publications

2022

1. ICASSP

   Sinusoidal Frequency Estimation by Gradient Descent

   Hayes, Ben, Saitis, Charalampos, and Fazekas, George

   In ICASSP 2023 - 2023 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) 2022

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   Sinusoidal parameter estimation is a fundamental task in applications from spectral analysis to time-series forecasting. Estimating the sinusoidal frequency parameter by gradient descent is, however, often impossible as the error function is non-convex and densely populated with local minima. The growing family of differentiable signal processing methods has therefore been unable to tune the frequency of oscillatory components, preventing their use in a broad range of applications. This work presents a technique for joint sinusoidal frequency and amplitude estimation using the Wirtinger derivatives of a complex exponential surrogate and any first order gradient-based optimizer, enabling end to-end training of neural network controllers for unconstrained sinusoidal models.

2. ICA

   timbre.fun: A gamified interactive system for crowdsourcing a timbre semantic vocabulary

   Hayes, Ben, Saitis, Charalampos, and Fazekas, George

   In 24th International Congress on Acoustics 2022

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   We present timbre.fun, a web-based gamified interactive system where users create sounds in response to semantic prompts (e.g., bright, rough) through exploring a two-dimensional control space that maps nonlinearly to the parameters of a simple hybrid wavetable and amplitude-modulation synthesizer. The current version features 25 semantic adjectives mined from a popular synthesis forum. As well as creating sounds, users can explore heatmaps generated from others’ responses, and fit a classifier (k-nearest neighbors) in-browser. timbre.fun is based on recent work, including by the authors, which studied timbre semantic associations through prompted synthesis paradigms. The interactive is embedded in a digital exhibition on sensory variation and interaction (seeingmusic.app) which debuted at the 2021 Edinburgh Science Festival, where it was visited by 197 users from 21 countries over 16 days. As it continues running online, a further 596 visitors from 35 countries have engaged. To date 579 sounds have been created and tagged, which will facilitate parallel research in timbre semantics and neural audio synthesis. Future work will include further gamifying the data collection pipeline, including leveling-up to unlock new words and synthesizers, and a full open-source release.

3. JAES

   Disembodied Timbres: A Study on Semantically Prompted FM Synthesis

   Hayes, Ben, Saitis, Charalampos, and Fazekas, George

   In Journal of the Audio Engineering Society 2022

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   Disembodied electronic sounds constitute a large part of the modern auditory lexicon, but research into timbre perception has focused mostly on the tones of conventional acoustic musical instruments. It is unclear whether insights from these studies generalise to electronic sounds, nor is it obvious how these relate to the creation of such sounds. In this work, we present an experiment on the semantic associations of sounds produced by FM synthesis with the aim of identifying whether existing models of timbre semantics are appropriate for such sounds. We applied a novel experimental paradigm in which experienced sound designers responded to semantic prompts by programming a synthesiser, and provided semantic ratings on the sounds they created. Exploratory factor analysis revealed a five-dimensional semantic space. The first two factors mapped well to the concepts of luminance, texture, and mass. The remaining three factors did not have clear parallels, but correlation analysis with acoustic descriptors suggested an acoustical relationship to luminance and texture. Our results suggest that further enquiry into the timbres of disembodied electronic sounds, their synthesis, and their semantic associations would be worthwhile, and that this could benefit research into auditory perception and cognition, as well as synthesis control and audio engineering.

2021

1. ISMIR

   Neural Waveshaping Synthesis

   Hayes, Ben, Saitis, Charalampos, and Fazekas, George

   In Proceedings of the 22nd International Society for Music Information Retrieval Conference 2021

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   We present the Neural Waveshaping Unit (NEWT): a novel, lightweight, fully causal approach to neural audio synthesis which operates directly in the waveform domain, with an accompanying optimisation (FastNEWT) for efficient CPU inference. The NEWT uses time-distributed multilayer perceptrons with periodic activations to implicitly learn nonlinear transfer functions that encode the characteristics of a target timbre. Once trained, a NEWT can produce complex timbral evolutions by simple affine transformations of its input and output signals. We paired the NEWT with a differentiable noise synthesiser and reverb and found it capable of generating realistic musical instrument performances with only 260k total model parameters, conditioned on F0 and loudness features. We compared our method to state-of-the-art benchmarks with a multi-stimulus listening test and the Fréchet Audio Distance and found it performed competitively across the tested timbral domains. Our method significantly outperformed the benchmarks in terms of generation speed, and achieved real-time performance on a consumer CPU, both with and without FastNEWT, suggesting it is a viable basis for future creative sound design tools.

2. ICMPC

   Perceptual and semantic scaling of FM synthesis timbres: Common dimensions and the role of expertise

   Hayes, Ben, Saitis, Charalampos, and Fazekas, George

   In 16th International Conference on Music Perception and Cognition 2021

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   Electronic sound has a rich history, yet timbre research has typically focused on the sounds of physical instruments, while synthesised sound is often relegated to functional roles like recreating acoustic timbres. Studying the perception of synthesised sound can broaden our conception of timbre and improve musical synthesis tools. We aimed to identify the perceptually salient acoustic attributes of sounds produced by frequency modulation synthesis. We also aimed to test Zacharakis et al’s luminance-texture-mass timbre semantic model [Music Perception, 31, 339–358 (2014)] in this domain. Finally, we aimed to identify effects of prior music or synthesis experience on these results. Our results suggest that discrimination of abstract electronic timbres may rely on attributes distinct from those used with acoustic timbres. Further, the most salient attributes vary with expertise. However, the use of semantic descriptors is similar to that of acoustic instruments, and is consistent across expertise levels.

2020

1. DMRN

   Perceptual Similarities in Neural Timbre Embeddings

   Hayes, Ben, Brosnahan, Luke, Saitis, Charalampos, and Fazekas, George

   In DMRN+15: Digital Music Research Network One-Day Workshop 2020 2020

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   Many neural audio synthesis models learn a representational space which can be used for control or exploration of the sounds generated. It is unclear what relationship exists between this space and human perception of these sounds. In this work, we compute configurational similarity metrics between an embedding space learned by a neural audio synthesis model and conventional perceptual and seman- tic timbre spaces. These spaces are computed using abstract synthesised sounds. We find significant similarities between these spaces, suggesting a shared organisational influence.

2. Timbre

   There’s More to Timbre than Musical Instruments: Semantic Dimensions of FM Sounds

   Hayes, Ben, and Saitis, Charalampos

   In Proceedings of the 2nd International Conference on Timbre 2020

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   Much previous research into timbre semantics (such as when an oboe is described as “hollow”) has focused on sounds produced by acoustic instruments, particularly those associated with western tonal music (Saitis & Weinzierl, 2019). Many synthesisers are capable of producing sounds outside the timbral range of physical instruments, but which are still discriminable by their timbre. Research into the perception of such sounds, therefore, may help elucidate further the mechanisms underpinning our experience of timbre in the broader sense. In this paper, we present a novel paradigm on the application of semantic descriptors to sounds produced by experienced sound designers using an FM synthesiser with a full set of controls.

3. Timbre

   Evidence for Timbre Space Robustness to an Uncontrolled Online Stimulus Presentation

   Zacharakis, Asterios, Hayes, Ben, Saitis, Charalampos, and Pastiadis, Konstantinos

   In Proceedings of the 2nd International Conference on Timbre 2020

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   Research on timbre perception is typically conducted under controlled laboratory conditions where every effort is made to maintain stimulus presentation conditions fixed (McAdams, 2019). This conforms with the ANSI (1973) definition of timbre suggesting that in order to judge the timbre differences between a pair of sounds the rest perceptual attributes (i.e., pitch, duration and loudness) should remain unchanged. Therefore, especially in pairwise dissimilarity studies, particular care is taken to ensure that loudness is not used by participants as a criterion for judgements by equalising it across experimental stimuli. On the other hand, conducting online experiments is an increasingly favoured practice in the music perception and cognition field as targeting relevant communities can potentially provide a large number of suitable participants with relatively little time investment from the side of the experimenters (e.g., Woods et al., 2015). However, the strict requirements for stimuli preparation and presentation prevents timbre studies from conducting online experimentation. Despite the obvious difficulties in imposing equal loudness on online experiments, the different playback equipment chain (DACs, pre-amplifiers, headphones) will also almost inevitably ‘colour’ the sonic outcome in a different way. Despite the above limitations, in a social distancing time like this, it would be of major importance to be able to lift some of the physical requirements in order to carry on conducting behavioural research on timbre perception. Therefore, this study aims to investigate the extent to which an uncontrolled online replication of a past laboratory-conducted pairwise dissimilarity task will distort the findings.