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Lucas Cordiviola
2022-04-12 23:32:40 -03:00
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@@ -30,53 +30,53 @@ original version by: Nikos Drakos, CBLU, University of Leeds
<BODY >
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<H1><A NAME="SECTION00760000000000000000">
<H1><A ID="SECTION00760000000000000000">
Event detection</A>
</H1>
<P>
Besides taking snapshots, a second mode of passing information from
audio signals to control computations is
<A NAME="3634"></A>
<A ID="3634"></A>
<I>event detection</I>.
Here we derive time information from the audio signal. An example
is
<A NAME="3636"></A><I>threshold detection</I>,
<A ID="3636"></A><I>threshold detection</I>,
in which the input is an audio signal and the output is a time sequence.
We'll consider the example of threshold detection in some detail here.
@@ -86,12 +86,12 @@ typical reason to use threshold detection is to find out when
some kind of activity starts and stops, such as a performer playing
an instrument. We'll suppose we already have a continuous measure of activity
in the form of an audio signal. (This can be done, for example, using an
<A NAME="3638"></A><I>envelope follower</I>). What we want is a pair of time sequences, one which
<A ID="3638"></A><I>envelope follower</I>). What we want is a pair of time sequences, one which
marks times in which activity starts, and the other marking stops.
<P>
<DIV ALIGN="CENTER"><A NAME="fig03.07"></A><A NAME="3642"></A>
<DIV ALIGN="CENTER"><A ID="fig03.07"></A><A ID="3642"></A>
<TABLE>
<CAPTION ALIGN="BOTTOM"><STRONG>Figure 3.7:</STRONG>
Threshold detection: (a) with no debouncing; (b) debounced using two
@@ -115,7 +115,7 @@ direction.
In many situations we will get undesirable onsets and turnoffs
caused by small ripples in the signal close to the threshold. This is
avoided by
<A NAME="3646"></A><I>debouncing</I>,
<A ID="3646"></A><I>debouncing</I>,
which can be
done in at least two simple ways. First, as shown in part (b) of the figure,
we can set two thresholds: a high one for marking onsets, and a lower one for
@@ -159,36 +159,36 @@ figure in an improvisation.
<P>
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<ADDRESS>