By Simon Dixon, Matthias Mauch, Amélie Anglade (auth.), Sølvi Ystad, Mitsuko Aramaki, Richard Kronland-Martinet, Kristoffer Jensen (eds.)
This publication constitutes the completely refereed post-proceedings of the seventh overseas Symposium on laptop song Modeling and Retrieval, CMMR 2010, held in Málaga, Spain, in June 2010. The 22 revised complete papers provided have been in particular reviewed and revised for inclusion during this lawsuits quantity. The publication is split in 5 major chapters which mirror the current demanding situations in the box of computing device tune modeling and retrieval. The chapters diversity from track interplay, composition instruments and sound resource separation to info mining and track libraries. One bankruptcy is additionally devoted to perceptual and cognitive features which are at the moment topic to elevated curiosity within the MIR community.
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Extra resources for Exploring Music Contents: 7th International Symposium, CMMR 2010, Málaga, Spain, June 21-24, 2010. Revised Papers
The user’s avatar is in the middle, represented by a head viewed from above. He is surrounded by various sources, represented as Interactive Music with Active Audio CDs 45 Fig. 8. Example of conﬁguration ﬁles: 5-source conﬁguration (top), binaural output conﬁguration (middle), and then 8-speaker conﬁguration (bottom) ﬁles notes in colored discs. When used in a multi-speaker conﬁguration, speakers may be represented in the scene. If used in a binaural conﬁguration, the user’s avatar is represented wearing headphones.
This could range from stereo speakers to surround sound systems or binaural audio over headphones. IM AF is beginning to support SAOC (Spatial Audio Object Coding) which addresses this very problem and diﬀerentiates it from similar standards. While there are a number of standard ﬁle formats that have been developed in parallel to address slightly diﬀering application areas within interactive music, IM AF is increasingly the best choice for karaoke-style games. There are still 30 R. Stewart, P. Kudumakis, and M.
Girin Fig. 7. From the stereo mix stored on the CD, our player is allowing the listener (center ) to manipulate 5 sources in the acoustic space, using here an octophonic display (top) or headphones (bottom) Fig. 7 shows the current interface of the spatializer, which displays a bird’s eye view of the audio scene. The user’s avatar is in the middle, represented by a head viewed from above. He is surrounded by various sources, represented as Interactive Music with Active Audio CDs 45 Fig. 8. Example of conﬁguration ﬁles: 5-source conﬁguration (top), binaural output conﬁguration (middle), and then 8-speaker conﬁguration (bottom) ﬁles notes in colored discs.