EMVD dataset: a dataset of extreme vocal distortion techniques used in heavy metal

In this paper, we introduce the Extreme Metal Vocals Dataset, which comprises a collection of recordings of extreme vocal techniques performed within the realm of heavy metal music. The dataset consists of 760 audio excerpts of 1 second to 30 seconds long, totaling about 100 min of audio material, roughly composed of 60 minutes of distorted voices and 40 minutes of clear voice recordings. These vocal recordings are from 27 different singers and are provided without accompanying musical instruments or post-processing effects. The distortion taxonomy within this dataset encompasses four distinct distortion techniques and three vocal effects, all performed in different pitch ranges. Performance of a state-of-the-art deep learning model is evaluated for two different classification tasks related to vocal techniques, demonstrating the potential of this resource for the audio processing community.

Revisiting proximity effect using broadband signals

Experiments studying mainly proximity effect are presented. Pink noise and music were used as stimuli and a combo guitar amplifier as source to test several microphones: omnidirectional and directional. We plot in-axis levels and spectral balances as functions of x, the distance to the source. Proximity effect was found for omnidirectional microphones. In-axis level curves show that 1/x law seems poorly valid. Spectral balance evolutions depend on microphones and moreover on stimuli: bigger decreases of low frequencies with pink noise; larger increases of other frequencies with music. For a naked loudspeaker, we found similar in-axis level curves under and above the cut-off frequency and propose an explanation. Listening equalized music recordings will help to demonstrate proximity effect for tested microphones.Paper 7106 presented at the 122th Convention of the Audio Engineering Society, Wien, 2007

Using perceptive subbands analysis to perform audio scenes cartography

Audio scene cartography for real or simulated stereo recordings is presented. This audio scene analysis is performed doing successively: a perceptive 10-subbands analysis, calculation of temporal laws for relative delays and gains between both channels of each subband using a short-time cons\-tant scene assumption and channels inter-correlation which permit to follow a mobile source in its moves, calculation of global and subbands histograms whose peaks give the incidence information for fixed sources. Audio scenes composed of 2 to 4 fixed sources or with a fixed source and a mobile one have been already successfully tested. Further extensions and applications will be discussed. Audio illustrations of audio scenes, subband analysis and demonstration of real-time stereo recording simulations will be given.Paper 6340 presented at the 118th Convention of the Audio Engineering Society, Barcelona, 2005

Some clues to build a sound analysis relevant to hearing

Analysis tools used in research laboratories, for sound synthesis, by musicians or sound engineers can be rather different. Discussion of the assumptions and of the limitations of these tools permits to propose a first tool as relevant and versatile as possible for all the sound actors with a major aim: one must be able to listen to each element of the analysis because hearing is the final reference tool. This tool should also be used, in the future, to reinvestigate the definition of sound (or Acoustics) on the basis of some recent works on musical instrument modeling, speech production and loudspeakers design. Audio illustrations will be given.Paper 6041 presented at the 116th Convention of the Audio Engineering Society, Berlin, 2004

Listening broadband physical model for microphones: a first step

We will present a first step in design of a broadband physical model for microphones. Within the proposed model, classical directivity patterns (omnidirectional, bidirectional and cardioids family) are refound as limit cases: monochromatic excitation, low frequency and far-field approximation. Monophonic pieces of music are used as sources for the model so we can listen the simulation of the associated recorded sound field in realtime thanks to a Max/MSP application. Listening and subbands analysis show that the directivity is a function of frequential subband and source location. This model also exhibits an interesting proximity effect. Audio demonstrations will be given.Paper 6638 presented at the 120th Convention of the Audio Engineering Society, Paris, 2006

An alternative approach for the convolution in time-domain: the taches-algorithms

We present an alternative temporal approach for convolution, providing a new algorithm, called the taches-algorithm. Based on interferences between the successive delayed and amplified output signals associated respectively with the impulses constituting the input signal, the taches-algorithm can give access immediately to the new output sample and have a low latency response even without using vector-based optimisation of the calculation. With the taches-algorithm it seems easy to change (even in real-time) the impulse response while running the calculation, simply by updating the impulse response to use it for next samples, a task rather difficult to achieve using FFT convolution. Real-time audio demonstrations using notably Pure Data and simple explanations of the taches-algorithm will be given.Paper 7412 presented at the 125th Convention of the Audio Engineering Society, Amsterdam, 2008

A proposal for a minimal model of free reed

In this paper we propose a minimal model for free reeds taking into account the significant phenomena. This free reed model may be used to build models of free reed instruments which permit numerical simulations. Several definitions for the section by which the airflow passes through the reed are reviewed and a new one is proposed which takes into account the entire escape area under the reed and the reed thickness. To derive this section, it is necessary to distinguish the neutral section (the only section of the reed which always keeps its length constant while moving) from the upstream or downstream sections. A minimal configuration is chosen to permit the instabilities of both (-,+) and (+,-) reeds on the basis of a linear analysis of instabilities conditions. This configuration is used to illustrate, with temporal simulations, the minimal model for both kinds of reeds and to discuss the model assumptions. Some clues are given about the influence, on the playing frequency and on the dynamic of the sound, of two main parameters of the geometrical model: the size of the volume and the level of the excitation. It is shown that the playing frequency of a (+,-) reed can vary in a large range according to the size of the volume upstream of the reed; that the playing frequency is nearly independent of the excitation but that the dynamic of the sound increases with the excitation level. Some clues are also proposed to determine the nature of the bifurcation for free reeds: it seems that free reeds may present inverse bifurcations. The influence of the reed thickness is also studied for configurations where the reed length or the reed width vary to keep the mass constant. This study shows that the reed thickness can have a great influence on the sound magnitude, the playing frequency and the magnitude of the reed displacement which justifies its introduction in the reed model.This article has been published in Acta Acustica united with Acustica, Vol. 93 (2007), p. 122-144.