Timbra: An online tool for feature extraction, comparative analysis and visualization of timbre
Abstract
Dariah.lab is a research infrastructure created for digital humanities, consisting of state-of-the-art hardware and dedicated software tools. One of the tools developed for digital musicology is Timbra, a web-based application for conducting research on sound timbre. The aim was to create an easy-touse online tool for non-programmers. The tool can be used to calculate, visualise, and compare different timbre characteristics of uploaded audio files and to export the extracted parameters in CSV format for further processing, e.g. by classification tools. The application offers extraction and visualisation of scalar features such as zero crossing rate, fundamental frequency, spectral
centroid, spectral roll-off, spectral flatness, band energy ratio, as well as feature vectors (e.g. chromagram, spectral contrast, spectrogram, and MFCCs). An interested user can compare selected sound characteristics using various types of plots and run dissimilarity analysis of timbre parameters by means of 2D or 3D multidimensional scaling (MDS). The paper showcases potentialapplications of the tool based on presented case studies. In terms of implementation, the calculations are performed at the backend Django server using Librosa and standard Python libraries. Dash library is used for the frontend. By offering an easy-to-use tool accessible anytime and anywhere through the Internet, we want to facilitate timbre analysis for a broader group of researchers, e.g. sound engineers, luthiers, phoneticians, or musicologists.
References
Dariah.lab. (2023) Digital Research Infrastructure for the Arts and
Humanities. [Online]. Available: https://lab.dariah.pl/en/
H. Helmholtz, On the Sensations of Tone: As a Physiological Basis for
the Theory of Music, 4th ed. London: Longmans, Green & Co., 1877,
(1912). Translated by Ellis, A. J.
ANSI, American Standard Acoustical Terminology, Definition 12.9,
Timbre, New York, 1960. [Online]. Available: https://asastandards.
org/terms/timbre/
J. M. Grey, “Multidimensional perceptual scaling of musical timbres,”
Journal of the Acoustical Society of America, vol. 61, no. 5, pp. 1270–
, 1977.
J. M. Grey and J. W. Gordon, “Perceptual effects of spectral modifications
on musical timbres,” Journal of the Acoustical Society of America,
vol. 63, no. 5, pp. 1493–1500, 1978.
C. L. Krumhansl, “Why is musical timbre so hard to understand?” in
Structure and Perception of Electroacoustic Sound and Music, S. Nielzen
and O. Olsson, Eds., Elsevier, Amsterdam, 1989, pp. 43–53.
P. Iverson and C. L. Krumhansl, “Isolating the dynamic attributes of
musical timbre,” Journal of the Acoustical Society of America, vol. 94,
no. 5, pp. 2595–2603, 1993.
S. McAdams, S. Winsberg, S. Donnadieu, G. Desoete, and J. Krimphoff,
“Perceptual scaling of synthesized musical timbres: Common dimensions,
specificities, and latent subject classes,” Psychological Research,
vol. 58, no. 3, pp. 177–192, 1995.
S. McAdams, B. L. Giordano, P. Susini, G. Peeters, and V. Rioux, “A
meta-analysis of acoustic correlates of timbre dimensions (A),” Journal
of the Acoustical Society of America, vol. 120, no. 5, p. 3275, 2006.
B. L. Giordano and S. McAdams, “Sound source mechanics and musical
timbre perception: Evidence from previous studies,” Music Perception,
vol. 28, no. 2, pp. 155–168, 2010.
R. A. Kendall, E. C. Carterette, and J. M. Hajda, “Perceptual and
acoustical features of natural and synthetic orchestral instrument tones,”
Music Perception, vol. 16, no. 3, pp. 327–363, 1999.
S. Lakatos, “A common perceptual space for harmonic and percussive
timbres,” Perception & Psychophysics, vol. 62, no. 7, pp. 1426–1439,
R. A. Fitzgerald, “Performer–dependent dimensions of timbre: identifying
acoustic cues for oboe tone discrimination,” Ph.D. dissertation,
School of Music, University of Leeds, 2003.
M. Barthet, P. Guillemain, R. Kronland-Martinet, and S. Ystad, “From
clarinet control to timbre perception,” Acta Acustica united with Acustica,
vol. 96, no. 4, pp. 678–689, 2010.
M. Chudy, “Discriminating music performers by timbre: On the relation
between instrumental gesture, tone quality and perception in classical
cello performance,” PhD thesis, School of Electronic Engineering and
Computer Science, Queen Mary University of London, 2016. [Online].
Available: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/
/CHUDY Magdalena PhD 120916.pdf?sequence=1
H.-G. Kim, N. Moreau, and T. Sikora, MPEG-7 Audio and Beyond:
Audio Content Indexing and Retrieval. Chichester, UK: Wiley, 2005.
G. Peeters, B. L. Giordano, P. Susini, N. Misdariis, and S. McAdams,
“The Timbre Toolbox: Extracting audio descriptors from musical signals,”
Journal of the Acoustical Society of America, vol. 130, no. 5, pp.
–2916, 2011.
O. Lartillot, “Miningsuite: A comprehensive Matlab framework for
signal, audio and music analysis, articulating audio and symbolic
approaches,” in Proceedings of the 16th Sound & Music Computing
Conference, Malaga, Spain, 2019.
O. Lartillot, P. Toiviainen, and T. Eerola, “A Matlab toolbox for
Music Information Retrieval,” in Data Analysis, Machine Learning and
Applications. Studies in Classification, Data Analysis, and Knowledge
Organization, C. Preisach, H. Burkhardt, L. Schmidt-Thieme, and
R. Decker, Eds. Springer-Verlag, 2008, pp. 261–268.
D. Bogdanov, N. Wack, E. G´omez, S. Gulati, P. Herrera, O. Mayor, and
et al., “ESSENTIA: An audio analysis library for Music Information
Retrieval,” in Proceedings of the 14th International Society for Music
Information Retrieval Conference (ISMIR’13), 2013, pp. 493–498.
[Online]. Available: http://essentia.upf.edu/index.html
G. Tzanetakis and P. Cook, “MARSYAS: A framework for audio
analysis,” Organised Sound, vol. 4, no. 3, p. 169–175, 2000. [Online].
Available: https://github.com/marsyas/marsyas
P. M. Brossier, “The aubio library at MIREX 2006,” in Music
Information Retrieval Evaluation eXchange (MIREX), 2006. [Online].
Available: https://aubio.org/
J. Bullock, “Libxtract: A lightweight library for audio feature
extraction,” in Proceedings of the 2007 International Computer Music
Conference, Copenhagen, Denmark, 2007, pp. 25–28. [Online].
Available: https://www.jamiebullock.com/LibXtract/documentation/
B. Mathieu, S. Essid, T. Fillon, J. Prado, and G. Richard, “YAAFE,
an easy to use and efficient audio feature extraction software,” in
Proceedings of the 11th International Conference on Music Information
Retrieval (ISMIR’10), Utrecht, Netherlands, 2010, p. 441–446. [Online].
Available: http://yaafe.github.io/Yaafe/
C. McKay, I. Fujinaga, and P. Depalle, “jAudio: A feature extraction
library,” in Proceedings of the 6th International Conference on Music
Information Retrieval (ISMIR’05), London, UK, 2005, p. 600–603.
[Online]. Available: https://jmir.sourceforge.net/jAudio.html
B. McFee, C. Raffel, D. Liang, D. P. Ellis, M. McVicar, E. Battenberg,
and O. Nieto, “Librosa: Audio and music signal analysis in Python,” in
Proceedings of the 14th Python in Science Conference, 2015. [Online].
Available: https://librosa.org/
H. Rawlinson, N. Segal, and J. Fiala, “Meyda: An audio feature
extraction library for the Web Audio API,” in Proceedings of the
st Web Audio Conference, Paris, France, 2015. [Online]. Available:
D. Moffat, D. Ronan, and J. D. Reiss, “An evaluation of audio
feature extraction toolboxes,” in Proceedings of the 18th International
Conference on Digital Audio Effects (DAFx-15), Trondheim, Norway,
[Online]. Available: https://api.semanticscholar.org/CorpusID:
Django. (2023) The web framework for perfectionists with deadlines.
[Online]. Available: https://www.djangoproject.com/
Dash. (2023) The low-code framework for rapidly building data apps
in Python. [Online]. Available: https://dash.plotly.com/
Plotly. (2023) Low-code data apps. [Online]. Available: https:
//plotly.com/
M. Mrozik, “VST software synthesizer imitating sounds of recorded
musical instruments,” Master’s thesis, Poznan University of Technology,
, E. Łukasik, supervisor.
X. Serra and J. Smith III, “Spectral modeling synthesis: A sound
analysis/synthesis system based on a deterministic plus stochastic
decomposition,” Computer Music Journal, vol. 14, pp. 12–14, winter
[Online]. Available: https://www.jstor.org/stable/3680788
Additional Files
Published
Issue
Section
License
Copyright (c) 2024 International Journal of Electronics and Telecommunications
![Creative Commons License](http://i.creativecommons.org/l/by-nc/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
1. License
The non-commercial use of the article will be governed by the Creative Commons Attribution license as currently displayed on https://creativecommons.org/licenses/by/4.0/.
2. Author’s Warranties
The author warrants that the article is original, written by stated author/s, has not been published before, contains no unlawful statements, does not infringe the rights of others, is subject to copyright that is vested exclusively in the author and free of any third party rights, and that any necessary written permissions to quote from other sources have been obtained by the author/s. The undersigned also warrants that the manuscript (or its essential substance) has not been published other than as an abstract or doctorate thesis and has not been submitted for consideration elsewhere, for print, electronic or digital publication.
3. User Rights
Under the Creative Commons Attribution license, the author(s) and users are free to share (copy, distribute and transmit the contribution) under the following conditions: 1. they must attribute the contribution in the manner specified by the author or licensor, 2. they may alter, transform, or build upon this work, 3. they may use this contribution for commercial purposes.
4. Rights of Authors
Authors retain the following rights:
- copyright, and other proprietary rights relating to the article, such as patent rights,
- the right to use the substance of the article in own future works, including lectures and books,
- the right to reproduce the article for own purposes, provided the copies are not offered for sale,
- the right to self-archive the article
- the right to supervision over the integrity of the content of the work and its fair use.
5. Co-Authorship
If the article was prepared jointly with other authors, the signatory of this form warrants that he/she has been authorized by all co-authors to sign this agreement on their behalf, and agrees to inform his/her co-authors of the terms of this agreement.
6. Termination
This agreement can be terminated by the author or the Journal Owner upon two months’ notice where the other party has materially breached this agreement and failed to remedy such breach within a month of being given the terminating party’s notice requesting such breach to be remedied. No breach or violation of this agreement will cause this agreement or any license granted in it to terminate automatically or affect the definition of the Journal Owner. The author and the Journal Owner may agree to terminate this agreement at any time. This agreement or any license granted in it cannot be terminated otherwise than in accordance with this section 6. This License shall remain in effect throughout the term of copyright in the Work and may not be revoked without the express written consent of both parties.
7. Royalties
This agreement entitles the author to no royalties or other fees. To such extent as legally permissible, the author waives his or her right to collect royalties relative to the article in respect of any use of the article by the Journal Owner or its sublicensee.
8. Miscellaneous
The Journal Owner will publish the article (or have it published) in the Journal if the article’s editorial process is successfully completed and the Journal Owner or its sublicensee has become obligated to have the article published. Where such obligation depends on the payment of a fee, it shall not be deemed to exist until such time as that fee is paid. The Journal Owner may conform the article to a style of punctuation, spelling, capitalization and usage that it deems appropriate. The Journal Owner will be allowed to sublicense the rights that are licensed to it under this agreement. This agreement will be governed by the laws of Poland.
By signing this License, Author(s) warrant(s) that they have the full power to enter into this agreement. This License shall remain in effect throughout the term of copyright in the Work and may not be revoked without the express written consent of both parties.