The shape of RemiXXXes to come:Audio texture synthesis with time–frequency scattering

This article explains how to apply time--frequency scattering, a convolutional operator extracting modulations in the time--frequency domain at different rates and scales, to the re-synthesis and manipulation of audio textures. After implementing phase retrieval in the scattering network by gradient backpropagation, we introduce scale--rate DAFx, a class of audio transformations expressed in the domain of time--frequency scattering coefficients. One example of scale--rate DAFx is chirp rate inversion, which causes each sonic event to be locally reversed in time while leaving the arrow of time globally unchanged. Over the past two years, our work has led to the creation of four electroacoustic pieces: ``FAVN''; ``Modulator (Scattering Transform)''; ``Experimental Palimpsest''; ``Inspection''; and a remix of Lorenzo Senni's ``XAllegroX'', released by Warp Records on a vinyl entitled ``The Shape of RemiXXXes to Come''. The source code to reproduce experiments and figures is made freely available at: https://github.com/lostanlen/scattering.m. A companion website containing demos is at: https://lostanlen.com/pubs/dafx2019Comment: 8 pages, 3 figures. To appear in the proceedings of the International Conference on Digital Audio Effects (DAFX-19), Birmingham, U

Formalizing the concept of sound.

The notion of formalized music implies that a musical composition can be described in mathematical terms. In this article we explore some formal aspects of music and propose a framework for an abstract approach

Formalizing the Concept of Sound

The notion of formalized music implies that a musical composition can be described in mathematical terms. In this article we explore some formal aspects of music and propose a framework for an abstract approach. 1 Introduction Sounds and their attributes are traditionally defined at a relatively low level of abstraction. The terminology and basic concepts underlying the notion of a sound are tailored to Western music of the past three centuries and lack the level of abstraction needed, for example, for a significant body of recent works and some non-Western music. In this article we explore some formal aspects of music and propose a framework for a more abstract approach. As Western musicians, we are trained to think in terms of the notated score. Accordingly, we view a piece of music as a collection of individual sounds represented by dots and ovals and characterized mainly by start time, duration, and pitch. The music notation system we use today is indeed precise in defining time a..