institute, Universitat Pompeu Fabra, Barcelona, Spain 4 Centre for Digital Music (C4DM), School of Electronic Engineering and Computer Science, Queen Mary University of London, UK 5 Department of Engineering, University of Cambridge, UK Correspondence should be addressed to Augusto Sarti, sarti@elet.polimi.it Received 31 December 2010; Accepted 31 December 2010 Copyright © 2010 Augusto Sarti et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Digital audio effects usually refer to all those algorithms part of our everyday life, the sonification of acoustic events that are used for improving or enhancing sounds in any in such environments is, in fact, still an open problem. step of a processing chain of music production, from The first contribution of the series, by C. Picard et al., generation to rendering. Today these algorithms are widely addresses exactly this issue and provides analysis tools for used in professional or home music production studios, determining the parameters of modal sound synthesis. The second contribution, by J. Pakarinen, offers a different set electronic or virtual musical instruments, and all kinds of consumer devices, including videogame consoles, portable of analysis tools for parameter estimation, this time devoted audio players, smartphones, or appliances. Motivated by this to a hot topic in the DAFx community, which is that of expansion trend, in the past few years the range of research virtual analog processing, with particular reference to the topics that have fallen within the digital audio effects realm nonlinearities that characterize the reference analog systems has broadened to accommodate new topics and applications, that are being emulated. The third contribution, by A. Novak et al., allows us to take a different look at nonlinearities, this from space-time processing to human-machine interaction. time with reference to audio effects for music production. All the technologies and the research topics that are Digital audio effects are also part of the music production behind such topics are today addressed by the International Digital Audio Effects Conference (DAFx), which has become processing chain, which includes preprocessing, editing and a reference gathering for researchers working in the audio mixing. The paper, by Terrell et al., is concerned with the noise gate, a specific type of digital effect, important for the field. In the many editions of the DAFx conference, we have witnessed a proliferation of new and emerging methodolo- capturing drum performances and dealing with bleeds from gies for digital audio effects at many levels of abstraction, secondary sources. Another classical type of effects widely used in music production is time/pitch scaling. This effect from signal level to symbol level. Some of the contributions to this special issue, in fact, are linked to works presented is addressed in the contribution authored by E. Azarov et al. in this conference and seem to capture this transformational The paper by E. Perez et al. again addresses music production trend. aspects, as it proposes a solution for automatic panning effects in music mixing. Two contributions of this special issue deal with aspects of sound synthesis. Synthetic sound generation is an impor- Sound rendering and, particularly, spatial rendering are tant aspect of sound effects, whose importance has recently progressively gaining more and more importance in the grown beyond the boundaries of musical sound synthesis. research community of DAFx. In this line of work is the paper While virtual environments are becoming more and more authored by F. Antonacci et al. which introduces a seminal
  2. 2 EURASIP Journal on Advances in Signal Processing work on geometric wavefield decomposition which accounts for propagation phenomena such as diffusion and diffraction and serves as a computational engine for both wavefield rendering and binaural rendering. Still in the area of binaural rendering are the two contributions to this special issue, the first of which is by L. Wang et al., which addresses the long- debated problem of cross-talk cancellation. This paper is followed by that of M. Cobos et al., which proposes a method that allows us to avoid using a dummy head in binaural recording sessions. This special issue also includes two papers that deal with high-level processing of musical content, which can be used for a variety of applications, from music information retrieval to digital audio effects. The former, by A. Barbancho et al., is concerned with piano chords detection based on parallel interference cancellation methods. The latter, by Itoyama et al., and Okuno, tackles a query-by-example technique based on source separation and remixing. Augusto Sarti Udo Zoelzer Xavier Serra Mark Sandler Simon Godsill
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