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Carmine-Emanuele Cella

Publications and source records attributed to Carmine-Emanuele Cella.

3 recordsLinked to original sources

InstructFX2FX: A Multi-Turn Text-to-Effect System for Sequential Audio Effect Refinement

We present InstructFX2FX, a system for sequential audio effect refinement through multi-turn natural-language instructions. Existing text-to-effect systems are largely single-shot, mapping one textual descriptor to one preset. Real audio engineering is instead sequential: engineers refine an existing effect chain through successive instructions. This poses a stateful problem that single-shot systems do not address: given the current effect parameters state and a new instruction, update the sound while preserving what earlier instructions already achieved. InstructFX2FX addresses this with a hybrid architecture that divides labor between a language model and CLAP-guided optimization. The LLM serves as a high-level planner that selects effects and proposes the initial parameter state, motivated by recent evidence that LLMs can outperform CLAP-based optimization for single-turn text-to-effect mapping; CLAP-guided optimization then refines the existing parameter state, providing a more stable and robust refinement mechanism than LLM reprompting. In the demo, attendees drive a dry recording through successive natural-language instructions: after each turn, they choose how strongly the effect is applied, then issue the next instruction based on what still differs from the sound they intend. In a preliminary evaluation on SocialFX-derived descriptor pairs, CLAP-guided refinement achieves lower DSP-feature MMD than an LLM+LLM initialize-then-reprompt baseline on 9 of 10 pairs. Trajectory analysis further shows that, for differentiable effects, optimization tends to gradually move the audio toward the new target while retaining the effects of the previous instruction, highlighting the potential for gradual refinement.

cs.SD↗

Audible Networks: Deconstructing and Manipulating Sounds with Deep Non-Negative Autoencoders

We propose the use of Non-Negative Autoencoders (NAEs) for sound deconstruction and user-guided manipulation of sounds for creative purposes. NAEs offer a versatile and scalable extension of traditional Non-Negative Matrix Factorization (NMF)-based approaches for interpretable audio decomposition. By enforcing non-negativity constraints through projected gradient descent, we obtain decompositions where internal weights and activations can be directly interpreted as spectral shapes and temporal envelopes, and where components can themselves be listened to as individual sound events. In particular, multi-layer Deep NAE architectures enable hierarchical representations with an adjustable level of granularity, allowing sounds to be deconstructed at multiple levels of abstraction: from high-level note envelopes down to fine-grained spectral details. This framework enables a wide new range of expressive, controllable, and randomized sound transformations. We introduce novel manipulation operations including cross-component and cross-layer synthesis, hierarchical deconstructions, and several randomization strategies that control timbre and event density. Through visualizations and resynthesis of practical examples, we demonstrate how NAEs can serve as flexible and interpretable tools for object-based sound editing.

cs.SD↗

Deep convolutional networks on the pitch spiral for musical instrument recognition

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.

cs.SD↗