Program at a glance

Program at a glance

The entire program at a quick glance. Scroll down for information on keynotes and tutorials, and for the complete program with links to all papers.




We are happy to present the following tutorials for DAFx-15:

Peter Svensson: Sound field modeling for virtual acoustics


The terms virtual acoustics and auralization have been used for around 20 years for the generation of computer simulations of sound fields that can be listened to. This tutorial will give a brief overview over the components involved: the source modeling, the modeling of an environment via an impulse response, and the rendering stage. The focus will be on the modeling og environments, with the categories of physical modeling and perceptual modeling. Furthermore, the physical modeling can be done by accurately solving the wave equation, or by geometrical-acoustics based methods. Possibilities and limitations with these methods will be discussed, demonstrating the various reflection components of specular reflection, diffuse reflection, and diffraction. Examples will be shown using the author’s Matlab “Edge diffraction toolbox” for generating animations of these phenomena.


Peter Svensson is professor of electroacoustics at NTNU since 1999. His main research interests are computational room acoustics, 3D audio techniques, measurement techniques, perceived room acoustical quality. He did a PhD on electroacoustic reverberation enhancement systems in 1994, at Chalmers University, Gothenburg, and has had research stays at University of Waterloo, Kobe University, Rensselaer Polytechnic Institute, and University of Reading. He has been president of the Norwegian acoustics society, vice president of the European Acoustics Association and associate editor for electroacoustics of Acta Acustica united with Acustica.

Øyvind Brandtsegg & Trond Engum: Cross-adaptive effects and realtime creative use


Adaptive effects and modulations have been researched during the last two decades within the DAFx community, and cross-adaptive effects have been utilized for autonomous mixing and related applications. Current research into cross adaptive effects for creative use in realtime applications has led to the development of methods to incorporate these techniques into regular DAWs for audio production and performance. The tutorial will give insight into these methods, with practical examples on how to incorporate the tools in a DAW based workflow. Examples of use within live performance will also be presented.


Øyvind Brandtsegg is a composer and performer working in the fields of algorithmic improvisation and sound installations. His main instrument as a musician is Hadron Particle Synthesizer, ImproSculpt and Marimba Lumina. ImproSculpt is an instrument for live sampling and realtime composition. Hadron is a very flexible realtime granular synthesizer. In addition to his own work as a composer and musician, he has also 
done programming for other artists and for commercial audio applications. As musician and composer he has collaborated with a number of excellent artists. In 2008, Brandtsegg finished his PhD equivalent artistic research project, focused on musical improvisation with computers. Øyvind has done lectures and workshops on these themes in USA, Germany, Ireland, and of course in Norway.  Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway.

Trond Engum is a composer and performer within the field of music technology. His main instrument is guitar and electronics. Engum has a background from bands like The 3rd and The Mortal and The Soundbyte, and have released several albums, played concerts and festivals since the mid 90`s. He has composed music for several theatrical performances and television programs. In January 2012, Engum finished his PhD equivalent artistic research project, focused on new strategies for composing and producing music using digital music technology. Since 2012 he is an associate professor of music technology at NTNU, Trondheim, Norway.

Xavier Serra: The AudioCommons Initiative and the technologies for facilitating the reuse of open audio content


Significant amounts of user-generated audio content, such as sound effects, musical samples and music pieces, are uploaded to online repositories and made available under open licenses. Moreover, a constantly increasing amount of multimedia content, originally released with traditional licenses, is  becoming public domain as its license expires. Nevertheless, this content is not much used in professional productions. There is still a lack of familiarity and understanding of the legal context of all this open content, but there are also problems related with its accessibility. A big percentage of this content remains unreachable either because is not published online or because it is not well organised and annotated. With the Audio Commons Initiative we want to promote the use of open audio content and to develop technologies with which to support the ecosystem composed by content repositories, production tools and users. These technologies should enable the reuse of this audio material, facilitating its integration in the production workflows used by the creative industries. In this workshop we will go over the core ideas behind this initiative, then overview the existing audio repositories, technologies and production tools related to it, and finally outline the planned tasks to address the challenges posed by the initiative.


Xavier Serra is Associate Professor of the Department of Information and Communication Technologies and Director of the Music Technology Group at the Universitat Pompeu Fabra in Barcelona. After a multidisciplinary academic education he obtained a PhD in Computer Music from Stanford University in 1989 with a dissertation on the spectral processing of musical sounds that is considered a key reference in the field. His research interests cover the analysis, description and synthesis of sound and music signals, with a balance between basic and applied research and approaches from both scientific/technological and humanistic/artistic disciplines. Dr. Serra is very active in promoting initiatives in the field of Sound and Music Computing at the local and international levels, being involved in the editorial board of a number of journals and conferences and giving lectures on current and future challenges of the field. He has recently been awarded an Advanced Grant of the European Research Council to carry out the project CompMusic aimed at promoting multicultural approaches in music computing research. 

Keynote speakers

Keynote speakers

We are very happy to introduce our keynote speakers for DAFx-15.

Marije BaalmanDigital audio out of the box - digital audio effects in art and experimental music


While since the late 1990's laptops have become a common element in electronic music on stage, in recent years there is a move away again from the laptop, towards dedicated devices that perform one particular task. With the advent of platforms such as the BeagleBone, Raspberry Pi, but also Arduino, efficient computing of digital audio has found a large interest amongst artists who create their own instruments or sounding objects, usually within the context of open source software and hardware.

In this talk I will show various examples of these applications of digital audio in the field of art and experimental music; and discuss how their development and discourse is embedded in the open source movement.

Julius Smith & Kurt Wegner: Recent Progress in Wave Digital Audio Effects (part I & part II + video)


The digital audio effects (DAFx) community has contributed significantly to advancements in ``virtual analog'' modeling of classic audio effects in software.  Practicing musicians have enjoyed a growing list of classic analog gear available now as digital audio plugins as a result.

One competitive approach is the Wave Digital Filters (WDF) formulation pioneered by Alfred Fettweis. WDFs have been around since the early 1970s and have found much use in VLSI implementations of digital filters, where superior numerical robustness is especially important.  Since the early 2000s, this framework has been applied increasingly to musical acoustic modeling and digital audio effects, and its range of applicability has been recently expanded considerably to include arbitrary circuit topologies and multiple nonlinear elements.

The closely-related Digital Waveguide Framework (DWF) similarly uses wave variables (traveling-wave components) because wave-propagation delay lines can be implemented super efficiently as circular buffers.  As a result, it is straightforward to combine these two paradigms to yield wave-variable models of a mixture of distributed and lumped systems, such as a lumped hammer model striking waveguide string in the case of a piano model.

WDFs use wave variables in the context of lumped modeling where, by definition, wave propagation does not occur. How then can we understand the use of wave variables in WDFs?  This talk includes a somewhat alternative development of WDF principles based on the way that wave variables can be used to resolve implicit relationships in modular discrete circuit models.

The complexity of audio circuitry has often stressed the state of the art of WDFs, especially for nonlinear models. The DAFx community has contributed many new techniques in response.  This talk will review these contributions and point out remaining issues for future research in WDF theory.

In addition to their theoretical appeal, desirable energetic/numerical properties, and fine-grained modeling fidelity, WDFs are also attractive to virtual-analog algorithm designers as an elegant modular software framework. Implementing WDFs as a hierarchical object-orient tree in software such as C++ can yield readable and reusable code, with clear high-level descriptions of circuits and digital audio processing. We include examples of practical wave digital modeling, and demonstrations of real-time performance.

Franz ZotterAmbisonic Audio Effects in Direction and Directivity


The properties of the spherical harmonics to represent patterns on the sphere, as well as their deep embedding in the acoustical wave equation, enable many nice audio effects in space.

First of all, the inherent smoothness of the finite-order spherical harmonic representations is the basis of Ambisonic amplitude panning on surrounding loudspeakers. The spherical harmonic representation is mighty enough to represent several directional effects, such as mirroring, rotation, directional loudness manipulation, directional warping in terms of a simple matrix multiplication.

What is more, the associated acoustic equations permit design and signal processing of not only microphone arrays for Ambisonic recording, but also spherical loudspeaker arrays for directivity synthesis.

The plenary lecture gives examples and explanations of freely available Plugins for Ambisonics (VST AmbiX plugin suite), and reveals a peek on adjustable directivity as a musical instrument.

DAFx-15 Complete program

DAFx-15 Complete program

Complete program for DAFx-15. The paper titles link to the submitted pdf's.


Monday November 30
10.00-11.00 Registration & coffee R5 Foyer

Tutorial 1: Sound field modeling for virtual acoustics
Peter Svensson

12.30-13.30 Lunch Cafe Realfag

Tutorial 2: Cross-adaptive effects and realtime creative use
Øyvind Brandtsegg & Trond Engum

15.00-15.30 Coffee R5 Foyer

Tutorial 3: The AudioCommons Initiative and the technologies for facilitating the reuse of open audio content
Xavier Serra

18.00-20.00 Reception Cafe To Tårn


Tuesday December 1
08.30-09.00 Registration & coffee R5 Foyer
09.00-09.20 Opening & welcome R5
09.20-10.20 Keynote 1: Digital audio out of the box - digital audio effects in art and experimental music
Marije Baalman
10.20-11.00 Oral session 1: Sound synthesis
Chair: Vesa Välimäki
10.20-10.40 Morphing of granular sounds
Sadjad Siddiq
10.40-11.00 Reverberation still in business: Thickening and Propagating micro-textures in physics-based sound modeling
Davide Rocchesso, Stefano Baldan and Stefano Delle Monache
11.00-11.15 Poster presentations R5

Granular analysis/synthesis of percussive drilling sounds
Rémi Mignot, Ville Mäntyniemi and Vesa Välimäki

Feature design for the classification of audio effect units by input/output measurements
Felix Eichas, Marco Fink and Udo Zoelzer

Real-time 3D Ambisonics using Faust, Processing, Pure Data, and OSC
Pierre Lecomte and Philippe-Aubert Gauthier

A toolkit for experimentation with signal interaction
Øyvind Brandtsegg

Improving the robustness of the iterative solver in state-space modelling of guitar distortion circuitry
Ben Holmes and Maarten van Walstijn

11.10-11.45 Posters & Coffee R5 Foyer
11.45-12.45 Oral session 2: Physical modelling
Chair: Damian Murphy
11.45-12.05 Guaranteed-passive simulation of an electro-mechanical piano: a port-Hamiltonian approach
Antoine Falaize and Thomas Hélie
12.05-12.25 On the limits of real-time physical modelling synthesis with a modular environment
Craig Webb and Stefan Bilbao
12.25-12.45 Two polarisation finite difference model of bowed strings with nonlinear contact and friction forces
Charlotte Desvages and Stefan Bilbao
12.45-14.15 Lunch Cafe Realfag
14.15-15.15 Oral session 3: Audio effects
Chair: Sascha Disch
14.15-14.35 Harmonizing effect using short-time time-reversal
Hyung-Suk Kim and Julius O. Smith
14.35-14.55 Barberpole Phasing and Flanging Illusions
Fabian Esqueda, Vesa Välimäki and Julian Parker
14.55-15-15 Distortion and Pitch Processing Using a Modal Reverberator Architecture
Jonathan S. Abel and Kurt Werner
15.15-15.30 Poster presentations R5

Stereo signal separation and upmixing by mid-side decomposition in the frequency-domain
Sebastian Kraft and Udo Zoelzer

Automatic subgrouping of multitrack audio
David Ronan, David Moffat, Hatice Gunes and Joshua D. Reiss

Separation of musical notes with highly overlapping partials using phase and temporal constrained complex matric factorization
Yi-Ju Lin, Yu-Lin Wang, Li Su and Alvin Su

Automatic calibration and equalization of a line array system
Fernando Vidal Wagner and Vesa Välimäki

Antonio Goulart, Joseph Timoney and Victor Lazzarini

15.30-16.00 Posters & Coffee R5 Foyer
16.00-17.00 Oral session 4: Audio & music analysis
Chair: Xavier Serra
16.00-16.20 On comparison of phase alignments of harmonic components
Xue Wen, Xiaoyan Lou and Mark Sandler
16.20-16.40 Towards Transient Restoration in Score-informed Audio Decomposition
Christian Dittmar and Meinard Mueller
16.40-17.00 Towards an Invertible Rhythm Representation
Aggelos Gkiokas, Stefan Lattner, Vassilis Katsouros, Arthur Flexer and George Carayanni
20.00-22.00 Concert Rockheim


Wednesday December 2
08.30-09.00 Registration & coffee R5 Foyer
09.00-10.00 Keynote 2: Recent Progress in Wave Digital Audio Effects.
Julius Smith (video) & Kurt Werner
10.00-11.00 Oral session 9: Perceptually based applications
Chair: Joseph Timoney
10.00-10.20 A Model for Adaptive Reduced-Dimensionality Equalisation
Spyridon Stasis, Ryan Stables and Jason Hockman
10.20-10.40 Real-time excitation based binaural loudness meters
Dominic Ward, Sean Enderby, Cham Athwal and Joshua Reiss
10.40-11.00 Effect of augmented audification on perception of higher statistical moments in noise
Katharina Vogt, Matthias Frank and Robert Höldrich
11.00-11.15 Poster presentations R5

GstPEAQ – an Open Source Implementation of the PEAQ Algorithm
Martin Holters and Udo Zölzer

Harmonic Mixing Based on Roughness and Pitch Commonality
Roman Gebhardt, Matthew Davies and Bernhard Seeber

Flutter echoes: Timbre and possible use as sound effect
Tor Halmrast

Extraction of Metrical Structure from Music Recordings
Elio Quinton, Christopher Harte and Mark Sandler

A set of audio features for the morphological description of vocal imitations
Enrico Marchetto and Geoffroy Peeters

11.15-11.45 Posters & Coffee R5 Foyer
11.45-13.05 Oral session 6: Spatial audio & auralization
Chair: Peter Svensson
11.45-12.05 On studying auditory distance perception in concert halls with multichannel auralizations
Antti Kuusinen and Tapio Lokki
12.05-12.25 Spatial audio quality and user preference of listening systems in video games
Joe Rees-Jones, Jude Brereton and Damian Murphy
12.25-12.45 Frequency estimation of the first pinna notch in Head-Related Transfer Functions with a linear anthropometric model
Simone Spagnol and Federico Avanzini
12.45-13.05 Relative auditory distance discrimination with virtual nearby sound sources
Simone Spagnol, Erica Tavazzi and Federico Avanzini
13.05-14.30 Lunch Cafe Realfag
14.30-15.30 Oral session 7: Virtual analog
Chair: Robert Höldrich
14.30-14.50 Block-oriented modeling of distortion audio effects using iterative minimization
Felix Eichas, Stephan Möller and Udo Zoelzer
14.50-15.10 Approximating non-linear inductors using time-variant linear filters
Giulio Moro and Andrew P. McPherson
15.10-15.30 Digitizing the Ibanez Weeping Demon Wah Pedal
Chet Gnegy and Kurt Werner
15.30-15.45 Poster presentations R5

Cascaded prediction in ADPCM codec structures
Marco Fink and Udo Zölzer

Beat histogram features for rhythm-based musical genre classification using multiple novelty functions
Athanasios Lykartsis and Alexander Lerch

An Evaluation of Audio Feature Extraction Toolboxes
David Moffat, David Ronan and Joshua D. Reiss

Digitally Moving An Electric Guitar Pickup
Zulfadhli Mohamad, Simon Dixon and Christopher Harte

Large stencil operations for GPU-based 3-D acoustics simulations
Brian Hamilton, Craig Webb, Alan Gray and Stefan Bilbao

15.45-16.15 Posters & Coffee R5 Foyer
16.15-16.55 Oral session 8: Speech applications
Chair: Philippe Depalle
16.15-16.35 Vowel Conversion by Phonetic Segmentation
Carlos de Obaldía and Udo Zölzer
16.35-16.55 Articulatory vocal tract synthesis in Supercollider
Damian Murphy, Mátyás Jani and Sten Ternström
17.00-18.00 DAFx Board Meeting  
19.00-21.00 Conference dinner Ringve Music Museum


Thursday December 3
08.30-09.00 Registration & coffee EL6 Foyer
09.00-10.00 Keynote 3: Ambisonic Audio Effects in Direction and Directivity.
Franz Zotter
10.00-11.00 Oral session 5: Audio coding & implementation
Chair: Sigurd Saue
10.00-10.20 Low-delay vector-quantized subband ADPCM coding
Marco Fink and Udo Zölzer
10.20-10.40 Sparse Decomposition of Audio Signals Using a Perceptual Measure of Distortion. Application to Lossy Audio Coding
Ichrak Toumi and Olivier Derrien
10.40-11.00 Approaches for constant audio latency on Android
Rudi Villing, Victor Lazzarini, Joseph Timoney, Dawid Czesak and Sean O'Leary
11.00-11.15 Poster presentations EL6

Computational Strategies for Breakbeat Classification and Resequencing in Hardcore, Jungle and Drum & Bass
Jason A. Hockman and Matthew E.P. Davies

Spatialized audio in a vision rehabilitation game for training orientation and mobility skills
Sofia Cavaco, Diogo Simões and Tiago Silva

Implementing a Low Latency Parallel Graphic Equalizer with Heterogeneous Computing
Vesa Norilo, Math Verstraelen and Vesa Välimäki

Adaptive Modeling of Synthetic Nonstationary Sinusoids
Marcelo Caetano, George Kafentzis and Athanasios Mouchtaris

Distribution Derivative Method for Generalised Sinusoid with Complex Amplitude Modulation
Saso Musevic and Jordi Bonada

11.15-11.45 Posters & Coffee EL6 Foyer
11.45-12.45 Oral session 10: Virtual analog approaches
Chair: Stefan Bilbao
11.45-12.05 Design principles for lumped model discretisation using Möbius transforms
Francois Germain and Kurt Werner
12.05-12.25 Wave Digital Filter Adaptors for Arbitrary Topologies and Multiport Linear Elements
Kurt Werner, Julius Smith and Jonathan Abel
12.25-12.45 Resolving Wave Digital Filters with Multiple/Multiport Nonlinearities
Kurt Werner, Vaibhav Nangia, Julius Smith and Jonathan Abel
12.45-14.15 Lunch Cafe Magneten
14.15-14.55 Oral session 11: Physical modelling
Chair: Udo Zölzer
14.15-14.35 Simulations of Nonlinear Plate Dynamics: An Accurate and Efficient Modal Algorithm
Michele Ducceschi and Cyril Touzé
14.35-14.55 An Algorithm for a Valved Brass Instrument Synthesis Environment using Finite-Difference Time-Domain Methods with Performance Optimisation
Reginald Harrison, Stefan Bilbao and James Perry
14.55-15.10 Poster presentations EL6

Downmix compatible conversion from mono to stereo in time- and frequency-domain
Marco Fink, Sebastian Kraft and Udo Zölzer

Development of an outdoor auralisation prototype with 3D sound reproduction
Erlend Magnus Viggen, Audun Solvang, Jakob Vennerød and Herold Olsen

Swing Ratio Estimation
Ugo Marchand and Geoffroy Peeters

Wavelet scattering along the pitch spiral
Vincent Lostanlen and Stéphane Mallat

Analysis/Synthesis of the Andean Quena via Harmonic Band Wavelet Transform
Aldo Díaz and Rafael Mendes

15.10-15.45 Posters & Coffee EL6 Foyer
15.45-16.15 Closing & DAFx-16 handover EL6

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13 Dec 2015

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