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Joshua D. Reiss

Publications and source records attributed to Joshua D. Reiss.

38 records · Page 3Linked to original sources

Unifying Probabilistic Models for Time-Frequency Analysis

In audio signal processing, probabilistic time-frequency models have many benefits over their non-probabilistic counterparts. They adapt to the incoming signal, quantify uncertainty, and measure correlation between the signal's amplitude and phase information, making time domain resynthesis straightforward. However, these models are still not widely used since they come at a high computational cost, and because they are formulated in such a way that it can be difficult to interpret all the modelling assumptions. By showing their equivalence to Spectral Mixture Gaussian processes, we illuminate the underlying model assumptions and provide a general framework for constructing more complex models that better approximate real-world signals. Our interpretation makes it intuitive to inspect, compare, and alter the models since all prior knowledge is encoded in the Gaussian process kernel functions. We utilise a state space representation to perform efficient inference via Kalman smoothing, and we demonstrate how our interpretation allows for efficient parameter learning in the frequency domain.

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An empirical approach to the relationship between emotion and music production quality

In music production, the role of the mix engineer is to take recorded music and convey the expressed emotions as professionally sounding as possible. We investigated the relationship between music production quality and musically induced and perceived emotions. A listening test was performed where 10 critical listeners and 10 non-critical listeners evaluated 10 songs. There were two mixes of each song, the low quality mix and the high quality mix. Each participant's subjective experience was measured directly through questionnaire and indirectly by examining peripheral physiological changes, change in facial expressions and the number of head nods and shakes they made as they listened to each mix. We showed that music production quality had more of an emotional impact on critical listeners. Also, critical listeners had significantly different emotional responses to non-critical listeners for the high quality mixes and to a lesser extent the low quality mixes. The findings suggest that having a high level of skill in mix engineering only seems to matter in an emotional context to a subset of music listeners.

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