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Novel technique of customizing the audio fade-out shape

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EN
Abstrakty
EN
The fade-out sound effect designates a strict decreasing of the volume of an audio signal, starting from the detected initial level down to silence. Audio fade-outs are usually processed in off-line mode that is within audio editors, by employing different transcendental functions to set the time-related evolution of the audio level. However, the proliferation of mobile devices as well as the increasing popularity of web applications, implemented in HTML5/JavaScript, press for computing techniques suitable for real-time processing. In this context, having in view that the computation of the outputs of transcendental functions is very time-consuming, in order to construct the audio fade-out profile, a technique suitable for real-time computing is developed in the present investigation. The suggested techni-que is validated by means of an implementation in pure JavaScript, put forward with the purpose of immediate testing.
Twórcy
  • Department of Electrical Engineering and Applied Physics, Faculty of Electrical Engineering and Computer Science, “Transilvania” University of Braşov, Bd. Eroilor No. 29, Braşov, RO-500036, Romania
Bibliografia
  • [1] Benetos, E., & Kotropoulos, C. (2010). Non-negative tensor factorization applied to music genre classification. IEEE Transactions on Audio, Speech, and Language Processing, 18(8), 1955–1967. doi:10.1109/TASL.2010.2040784
  • [2] Case, A. U. (2007). Sound FX: Unlocking the Creative Potential of Recording Studio Effects. Burlington, MA, USA: Focal Press.
  • [3] Corey, J. (2017). Audio Production and Critical Listening: Technical Ear Training. New York, NY, USA: Routledge.
  • [4] Devlin, I. (2012). HTML5 Multimedia: Develop and Design. Berkeley, CA, USA: Peachpit Press.
  • [5] Fastl, H., & Zwicker, E. (2007). Psychoacoustics – Facts and Models (Springer Series in Information Sciences). Berlin, Germany: Springer-Verlag. doi:10.1007/978-3-540-68888-4
  • [6] Hartmann, W. M. (1998). Signals, Sound, and Sensation (AIP Series in Modern Acoustics and Signal Processing). New York, NY, USA: Springer-Verlag.
  • [7] Jacobs, I., Jaffe, J., & Le Hegaret, P. (2012). How the open web platform is transforming industry. IEEE Internet Computing, 16(6), 82–86. doi:10.1109/MIC.2012.134
  • [8] Krause, B. (2008). Anatomy of the soundscape: Evolving perspectives. Journal of the Audio Engineering Society (JAES), 56(1/2), 73–80.
  • [9] Langford, S. (2014). Digital Audio Editing: Correcting and Enhancing Audio in Pro Tools, Logic Pro, Cubase, and Studio One. Burlington, MA, USA: Focal Press.
  • [10] Lupsa-Tataru, L. (2017). Shaping the fade-in audio effect with a view to JavaScript implementation. Journal of Computations & Modelling, 7(4), 111–126.
  • [11] Panagakis, Y., Kotropoulos, C. L., & Arce, G. R. (2014). Music genre classification via joint sparse low-rank representation of audio features. IEEE/ACM Transactions on Audio, Speech, and Language Processing, 22(12), 1905–1917. doi:10.1109/TASLP.2014.2355774
  • [12] Potter, K. (2002). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Series: Music in the Twentieth Century). Cambridge, UK: Cambridge University Press.
  • [13] Powers, S. (2011). HTML5 Media. Sebastopol, CA, USA: O’Reilly Media.
  • [14] Reiss, J. D., & McPherson, A. (2015). Audio Effects: Theory, Implementation and Application. Boca Raton, FL, USA: CRC Press.
  • [15] Roederer, J. G. (2008). The Physics and Psychophysics of Music: An Introduction. New York, NY, USA: Springer Science + Business Media. doi:10.1007/978-0-387-09474-8
  • [16] WebPlat WG (Web Platform Working Group). (2017). W3C Recommendation for HTML5. W3C technical reports index: https://www.w3.org/TR/html
Uwagi
Opracowanie rekordu w ramach umowy 509/P-DUN/2018 ze środków MNiSW przeznaczonych na działalność upowszechniającą naukę (2018).
Typ dokumentu
Bibliografia
Identyfikator YADDA
bwmeta1.element.baztech-999b755a-500d-4d40-aff6-6c7b3d82c4b7
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