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Desde el año 2020 los pódcast en formato vídeo han ganado presencia en las plataformas audiovisuales. El presente artículo es un estudio sobre las características del video podcast en Spotify en España, la plataforma líder en consumo de audio digital. El objetivo es analizar estos formatos dirigidos a la Generación Z para comprobar sus rasgos diferenciales con la inclusión del vídeo y su influencia en los usuarios. Se ha empleado una metodología mixta, cuantitativa-cualitativa, con un análisis de contenido de una muestra de 48 piezas y una entrevista abierta a responsables de comunicación de la plataforma en España. Fruto de la investigación se constata que la inclusión de elementos audiovisuales favorece la creación de comunidad, la inserción de publicidad mediante el patrocinio o el product placement y la promoción de nuevos creadores de contenido. Además, se ha obtenido información sobre el comportamiento del target al que se dirigen estas producciones, las posibilidades de la interfaz y las vías de comercialización de estos espacios. Se confirma que el video podcast encaja con la Generación Z y marca tendencia entre los creadores y consumidores del audio digital con los datos de incremento de audiencia durante el año de vigencia de estas producciones en la plataforma., Since 2020, podcasts in video format have increasingly gained presence on audiovisual platforms. This article is a study of the characteristics of video podcasts played on Spotify in Spain, the leading platform for digital audio consumption. The aim was to carry out an analysis of these formats aimed at Generation Z to confirm their distinguishing features with the inclusion of video and its influence on users. A mixed, quantitative-qualitative methodology was used, with a content analysis of a sample of 48 pieces and an open interview with Communications managers of this platform in Spain. Our research confirmed that the inclusion of audiovisual elements favours the creation of a community, the insertion of advertising through sponsorship or product placement and the promotion of new content-creators. In addition, information was obtained on the behaviour of the target to which these productions are directed and the possibilities of interface and marketing channels of these spaces. The data reflect an audience growth in the year these productions are played on this platform, confirming that the video podcast is popular with Generation Z and sets trends among the creators and consumers of digital audio.

Session 1: Virtual Analog: JUDY NAJNUDEL, RÉMY MÜLLER, THOMAS HÉLIE and DAVID ROZE: Identification of Nonlinear Circuits As Port-Hamiltonian Systems | PIER PAOLO LA PASTINA, STEFANO D'ANGELO and LEONARDO GABRIELLI: Arbitrary-Order IIR Antiderivative Antialiasing | KURT JAMES WERNER: An Equivalent Circuit Interpretation of Antiderivative Antialiasing | MICHELE DUCCESCHI, STEFAN BILBAO and CRAIG J. WEBB: Non-Iterative Schemes for the Simulation of Nonlinear Audio Circuits | MOHAMMED DANISH, STEFAN BILBAO and MICHELE DUCCESCHI: Applications of Port Hamiltonian Methods to Non-Iterative Stable Simulations of the Korg35 and Moog 4-Pole VCF | FABIÁN ESQUEDA, BORIS KUZNETSOV AND JULIAN D. PARKER: Differentiable White-Box Virtual Analog Modeling | FRANÇOIS G. GERMAIN: Practical Virtual Analog Modeling Using Möbius Transforms | Session 2: Analysis and Manipulation: JASON NARADOWSKY: Amp-Space: A Large-Scale Dataset for Fine-Grained Timbre Transformation | JULIAN NERI, PHILIPPE DEPALLE and ROLAND BADEAU: Damped Chirp Mixture Estimation via Nonlinear Bayesian Regression | LEONARDO FIERRO and VESA VÄLIMÄKI: SiTraNo: A MATLAB App for Sines-Transients-Noise Decomposition of Audio Signals | MARCELO CAETANO and PHILIPPE DEPALLE: On the Estimation of Sinusoidal Parameters via Parabolic Interpolation of Scaled Magnitude Spectra | Session 3: Audio Processing and Effects: PIER PAOLO LA PASTINA and STEFANO D'ANGELO: Optimal Integer Order Approximation of Fractional Order Filters | CHAMP C. DARABUNDIT and JONATHAN S. ABEL: Conformal Maps for the Discretization of Analog Filters Near the Nyquist Limit | SEBASTIAN LAGUERRE and GARY P. SCAVONE: Simulating a Hexaphonic Pickup Using Parallel Comb Filters for Guitar Distortion | YURI DE PRA, FEDERICO FONTANA and STEFANO PAPETTI: Interacting with Digital Audio Effects Through a Haptic Knob with Programmable Resistance | SEBASTIAN ROSENZWEIG, SIMON SCHWÄR, JONATHAN DRIEDGER and MEINARD MÜLLER: Adaptive Pitch-Shifting with Applications to Intonati

How are music and sound involved in the creation of audiovisual documents? What kind of quantitative and qualitative research permits the examination of music and, more generally, sound for Austrian (music) history on the basis of digitized audiovisual sources? These questions were approached in the interdisciplinary Digital Humanities project “Telling Sounds” at the Universität für Musik und darstellende Kunst in Vienna. This volume consists of various case studies conducted by the members of the team. The project’s main task was the conception and development of a Digital Humanities research tool: LAMA – Linked Annotations for Media Analysis. It was designed for the purpose of using machine-readable open data to annotate and link the ways in which music has been used and contextualized in different audio and audiovisual media texts in different times throughout Austrian history. Each of the case studies is dedicated to different genres of music, media texts, and events or timespans in history. Contributions by Aylin Basaran | Elias Berner | Paul Gulewycz | Birgit Haberpeuntner | Julia Jaklin | Birgit Michlmayr | Peter Provaznik | Cornelia Szabó-Knotik | Meike Wilfing-Albrecht

Session 1: Spatial Audio and Artificial Reverberation I: PATRIK LECHNER: Room Impulse Response Estimation Using Signed Distance Functions | OTTO PUOMIO, TAPANI PIHLAJAKUJA and TAPIO LOKKI: An Acoustic Paintbrush Method for Simulated Spatial Room Impulse Responses | KAROLINA PRAWDA, SILVIN WILLEMSEN, STEFANIA SERAFIN and VESA VÄLIMÄKI: Flexible Real-Time Reverberation Synthesis with Accurate Parameter Control | ANDY SARROFF and ROTH MICHAELS: Blind Arbitrary Reverb Matching | ACHILLE AKNIN, THÉOPHILE DUPRÉ and ROLAND BADEAU: Evaluation of a Stochastic Reverberation Model Based on the Source Image Principle | MAARTEN VAN WALSTIJN: Numerical Calculation of Modal Spring Reverb Parameters | SADJAD SIDDIQ: Optimization of Convolution Reverberation | Session 2: Virtual Analog: LASSE KÖPER and MARTIN HOLTERS: Taming the Red Llama—Modeling a CMOS-Based Overdrive Circuit | DAVIDE ALBERTINI, ALBERTO BERNARDINI and AUGUSTO SARTI: Antiderivative Antialiasing in Nonlinear Wave Digital Filters | KURT JAMES WERNER and RUSSELL MCCLELLAN: Moog Ladder Filter Generalizations Based on State Variable Filters | RÉMY MÜLLER and THOMAS HÉLIE: Fully-Implicit Algebro-Differential Parametrization of Circuits | Session 3: Audio Processing and Effects: ELOI MOLINER, JUSSI RÄMÖ and VESA VÄLIMÄKI: Virtual Bass System With Fuzzy Separation of Tones and Transients | JATIN CHOWDHURY: Stable Structures for Nonlinear Biquad Filters | PURBADITYA BHATTACHARYA, PATRICK NOWAK and UDO ZÖLZER: Optimization of cascaded parametric peak and shelving filters with backpropagation algorithm | ALEXANDER RAMIREZ, VIKAS TOKALA, ANTONIN NOVAK, FREDERIC ABLITZER and MANUEL MELON: Bistable Digital Audio Effect | ONDŘEJ MOKRÝ, PAVEL RAJMIC and PAVEL ZÁVIŠKA: Flexible Framework for Audio Restoration | TRAVIS SKARE: GPGPU Patterns for Serial and Parallel Audio Effects | Session 4: Synthesis: KASPER NIELSEN: Practical Linear and Exponential Frequency Modulation for Digital Music Synthesis | JATIN CHOWDHURY, ELLIOT K. CANFIE

Since 2020, podcasts in video format have increasingly gained presence on audiovisual platforms. This article is a study of the characteristics of video podcasts played on Spotify in Spain, the leading platform for digital audio consumption. The aim was to carry out an analysis of these formats aimed at Generation Z to confirm their distinguishing features with the inclusion of video and its influence on users. A mixed, quantitative-qualitative methodology was used, with a content analysis of a sample of 48 pieces and an open interview with Communications managers of this platform in Spain. Our research confirmed that the inclusion of audiovisual elements favours the creation of a community, the insertion of advertising through sponsorship or product placement and the promotion of new content-creators. In addition, information was obtained on the behaviour of the target to which these productions are directed and the possibilities of interface and marketing channels of these spaces. The data reflect an audience growth in the year these productions are played on this platform, confirming that the video podcast is popular with Generation Z and sets trends among the creators and consumers of digital audio., Desde el año 2020 los pódcast en formato vídeo han ganado presencia en las plataformas audiovisuales. El presente artículo es un estudio sobre las características del video podcast en Spotify en España, la plataforma líder en consumo de audio digital. El objetivo es analizar estos formatos dirigidos a la Generación Z para comprobar sus rasgos diferenciales con la inclusión del vídeo y su influencia en los usuarios. Se ha empleado una metodología mixta, cuantitativa-cualitativa, con un análisis de contenido de una muestra de 48 piezas y una entrevista abierta a responsables de comunicación de la plataforma en España. Fruto de la investigación se constata que la inclusión de elementos audiovisuales favorece la creación de comunidad, la inserción de publicidad mediante el patrocinio o el product placement y la promoción de nuevos creadores de contenido. Además, se ha obtenido información sobre el comportamiento del target al que se dirigen estas producciones, las posibilidades de la interfaz y las vías de comercialización de estos espacios. Se confirma que el video podcast encaja con la Generación Z y marca tendencia entre los creadores y consumidores del audio digital con los datos de incremento de audiencia durante el año de vigencia de estas producciones en la plataforma.

This article describes the technical possibilities that, through the use of digital audio processing technology, have influenced the evolution of music and record production, from the musical creation and composition to the distribution of the finished product. As a whole, these possibilities have brought about significant changes not only in the ways of creating but also in the final aesthetic-sound results. An analysis based on primary sources, bibliographic references, and the autoethnographic experience of the authors reveals the influence that these changes have had on producers, engineers, and musicians in the performance of their artistic work. Finally, there is evidence of a strong impact of the technological passage of time on the creative processes and the aesthetic-sound results, which demonstrates, once again, the importance of studies on technology and its effect on traditional arts., El objetivo de este artículo consistió en relacionar las posibilidades técnicas que, a partir del uso de la tecnología digital de procesamiento de audio, han influenciado el devenir de la producción musical y discográfica, y que involucran todo el proceso, desde la creación y composición musical, hasta la distribución del producto terminado. En conjunto, dichas posibilidades han producido significativos cambios, no solo en las formas propias de creación, sino también en el resultado estético-sonoro final. Un análisis realizado a partir de fuentes primarias, referencias bibliográficas y la experiencia autoetnográfica de los autores da cuenta de la influencia que estos cambios han tenido en productores, ingenieros y músicos para el desarrollo de su trabajo artístico. Finalmente, se evidencia un fuerte ascendente del paso tecnológico del tiempo en los procesos creativos y los resultados estético-sonoros que demuestran, una vez más, la importancia de los estudios relacionados con la tecnología y su influencia en las artes tradicionales.

La ficción sonora resurge en España con la irrupción de las plataformas sonoras como la red de podcasts Podium Podcast desde el año 2016, la innovación experimental sonora de la emisora pública RNE con el Laboratorio de Innovación Audiovisual de RTVE y la emisión puntual de audiodramas en las cadenas de radio convencionales, que difunden estos espacios en momentos especiales. En esta investigación se realiza un estudio de caso de diez ficciones radiofónicas de la emisora pública RNE, las emisoras privadas Ser y Onda Cero y las plataformas Podium Podcast y Spotify. Para ello se aplica una metodología mixta en la que se combina el análisis de contenido de la muestra de las ficciones seleccionadas con entrevistas en profundidad a ocho expertos en sonido conocedores el proceso de ejecución de las ficciones sonoras en distintas facetas. Los resultados de la investigación subrayan los rasgos distintivos del género en cada una de las plataformas y emisoras analizadas y cómo la distribución y el consumo a la carta posibilitan el resurgir de la ficción sonora con producciones muy cuidadas en el diseño sonoro y orientadas a un público habituado al audiovisual y el cine, que ha evolucionado con respecto al tradicional radioteatro., Sound fiction reborns in Spain with the irruption of sound platforms such as Podium Podcast since 2016, experimental sound innovation of the public broadcaster RNE with the RTVE Audiovisual Innovation Laboratory and the occasional broadcast of audio dramas on conventional radio channels, which broadcast these programs in special periods. This study is based on a case study of ten radio fictions produced by the radio stations RNE, Ser and Onda Cero and the platforms Podium Podcast and Spotify. The mixed methodology used for this study combines content analysis with indepth interviews to eight experts related with the process of execution of sound fictions in different aspects to Know the creative process in different angles. The results of the research underline the distinctive features of the genre in each of the platforms and stations and how distribution and consumption on demand make it possible to resurge the genre with very careful productions in sound design and focused on an audience used to audiovisual media and cinema, which has envolved with respect to radio theatre.

La ficción sonora resurge en España con la irrupción de las plataformas sonoras como la red de podcasts Podium Podcast desde el año 2016, la innovación experimental sonora de la emisora pública RNE con el Laboratorio de Innovación Audiovisual de RTVE y la emisión puntual de audiodramas en las cadenas de radio convencionales, que difunden estos espacios en momentos especiales. En esta investigación se realiza un estudio de caso de diez ficciones radiofónicas de la emisora pública RNE, las emisoras privadas Ser y Onda Cero y las plataformas Podium Podcast y Spotify. Para ello se aplica una metodología mixta en la que se combina el análisis de contenido de la muestra de las ficciones seleccionadas con entrevistas en profundidad a ocho expertos en sonido conocedores el proceso de ejecución de las ficciones sonoras en distintas facetas. Los resultados de la investigación subrayan los rasgos distintivos del género en cada una de las plataformas y emisoras analizadas y cómo la distribución y el consumo a la carta posibilitan el resurgir de la ficción sonora con producciones muy cuidadas en el diseño sonoro y orientadas a un público habituado al audiovisual y el cine, que ha evolucionado con respecto al tradicional radioteatro., Sound fiction reborns in Spain with the irruption of sound platforms such as Podium Podcast since 2016, experimental sound innovation of the public broadcaster RNE with the RTVE Audiovisual Innovation Laboratory and the occasional broadcast of audio dramas on conventional radio channels, which broadcast these programs in special periods. This study is based on a case study of ten radio fictions produced by the radio stations RNE, Ser and Onda Cero and the platforms Podium Podcast and Spotify. The mixed methodology used for this study combines content analysis with indepth interviews to eight experts related with the process of execution of sound fictions in different aspects to Know the creative process in different angles. The results of the research underline the distinctive features of the genre in each of the platforms and stations and how distribution and consumption on demand make it possible to resurge the genre with very careful productions in sound design and focused on an audience used to audiovisual media and cinema, which has envolved with respect to radio theatre.

Este artículo parte de la pregunta: ¿Cómo imaginas el futuro de la radio? Esta pregunta se hizo a través de una entrevista realizada de 18 expertos en audio. Según las respuestas obtenidas, existe una alta probabilidad de que los medios sean versátiles con múltiples contenidos y una amplia variedad de canales. La mayoría de los expertos comparten la idea de que la experimentación determinará el futuro de la radio, también la industria y los nuevos contenidos, las nuevas narrativas, los nuevos modelos de negocio y un nuevo concepto tecnológico para la distribución de contenidos., This article is based on the question: How do you imagine the future of radio? This question was asked through an interview conducted with 18 audio experts. Based on the answers obtained, there is a high probability that the media is versatile with multiple content and a wide variety of channels. Most experts share the idea that experimentation will determine the future of radio, as well as the industry and new content, new narratives, new business models and a new technological concept for content distribution.

This article describes the technical possibilities that, through the use of digital audio processing technology, have influenced the evolution of music and record production, from the musical creation and composition to the distribution of the finished product. As a whole, these possibilities have brought about significant changes not only in the ways of creating but also in the final aesthetic-sound results. An analysis based on primary sources, bibliographic references, and the autoethnographic experience of the authors reveals the influence that these changes have had on producers, engineers, and musicians in the performance of their artistic work. Finally, there is evidence of a strong impact of the technological passage of time on the creative processes and the aesthetic-sound results, which demonstrates, once again, the importance of studies on technology and its effect on traditional arts., El objetivo de este artículo consistió en relacionar las posibilidades técnicas que, a partir del uso de la tecnología digital de procesamiento de audio, han influenciado el devenir de la producción musical y discográfica, y que involucran todo el proceso, desde la creación y composición musical, hasta la distribución del producto terminado. En conjunto, dichas posibilidades han producido significativos cambios, no solo en las formas propias de creación, sino también en el resultado estético-sonoro final. Un análisis realizado a partir de fuentes primarias, referencias bibliográficas y la experiencia autoetnográfica de los autores da cuenta de la influencia que estos cambios han tenido en productores, ingenieros y músicos para el desarrollo de su trabajo artístico. Finalmente, se evidencia un fuerte ascendente del paso tecnológico del tiempo en los procesos creativos y los resultados estético-sonoros que demuestran, una vez más, la importancia de los estudios relacionados con la tecnología y su influencia en las artes tradicionales.

This article examines the implementation of programmatic buying in the digital audio sector. The sustained growth present in the different markets helps the consolidation of this medium that brings enormous benefits to commercial communication. The main aim of this research is to understand the current situation of the programmatic audio advertising buying sector. In order to address the object of study, an exploratory approach has been carried out by applying a qualitative and quantitative methodology developed with professionals from the sector and supported by the collaboration of entities such as IAB and Programmatic Spain. The results show that there is a greater commitment by brands to invest in digital audio due to its flexibility and the ability to send segmented messages with greater effectiveness and consumer engagement. As a non-invasive medium, the inclusion of digital audio in media plans has a direct impact on listener´s attention. Data shows that there has been a significant increase in the consumption of streaming music, online radio, and podcasts. Nevertheless, investment is still focused on traditional radio and the results of the study show a reluctance to plan integrated campaigns. Moreover, the difficulty in measuring return on investment is a major deterrent to the investment attracted. Professionals interviewed say that the market provides transparency and quality guarantees, as opposed to other problems such as fraud in data measurement that have slowed down investment in the past., El presente artículo examina la implementación de la compra programática en el sector del audio digital. El crecimiento sostenido presente en los diferentes mercados ayuda a la consolidación de este medio que aporta enormes beneficios a la comunicación comercial. El objetivo principal es conocer la situación del sector de la compra programática de publi-cidad en audio. Para abordar el objeto de estudio se ha realizado un enfoque exploratorio aplicando una metodología cualitativa y cuantitativa realizada a profesionales del sector y respaldada por la colaboración de entidades como IABy Programmatic Spain. Los resultados muestran que existe una mayor apuesta por las marcas en la inversión en audio digital debido a su flexibilidad y la capacidad de envío de mensajes segmentados con mayor eficacia y compromiso del consumidor. Al tratarse de un medio muy poco invasivo, la inclusión del audio digital en los planes de medios influye de manera directa en la atención que el oyente presta. Los datos señalan que se ha producido un aumento notable del consumo de música en streaming, de radio online y de podcasts. Sin embargo, la inversión aún está centrada en la radio tradicional y los resultados del estudio muestran reticencias a la planificación de campañas integradas. Por otra parte, la dificultad para medir el retorno de la inversión es un importante freno para las inversiones captadas. Los profesionales del sector entrevistados aseguran que el mercado aporta transparencia y garantías de calidad frente a otros problemas presentes como el fraude en la medición de datos que han ralentizado en otras ocasiones las inversiones captadas., Depto. de Marketing, Fac. de Comercio y Turismo, TRUE, pub

[Abstract]: In recent years, digital audio has undergone an explosion. The transformation of radio and its expansion to new channels and consumer devices, added to the rise of podcasts and streaming music platforms, have led to the transformation of the audio ecosystem. This transition from the audio medium to audio media has involved an integral change in content, as well as in its production and reception processes. In this regard, the aim of this paper is to approach the present digital audio scene from the standpoint of its content, formats, and broadcasting models as well as of the new professional profiles, business models, and consumer–relationship practices, providing a snapshot that is completed with a prospective reflection on the challenges facing radio in this new ecosystem., [Resumen]: En los últimos años se ha producido una eclosión del audio digital. La transformación de la radio, su expansión a nuevos canales y dispositivos de consumo, sumada a la pujanza del podcasto las plataformas de música en streaming, han propiciado la transfiguración del ecosistema sonoro. El tránsito del medio sonoro a los medios sonoros ha implicado un cambio integral de los contenidos, pero también de su proceso de producción y recepción. En este sentido, el presente trabajo tiene por objeto efectuar una aproximación al escenario contemporáneo del audio digital desde la perspectiva de contenidos, formatos y lógicas de difusión, pero también de los nuevos perfiles profesionales, modelos de negocio y prácticas de consumo-relación. Una instantánea que se completa con una reflexión prospectiva sobre los retos que afronta la radio en este nuevo ecosistema.

This dissertation explores the ways in which media artworks depict agency and convey life-like qualities. This exploration is centered around the design and implementation of two interactive media artworks, HIVE (2016--2018) and Cacophonic Choir (2019--2020), and makes use of a novel conceptual framework grounded in an approach to media arts practice that uses the notion of agency as a lens for examining and creating artworks. Starting with an inquiry into novel agent-based art practices that neither feature robotic nor virtual agents, the dissertation reevaluates the notion of agency in artistic contexts in light of the relatively recent establishment of sonic interaction design as a field in its own right and the renewed emphasis on materiality as the result of rapidly evolving design and fabrication technologies. To this end, I introduce Sonically Actuated Spatial (Sono-spatial) Agent practice as an area of artistic practice that fuses digitally designed and fabricated artifacts, sonic expressions, and interactive behaviors in order to create ‘perceived’ life-like systems. In summary, this dissertation aims to expand upon the theoretical and conceptual underpinnings of interactive media arts via the products of my artistic practice, as well as theoretical discussions, design methods, principles, and strategies, all of which are distilled from this practice.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

This dissertation explores the ways in which media artworks depict agency and convey life-like qualities. This exploration is centered around the design and implementation of two interactive media artworks, HIVE (2016--2018) and Cacophonic Choir (2019--2020), and makes use of a novel conceptual framework grounded in an approach to media arts practice that uses the notion of agency as a lens for examining and creating artworks. Starting with an inquiry into novel agent-based art practices that neither feature robotic nor virtual agents, the dissertation reevaluates the notion of agency in artistic contexts in light of the relatively recent establishment of sonic interaction design as a field in its own right and the renewed emphasis on materiality as the result of rapidly evolving design and fabrication technologies. To this end, I introduce Sonically Actuated Spatial (Sono-spatial) Agent practice as an area of artistic practice that fuses digitally designed and fabricated artifacts, sonic expressions, and interactive behaviors in order to create ‘perceived’ life-like systems. In summary, this dissertation aims to expand upon the theoretical and conceptual underpinnings of interactive media arts via the products of my artistic practice, as well as theoretical discussions, design methods, principles, and strategies, all of which are distilled from this practice.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

[ES] En el presente trabajo se analizan los cambios producidos en la música con el nacimiento del audio digital a raíz de los avances informáticos. En concreto se realizan diferentes análisis comparativos divididos en dos grupos, el primero se trata de análisis comparativos entre música en soporte analógico y música en soporte digital donde se buscan características, que afecten en la calidad de su sonido, no contempladas en la grabación original y generados por las características del formato en los soportes analógicos o técnicas de tratamiento de audio utilizadas en exceso en los soportes digitales. En el segundo se analiza y compara el rendimiento mediante los cálculos de su MSE y PSNR en los códecs de audio más presentes en la actualidad, utilizando diferentes tasas de bits. Las herramientas utilizadas a lo largo del trabajo son Audacity, Matlab, MAAT DRoffline MkII y DeltaWave, [CA] Al present treball, s’analitzen els canvis produïts a la música amb el naixement de l'audio digital a arran dels avanços informàtics. En concret es realitzen diferents anàlisis comparatius dividits en dos grups, el primer tracta d'anàlisis comparatius entre música en suport analògic i música en suport digital on es busca per característiques, que afecten en la qualitat del seu so, no contemplades en la gravació original i generades per les característiques del seu format als suports analògics o per tècniques de tractament d’ àudio utilitzades amb excés. Al segon s'analitza i compara el rendiment mitjançant càlculs del seu MSE y PSNR als codecs d'audio més presents en l’actualitat, utilitzant diferents tasses de bit. Les ferramentes utilitzades al llarg del treball són Audacity, Matlab, MAAT DRoffline MkII y DeltaWave., [EN] In this paper, the changes produced in the music by the digital audio as a result of computer advances are analyzed. In particular, different comparative analyzes are carried out divided in two groups, the first is a comparative análisis between music on analogue fomat and music on digital format looking for differences that affect the quality of their sound, generated by his own format, in the analogue case and excessive audio techniques in the digital format. In the second part, the most popular audio codecs are evaluated by their MSE and PSNR performance, using different bit rates. The toos used trought this paper are Audacity, Matlab, MAAT DRoffline MKII and DeltaWave.

[ES] En el presente trabajo se analizan los cambios producidos en la música con el nacimiento del audio digital a raíz de los avances informáticos. En concreto se realizan diferentes análisis comparativos divididos en dos grupos, el primero se trata de análisis comparativos entre música en soporte analógico y música en soporte digital donde se buscan características, que afecten en la calidad de su sonido, no contempladas en la grabación original y generados por las características del formato en los soportes analógicos o técnicas de tratamiento de audio utilizadas en exceso en los soportes digitales. En el segundo se analiza y compara el rendimiento mediante los cálculos de su MSE y PSNR en los códecs de audio más presentes en la actualidad, utilizando diferentes tasas de bits. Las herramientas utilizadas a lo largo del trabajo son Audacity, Matlab, MAAT DRoffline MkII y DeltaWave, [CA] Al present treball, s’analitzen els canvis produïts a la música amb el naixement de l'audio digital a arran dels avanços informàtics. En concret es realitzen diferents anàlisis comparatius dividits en dos grups, el primer tracta d'anàlisis comparatius entre música en suport analògic i música en suport digital on es busca per característiques, que afecten en la qualitat del seu so, no contemplades en la gravació original i generades per les característiques del seu format als suports analògics o per tècniques de tractament d’ àudio utilitzades amb excés. Al segon s'analitza i compara el rendiment mitjançant càlculs del seu MSE y PSNR als codecs d'audio més presents en l’actualitat, utilitzant diferents tasses de bit. Les ferramentes utilitzades al llarg del treball són Audacity, Matlab, MAAT DRoffline MkII y DeltaWave., [EN] In this paper, the changes produced in the music by the digital audio as a result of computer advances are analyzed. In particular, different comparative analyzes are carried out divided in two groups, the first is a comparative análisis between music on analogue fomat and music on digital format looking for differences that affect the quality of their sound, generated by his own format, in the analogue case and excessive audio techniques in the digital format. In the second part, the most popular audio codecs are evaluated by their MSE and PSNR performance, using different bit rates. The toos used trought this paper are Audacity, Matlab, MAAT DRoffline MKII and DeltaWave.

This paper describes a design for the Hyper-Zampogna, which is the augmentation of the traditional Italian zampogna bagpipe. The augmentation consists of the enhancement of the acoustic instrument with various microphones used to track the sound emission of the various pipes, different types of sensors used to track some of the player's gestures, as well as novel types of real-time control of digital effects. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows for the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of such augmented instrument was to provide electro-acoustic zampogna performers with an interface capable of achieving novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to provide composers with a new instrument enabling the exploration of novel pathways for musical creation., QC 20210913

This paper describes the concept, design, implementation, and evaluation of the Hyper-Hurdy-Gurdy, which is the augmentation of the conventional hurdy-gurdy musical instrument. The augmentation consists of the enhancement of the instrument with different types of sensors and microphones, as well as of novel types of real-time control of digital effects during the performer's act of playing. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of the instrument was to provide electro-acoustic hurdy-gurdy performers with an interface able to achieve radically novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to enable composers with a new instrument capable of allowing them to explore novel pathways for musical creation., QC 20210913

This course covers foundations, practices, and creative techniques in audio recording and music production, including microphone selection and placement, mixing, mastering, signal processing, automation, and digital audio workstations.

As a critical complement to immersive music, especially in virtual and augmented reality, demand for high-density loudspeaker arrays (HDLAs), consisting of 24 or more individually addressable loudspeakers is increasing. With only a few dozen publicly accessible systems around the world, HDLAs are rare, necessitating artistic and technical exploration. The work presented in this thesis details the culmination of four years of aesthetic and technical practice in composition and sound design for high-density loudspeaker arrays as an attempt to solidify existing standards and posit new practices. technical achievements include a pipeline to create repeatable and portable spatial audio mixes across arbitrary loudspeaker arrays, rapid spatial sound prototyping, and digital audio workstation workflow for 3-D soundscape creation. Aesthetic explorations have resulted in a distinct compositional voice, utilizing spatial audio systems as an instrument. Compositions specific to one venue may take advantage of the unique characteristics of a venue, such as loudspeaker layout, loudspeaker quantity, and room acoustics. The detailed graduate projects from 2015 to 2019 exemplify technical and compositional achievements in the exploration of the potential for HDLAs.

This course covers foundations, practices, and creative techniques in audio recording and music production, including microphone selection and placement, mixing, mastering, signal processing, automation, and digital audio workstations.

En este trabajo se trata de diseñar altavoces de una o más vías, fabricar la caja acústica, medirlos y diseñar los filtros digitales que corrijan su respuesta en frecuencia y en el caso de más de una vía realicen el cross-over digital. El sistema se implementará en tiempo real en una placa Raspberry Pi o similar y se medirá y validará., In this work, speakers of one or more ways will be designed, the speaker will be manufactured, measured and digital filters will be designed to correct their frequency response. In the case of more than one way, the digital cross-over will be also designed. The system will be implemented in real time on a Raspberry Pi or similar board and will be measured and validated.

En este trabajo se trata de diseñar altavoces de una o más vías, fabricar la caja acústica, medirlos y diseñar los filtros digitales que corrijan su respuesta en frecuencia y en el caso de más de una vía realicen el cross-over digital. El sistema se implementará en tiempo real en una placa Raspberry Pi o similar y se medirá y validará., In this work, speakers of one or more ways will be designed, the speaker will be manufactured, measured and digital filters will be designed to correct their frequency response. In the case of more than one way, the digital cross-over will be also designed. The system will be implemented in real time on a Raspberry Pi or similar board and will be measured and validated.

En este trabajo se trata de diseñar altavoces de una o más vías, fabricar la caja acústica, medirlos y diseñar los filtros digitales que corrijan su respuesta en frecuencia y en el caso de más de una vía realicen el cross-over digital. El sistema se implementará en tiempo real en una placa Raspberry Pi o similar y se medirá y validará., In this work, speakers of one or more ways will be designed, the speaker will be manufactured, measured and digital filters will be designed to correct their frequency response. In the case of more than one way, the digital cross-over will be also designed. The system will be implemented in real time on a Raspberry Pi or similar board and will be measured and validated.

The goal of this project is to develop, implement and optimize an existing method called Continuous Frequency Activation (CFA). The aim is to try to solve the problem that exists when advertising in randomly introduced in TV programmes/films/audio podcasts/etc. that can generate discomfort in the viewer. The basic idea is to avoid introducing adverts in the middle of a conversation. The final criteria will be selected taking into account metadata of video (change of plane, scene, fade-out, etc.) and audio (voice, music). To do that, we have developed and algorithm capable of discriminate between music and voice. This algorithm has been developed exclusively for this purpose and does not require base or date training to be trained. Previously to the creation of the algorithm, different existent methods of discrimination between music and voice have been studied and their pros and cons have been analysed. After performing the study, the method that has been selected is The Continuous Frequency Activation (CFA). CFA is one of the methods with better statistic results and it is not necessary to obtain large data bases for its training. The implementation of this algorithm has been performed using MATLAB®. Data base have been used in the realization of the trials, using five different musical style: classic music, Blues, electronical music, Jazz and Speech. The audio files from each different music style have been edited using the software called Audacity®. After performing all the tests, it can be said that the developed algorithm works correctly and it is able to discern music from voice in a very high percentage of cases (97.55%). With the results obtained after the trials, it can be said that this method could be used by companies that are involved in the fields of media, television (Antena 3, Telecinco, etc.) and/or audio podcast. The goal is to automatically introduce publicity in audio podcast format at the most appropriate moment.

„Zasićenje“ je zamišljeno kao audiovizuelno delo koje se bavi čovekom u okruženju u kome dominiraju elektronski mediji, njegovom svakodnevnom interakcijom sa računarskom tehnologijom i uticajima apsorbovanja velike količine prvenstveno vizuelnih informacija. U radu se ispituju želje za informacijom i posledice njihovog upijanja kroz odvajanje vizuelne i auditivne ravni. Upravo su odnosi slike i zvuka suština istraživačkog rada koji kandidat želi da sprovede. Teorijsko istraživanje se oslanja na postojeće teorije filmskog zvuka a ima za cilj da pronađe nove moduse za dijegetsko određenje zvuka i istakne doprinos zvuka kao izražajnog sredstva u filmu i drugim audiovizuelnim umetnostima. Istraživanje koje je bilo neophodno za praktičnu realizaciju dela bilo je usmereno na alternativne MIDI kontrolere i uopšte hardverske i softverske alate za manipulaciju digitalnim zvukom., ″Saturation" is conceived as an audio visual work which focuses on people found in environment dominated by electronic media, their daily interaction with computer technology and effects of absorbing vast quantity of information mainly in visual form. This work investigates the hunger for information and the consequences of information absorption by separating the visual and the aural planes. Relationships between image and sound are the very essence of the exploratory work the candidate has decided to undertake. The theoretical part of the exploration relies on the existing theories on cinematic sound and its main task is to find new modes for diegetic positioning of sound and to emphasize the contribution of sound as means of expression on film and in other audio visual arts. The exploration necessary for the practical realization of the work was primarily focused on alternative MIDI controllers as well as hardware and software tools developed for digital sound manipulation in general.

A thesis about how to construct digital audio synthesis unit generators using dynamical models and what they sound like.

En la industria musical o audiovisual es habitual aplicar distintos efectos a las se˜nales de audio. Esto se puede hacer para adecuar la se˜nal al canal de transmisi´on o por razones puramente art´ısticas. En este trabajo se han desarrollado algunos de los efectos m´as utilizados: compresor, ecualizador param´etrico, wah-wah, Eco, vibrato, flanger, chorus, doubling, reverberador Schroeder y un reverberador por convoluci´on. Cada uno de ellos se basa en un sistema que se caracteriza por su ecuaci´on en diferencias o por su respuesta al impulso. En la actualidad existe numerosa documentaci´on en la que se pueden encontrar soluciones para cada efecto en concreto. El trabajo ha consistido b´asicamente en elegir las soluciones o esquemas de los efectos desarrollados y a continuaci´on, en aplicar la respuesta del sistema a la se˜nal de audio de entrada. Los efectos se aplican a archivos de formato WAV por lo que no es posible utilizarlo en tiempo real. Para el desarrollo del m´odulo se ha utiliza el lenguaje de programaci´on MATLAB. Por ´ultimo se ha creado una interfaz m´as amigable e intuitiva para facilitar la interacci´on con el usuario, a trav´es de la herramienta GUIDE de MATLAB., At the present time, It is habitual to use audio effects in audiovisual or music industry. This is made to adecuate the signal to the transmission channel or for artistical reasons. In this work, the most common ones have been developed: compressor, parametric equalizer, wah-wah, eco, vibrato, flanger, chorus, doubling, Schroeder reververator and a convolutional reverberator. Each of them is characterized by its difference equations or by its impulse response. It is possible to find different solutions for each effect among the vast existing documentation. The work has consisted on choosing a solution or scheme for the desired effect, and applying the response of the system to the input signal. The input signal is in a WAV format file so it is not possible to apply the effects in real-time. For the development, MATLAB programming language has been used. Finally, it has been created an intuitive and friendly graphical interface with the MATLAB tool GUIDE.

En la industria musical o audiovisual es habitual aplicar distintos efectos a las se˜nales de audio. Esto se puede hacer para adecuar la se˜nal al canal de transmisi´on o por razones puramente art´ısticas. En este trabajo se han desarrollado algunos de los efectos m´as utilizados: compresor, ecualizador param´etrico, wah-wah, Eco, vibrato, flanger, chorus, doubling, reverberador Schroeder y un reverberador por convoluci´on. Cada uno de ellos se basa en un sistema que se caracteriza por su ecuaci´on en diferencias o por su respuesta al impulso. En la actualidad existe numerosa documentaci´on en la que se pueden encontrar soluciones para cada efecto en concreto. El trabajo ha consistido b´asicamente en elegir las soluciones o esquemas de los efectos desarrollados y a continuaci´on, en aplicar la respuesta del sistema a la se˜nal de audio de entrada. Los efectos se aplican a archivos de formato WAV por lo que no es posible utilizarlo en tiempo real. Para el desarrollo del m´odulo se ha utiliza el lenguaje de programaci´on MATLAB. Por ´ultimo se ha creado una interfaz m´as amigable e intuitiva para facilitar la interacci´on con el usuario, a trav´es de la herramienta GUIDE de MATLAB., At the present time, It is habitual to use audio effects in audiovisual or music industry. This is made to adecuate the signal to the transmission channel or for artistical reasons. In this work, the most common ones have been developed: compressor, parametric equalizer, wah-wah, eco, vibrato, flanger, chorus, doubling, Schroeder reververator and a convolutional reverberator. Each of them is characterized by its difference equations or by its impulse response. It is possible to find different solutions for each effect among the vast existing documentation. The work has consisted on choosing a solution or scheme for the desired effect, and applying the response of the system to the input signal. The input signal is in a WAV format file so it is not possible to apply the effects in real-time. For the development, MATLAB programming language has been used. Finally, it has been created an intuitive and friendly graphical interface with the MATLAB tool GUIDE.

En la industria musical o audiovisual es habitual aplicar distintos efectos a las se˜nales de audio. Esto se puede hacer para adecuar la se˜nal al canal de transmisi´on o por razones puramente art´ısticas. En este trabajo se han desarrollado algunos de los efectos m´as utilizados: compresor, ecualizador param´etrico, wah-wah, Eco, vibrato, flanger, chorus, doubling, reverberador Schroeder y un reverberador por convoluci´on. Cada uno de ellos se basa en un sistema que se caracteriza por su ecuaci´on en diferencias o por su respuesta al impulso. En la actualidad existe numerosa documentaci´on en la que se pueden encontrar soluciones para cada efecto en concreto. El trabajo ha consistido b´asicamente en elegir las soluciones o esquemas de los efectos desarrollados y a continuaci´on, en aplicar la respuesta del sistema a la se˜nal de audio de entrada. Los efectos se aplican a archivos de formato WAV por lo que no es posible utilizarlo en tiempo real. Para el desarrollo del m´odulo se ha utiliza el lenguaje de programaci´on MATLAB. Por ´ultimo se ha creado una interfaz m´as amigable e intuitiva para facilitar la interacci´on con el usuario, a trav´es de la herramienta GUIDE de MATLAB., At the present time, It is habitual to use audio effects in audiovisual or music industry. This is made to adecuate the signal to the transmission channel or for artistical reasons. In this work, the most common ones have been developed: compressor, parametric equalizer, wah-wah, eco, vibrato, flanger, chorus, doubling, Schroeder reververator and a convolutional reverberator. Each of them is characterized by its difference equations or by its impulse response. It is possible to find different solutions for each effect among the vast existing documentation. The work has consisted on choosing a solution or scheme for the desired effect, and applying the response of the system to the input signal. The input signal is in a WAV format file so it is not possible to apply the effects in real-time. For the development, MATLAB programming language has been used. Finally, it has been created an intuitive and friendly graphical interface with the MATLAB tool GUIDE.

A thesis about how to construct digital audio synthesis unit generators using dynamical models and what they sound like.

Estudiar la codificación paramétrica en señales de voz implementando un VOCODER que se utilizará en las prácticas de laboratorio. - Explicación de fenómenos de la percepción auditiva que son utilizables en la codificación de audio. - Estudiar la codificación perceptiva de señales de audio. - Implementar un codificador de audio basado en transformadas con utilización de técnicas perceptivas. Para lograr estos objetivos se va a hacer uso del programa MATLAB, una herramienta de software matemático que ofrece un entorno de desarrollo integrado con un lenguaje de programación propio

Estudiar la codificación paramétrica en señales de voz implementando un VOCODER que se utilizará en las prácticas de laboratorio. - Explicación de fenómenos de la percepción auditiva que son utilizables en la codificación de audio. - Estudiar la codificación perceptiva de señales de audio. - Implementar un codificador de audio basado en transformadas con utilización de técnicas perceptivas. Para lograr estos objetivos se va a hacer uso del programa MATLAB, una herramienta de software matemático que ofrece un entorno de desarrollo integrado con un lenguaje de programación propio

Estudiar la codificación paramétrica en señales de voz implementando un VOCODER que se utilizará en las prácticas de laboratorio. - Explicación de fenómenos de la percepción auditiva que son utilizables en la codificación de audio. - Estudiar la codificación perceptiva de señales de audio. - Implementar un codificador de audio basado en transformadas con utilización de técnicas perceptivas. Para lograr estos objetivos se va a hacer uso del programa MATLAB, una herramienta de software matemático que ofrece un entorno de desarrollo integrado con un lenguaje de programación propio

Résumé : L’audio numérique s’est déployé de façon phénoménale au cours des dernières décennies, notamment grâce à l’établissement de standards internationaux. En revanche, l’imposition de normes introduit forcément une certaine rigidité qui peut constituer un frein à l’amélioration des technologies déjà déployées et pousser vers une multiplication de nouveaux standards. Cette thèse établit que les codecs existants peuvent être davantage valorisés en améliorant leur qualité ou leur débit, même à l’intérieur du cadre rigide posé par les standards établis. Trois volets sont étudiés, soit le rehaussement à l’encodeur, au décodeur et au niveau du train binaire. Dans tous les cas, la compatibilité est préservée avec les éléments existants. Ainsi, il est démontré que le signal audio peut être amélioré au décodeur sans transmettre de nouvelles informations, qu’un encodeur peut produire un signal amélioré sans ajout au décodeur et qu’un train binaire peut être mieux optimisé pour une nouvelle application. En particulier, cette thèse démontre que même un standard déployé depuis plusieurs décennies comme le G.711 a le potentiel d’être significativement amélioré à postériori, servant même de cœur à un nouveau standard de codage par couches qui devait préserver cette compatibilité. Ensuite, les travaux menés mettent en lumière que la qualité subjective et même objective d’un décodeur AAC (Advanced Audio Coding) peut être améliorée sans l’ajout d’information supplémentaire de la part de l’encodeur. Ces résultats ouvrent la voie à davantage de recherches sur les traitements qui exploitent une connaissance des limites des modèles de codage employés. Enfin, cette thèse établit que le train binaire à débit fixe de l’AMR WB+ (Extended Adaptive Multi-Rate Wideband) peut être compressé davantage pour le cas des applications à débit variable. Cela démontre qu’il est profitable d’adapter un codec au contexte dans lequel il est employé., Digital audio applications have grown exponentially during the last decades, in good part because of the establishment of international standards. However, imposing such norms necessarily introduces hurdles that can impede the improvement of technologies that have already been deployed, potentially leading to a proliferation of new standards. This thesis shows that existent coders can be better exploited by improving their quality or their bitrate, even within the rigid constraints posed by established standards. Three aspects are studied, being the enhancement of the encoder, the decoder and the bit stream. In every case, the compatibility with the other elements of the existent coder is maintained. Thus, it is shown that the audio signal can be improved at the decoder without transmitting new information, that an encoder can produce an improved signal without modifying its decoder, and that a bit stream can be optimized for a new application. In particular, this thesis shows that even a standard like G.711, which has been deployed for decades, has the potential to be significantly improved after the fact. This contribution has even served as the core for a new standard embedded coder that had to maintain that compatibility. It is also shown that the subjective and objective audio quality of the AAC (Advanced Audio Coding) decoder can be improved, without adding any extra information from the encoder, by better exploiting the knowledge of the coder model’s limitations. Finally, it is shown that the fixed rate bit stream of the AMR-WB+ (Extended Adaptive Multi-Rate Wideband) can be compressed more efficiently when considering a variable bit rate scenario, showing the need to adapt a coder to its use case.

This paper analyzes the evolution of the production and distribution of digital audio carried out by the university community members. We start from the general framework of the audio content diffusion in university environment. Then, the text approaches to different innovative education experiences through this media. Finally, it focuses on the case study of the Film Studies subject that uses digital audio as a mediation tool in the Universidad Carlos III de Madrid., El presente artículo analiza la evolución en el uso y la producción del audio digital por parte de los miembros de la comunidad universitaria. Partiendo de una visión general de la evolución de la difusión de contenidos sonoros en el entorno universitario el texto se acerca a diferentes experiencias de innovación educativa llevadas a cabo a través de este medio para terminar centrándose en el caso concreto del uso del audio digital en la asignatura de Estudios Fílmicos de la Universidad Carlos III de Madrid.

This paper analyzes the evolution of the production and distribution of digital audio carried out by the university community members. We start from the general framework of the audio content diffusion in university environment. Then, the text approaches to different innovative education experiences through this media. Finally, it focuses on the case study of the Film Studies subject that uses digital audio as a mediation tool in the Universidad Carlos III de Madrid., El presente artículo analiza la evolución en el uso y la producción del audio digital por parte de los miembros de la comunidad universitaria. Partiendo de una visión general de la evolución de la difusión de contenidos sonoros en el entorno universitario el texto se acerca a diferentes experiencias de innovación educativa llevadas a cabo a través de este medio para terminar centrándose en el caso concreto del uso del audio digital en la asignatura de Estudios Fílmicos de la Universidad Carlos III de Madrid.

Current web search engines generally do not enable searches into audio files. Informative metadata would allow searches into audio files, but producing such metadata is a tedious manual task. Tools for automatic production of metadata are therefore needed. This project describes the work done on the development of an automatic audio segmentation system which can be used for this metadata extraction. In this work the radio newscast are divided into segments in which there is only one speaker. Audio features used in this project include Mel Frequency Cepstral Coefficients. This feature was extracted from audio files that were stored in a WAV format, using CLAM. Model-Selection-Based segmentation is used to segment audio signals using this feature.

Résumé : Afin de répondre aux besoins de communication et de divertissement, il ne fait aucun doute que la parole et l’audio doivent être encodés sous forme numérique. En qualité CD, cela nécessite un débit numérique de 1411.2 kb/s pour un signal stéréo-phonique. Une telle quantité de données devient rapidement prohibitive pour le stockage de longues durées d’audio ou pour la transmission sur certains réseaux, particulièrement en temps réel (d’où l’adhésion universelle au format MP3). De plus, ces dernières années, la quantité de productions musicales et cinématographiques disponibles en cinq canaux et plus ne cesse d’augmenter. Afin de maintenir le débit numérique à un niveau acceptable pour une application donnée, il est donc naturel pour un codeur audio à bas débit d’exploiter la redondance entre les canaux et la psychoacoustique binaurale. Le codage perceptuel et plus particulièrement le codage paramétrique permet d’atteindre des débits manifestement inférieurs en exploitant les limites de l’audition humaine (étudiées en psychoacoustique). Cette recherche se concentre donc sur le codage paramétrique à bas débit de plus d’un canal audio. // Abstract : In order to fulfill our communications and entertainment needs, there is no doubt that speech and audio must be encoded in digital format. In"CD" quality, this requires a bit-rate of 1411.2 kb/s for a stereo signal. Such a large amount of data quickly becomes prohibitive for long-term storage of audio or for transmitting on some networks, especially in real-time (leading to a universal adhesion to the MP3 format). Moreover, throughout the course of these last years, the number of musical and cinematographic productions available in five channels or more continually increased.In order to maintain an acceptable bit-rate for any given application, it is obvious that a low bit-rate audio coder must exploit the redundancies between audio channels and binaural psychoacoustics. Perceptual audio coding, and more specificall

Résumé : Afin de répondre aux besoins de communication et de divertissement, il ne fait aucun doute que la parole et l’audio doivent être encodés sous forme numérique. En qualité CD, cela nécessite un débit numérique de 1411.2 kb/s pour un signal stéréo-phonique. Une telle quantité de données devient rapidement prohibitive pour le stockage de longues durées d’audio ou pour la transmission sur certains réseaux, particulièrement en temps réel (d’où l’adhésion universelle au format MP3). De plus, ces dernières années, la quantité de productions musicales et cinématographiques disponibles en cinq canaux et plus ne cesse d’augmenter. Afin de maintenir le débit numérique à un niveau acceptable pour une application donnée, il est donc naturel pour un codeur audio à bas débit d’exploiter la redondance entre les canaux et la psychoacoustique binaurale. Le codage perceptuel et plus particulièrement le codage paramétrique permet d’atteindre des débits manifestement inférieurs en exploitant les limites de l’audition humaine (étudiées en psychoacoustique). Cette recherche se concentre donc sur le codage paramétrique à bas débit de plus d’un canal audio. // Abstract : In order to fulfill our communications and entertainment needs, there is no doubt that speech and audio must be encoded in digital format. In"CD" quality, this requires a bit-rate of 1411.2 kb/s for a stereo signal. Such a large amount of data quickly becomes prohibitive for long-term storage of audio or for transmitting on some networks, especially in real-time (leading to a universal adhesion to the MP3 format). Moreover, throughout the course of these last years, the number of musical and cinematographic productions available in five channels or more continually increased.In order to maintain an acceptable bit-rate for any given application, it is obvious that a low bit-rate audio coder must exploit the redundancies between audio channels and binaural psychoacoustics. Perceptual audio coding, and more specificall

La idea inicial d'aquest projecte era ampliar el treball previ fet per Stefano Mosca al seu projecte "Live streaming and peer to peer television", on tratava temes de descàrrega de vídeo i de difusió de corrents en directe, però centrant-lo en les emissions de corrents en directe. El projecte havia d'utilitzar solucions de programari lliure i formats lliures, on es buscava connectar el reproductor multimèdia VideoLan, amb internet, servint com a font emissora del corrent.

Tato práce se zabývá návrhem a vývojem ovladače sběrnice I2S pro operační systém reálného času MQX běžícího na procesoru řady ColdFire V4. Dále je v práci také uvedeno vytvořené zapojení a desky plošných spojů sloužící k otestování funkčnosti a vlastností vytvořeného ovladače. Tyto desky používají jako zdroj signálu rozhraní S/PDIF, výstupem je analogový signál určený k poslechu na integrovaném sluchátkovém zesilovači. V závěru práce je popsána ukázková aplikace demonstrující funkci ovladače na vyvinutém hardware., This thesis deals with design and development of a I2S module driver for real-time operating system MQX running on a ColdFire V4 architecture based processor. Further there are presented circuit diagrams and PCBs created for testing of functions and properties of the driver. Signal input is a digital audio in form of S/PDIF interface, output is an analogue signal, that can be listened by the means of a headphone amplifier. The conclusion describes a sample application demonstrating function of the driver on developed hardware.

Tato diplomová práce se věnuje knihovně pro záznam videa na pozadí v 3D aplikacích. Podporovány jsou operační systémy Microsoft Windows a Linux. Zaznamenává se obraz i zvuk. Záznam obrazu je podporován v programovacích rozhraních OpenGL, Direct3D9, Direct3D10 a Direct3D11. Obraz lze volitelně komprimovat pomocí MJPG kodeku. Zvuk je zaznamenáván pro celý počítač pomocí rozhraní WaveForm audio, Windows Core Audio a ALSA. Tato rozhraní zaznamenávají zvuky pro celý počítač. Celkem lze zaznamenávat a mixovat až dva zvukové proudy. Výsledné video je uloženo do AVI souboru. Součástí knihovny je i možnost překrytí obrazovky aplikace vlastními textovými informacemi., This thesis deals with library for recording video in the background of 3D application. A library is designed to work under the Microsoft Windows and Linux operation systems. It records image and also sound. Image recording is supported in OpenGL, Direct3D9, Direct3D10 and Direct3D11. To reduce video data size, library supports image compression using MJPG codec. Audio is recorded by WaveForm audio, Windows Core Audio or ALSA. Recorded sound is for whole operation system. A library is able to record up to two audio streams to accommodate possible microphone input. It can mix audio data together if needed. Output data are then written into AVI file. It is possible to write own text information as overlay that is rendered as part of application screen output.