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In this paper we present the first steps towards the creation of a tool which enables artists to create music visualizations using pre-trained, generative, machine learning models. First, we investigate the application of network bending, the process of applying transforms within the layers of a generative network, to image generation diffusion models by utilizing a range of point-wise, tensor-wise, and morphological operators. We identify a number of visual effects that result from various operators, including some that are not easily recreated with standard image editing tools. We find that this process allows for continuous, fine-grain control of image generation which can be helpful for creative applications. Next, we generate music-reactive videos using Stable Diffusion by passing audio features as parameters to network bending operators. Finally, we comment on certain transforms which radically shift the image and the possibilities of learning more about the latent space of Stable Diffusion based on these transforms., Comment: 8 pages, 5 figures, to be published in the proceedings of the 27th International Conference on Digital Audio Effects (DAFx24), for additional image and video examples see https://dzluke.github.io/DAFX2024/

This paper introduces OrchideaSOL, a free dataset of samples of extended instrumental playing techniques, designed to be used as default dataset for the Orchidea framework for target-based computer-aided orchestration. OrchideaSOL is a reduced and modified subset of Studio On Line, or SOL for short, a dataset developed at Ircam between 1996 and 1998. We motivate the reasons behind OrchideaSOL and describe the differences between the original SOL and our dataset. We will also show the work done in improving the dynamic ranges of orchestral families and other aspects of the data., Comment: 6 pages, 6 figures, in English. To appear in the proceedings of the International Computer Music Conference (ICMC 2020). Please visit: https://icmc2020.org/

Musical performance combines a wide range of pitches, nuances, and expressive techniques. Audio-based classification of musical instruments thus requires to build signal representations that are invariant to such transformations. This article investigates the construction of learned convolutional architectures for instrument recognition, given a limited amount of annotated training data. In this context, we benchmark three different weight sharing strategies for deep convolutional networks in the time-frequency domain: temporal kernels; time-frequency kernels; and a linear combination of time-frequency kernels which are one octave apart, akin to a Shepard pitch spiral. We provide an acoustical interpretation of these strategies within the source-filter framework of quasi-harmonic sounds with a fixed spectral envelope, which are archetypal of musical notes. The best classification accuracy is obtained by hybridizing all three convolutional layers into a single deep learning architecture., Comment: 7 pages, 3 figures. Accepted at the International Society for Music Information Retrieval Conference (ISMIR) conference in New York City, NY, USA, August 2016