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Reusing recorded sounds (sampling) is a key component in Electronic Music Production (EMP), which has been present since its early days and is at the core of genres like hip-hop or jungle.
“RWC music database: Popular, classical, and jazz music databases,”
Masataka Goto, · 2002
Earlier work this paper cites.
“Automatic classification of musical instrument sounds,”
Perfecto Herrera-Boyer, Geoffroy Peeters, and Shlomo Dubnov, · 2003
Earlier work this paper cites.
DAFX: Digital Audio Effects
Udo Zölzer, · 2011
Earlier work this paper cites.
“A comparison of sound segregation techniques for predominant instrument recognition in musical audio signals,”
Juan J Bosch, Jordi Janer, Ferdinand Fuhrmann, and Perfecto Herrera, · 2012
Earlier work this paper cites.
“Freesound technical demo,”
Frederic Font, Gerard Roma, and Xavier Serra, · 2013
Earlier work this paper cites.
Audio effects: theory, implementation and application
Joshua D Reiss and Andrew McPherson, · 2014
Earlier work this paper cites.
“A proposed typology of sampled material within electronic dance music,”
Robert Ratcliffe, · 2014
Earlier work this paper cites.
“MedleyDB: A multitrack dataset for annotation-intensive MIR Research,”
Rachel M. Bittner, Justin Salamon, Mike Tierney, Matthias Mauch, Chris Cannam, and Juan Pablo Bello, · 2014
Earlier work this paper cites.
“A real-time system for measuring sound goodness in instrumental sounds,”
Oriol Romani Picas, Hector Parra Rodriguez, Dara Dabiri, Hiroshi Tokuda, Wataru Hariya, Koji Oishi, and Xavier Serra, · 2015
Earlier work this paper cites.
“Deep learning,”
Yann LeCun, Yoshua Bengio, and Geoffrey Hinton, · 2015
Cited alongside, same era.
“Automatic instrument recognition in polyphonic music using convolutional neural networks,”
Peter Li, Jiyuan Qian, and Tian Wang, · 2015
Cited alongside, same era.
Taejin Park and Taejin Lee, · 2015
Cited alongside, same era.
“A software framework for musical data augmentation.,”
Brian McFee, Eric J Humphrey, and Juan Pablo Bello, · 2015
Cited alongside, same era.
“Batch normalization: Accelerating deep network training by reducing internal covariate shift,”
Sergey Ioffe and Christian Szegedy, · 2015
Cited alongside, same era.
“Deep convolutional neural networks for predominant instrument recognition in polyphonic music,”
Yoonchang Han, Jaehun Kim, Kyogu Lee, Yoonchang Han, Jaehun Kim, and Kyogu Lee, · 2017
Later among the works it cites.
“Neural audio synthesis of musical notes with wavenet autoencoders,”
Jesse Engel, Cinjon Resnick, Adam Roberts, Sander Dieleman, Mohammad Norouzi, Douglas Eck, and Karen Simonyan, · 2017
Later among the works it cites.
“Deep convolutional neural networks and data augmentation for environmental sound classification,”
Justin Salamon and Juan Pablo Bello, · 2017
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“A study on data augmentation of reverberant speech for robust speech recognition,”
Tom Ko, Vijayaditya Peddinti, Daniel Povey, Michael L Seltzer, and Sanjeev Khudanpur, · 2017
Later among the works it cites.
“Musical Instrument Recognition in Multi-Instrument Audio Contexts,”
Venkatesh Shenoy Kadandale, · 2018
Later among the works it cites.
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Diederik P. Kingma and Jimmy Ba, · 2015
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Djork-Arné Clevert, Thomas Unterthiner, and Sepp Hochreiter, · 2016
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“The effectiveness of data augmentation in image classification using deep learning,”
Luis Perez and Jason Wang, · 2017
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“Timbre analysis of music audio signals with convolutional neural networks,”
Jordi Pons, Olga Slizovskaia, Rong Gong, Emilia Gómez, and Xavier Serra, · 2017
Cited alongside, same era.
Improved Musical Instrument Classification Using Cepstral Coefficients and Neural Networks
Shruti Sarika Chakraborty and Ranjan Parekh, · 2018
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“Deep learning for audio-based music classification and tagging: Teaching computers to distinguish rock from bach,”
Juhan Nam, Keunwoo Choi, Jongpil Lee, Szu-Yu Chou, and Yi-Hsuan Yang, · 2019
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Brian McFee et al., · 2019
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