Quelles sont les applications de l'intelligence artificielle (ia) dans la production musicale ?

Annexes.

Annexe 1 : Guide de prise en main Hit'n'Mix.

(c) Hit'n'Mix Ltd 2009-2021

RipX Manual

Much of RipX is described by the Interactive Help box which can be activated from the Help menu.

It is also a good idea to watch the walkthrough YouTube videos available from Help > YouTube Videos.

Contents

RipX: DeepPlayer, DeepRemix & DeepAudio	4
Opening, Ripping & Exporting Audio/Video	4
Opening & Ripping Audio	4
Preparing Rips for Editing	6
Exporting Audio	7
Video Import & Export (macOS only)	7
DeepRemix: The Cursor, Selections, Groups & Effects	9
The Cursor	9
Note & Time Selections	9
Groups	10
Applying Adjustments & Effects to Selections	10
DeepRemix: Essential Step-By-Step Editing Instructions	13
Pitch	13
Chromatically edit pitch	13
Edit pitch over a musical scale	13
Finely edit pitch	14
Quickly flatten, slide, or add constant vibrato to pitch	14
Rhythm	15
Edit rhythm by moving the starts of notes	15
Edit rhythm by adding/removing notes	15
Note Duration, Tempo & Time	16
Edit note duration	16
Edit tempo	16
Edit time	17
Volume & EQ	17
Unpitched Sound	18
DeepRemix: Playback, Loops, Randomize & Ripples	19
Playback	19
Loops	19
Randomize	20
Randomize Adjustments / Effects	20

1

Lien de téléchargement du manuel :

https://bestmusicsheet.com/wp-content/uploads/2022/02/RipX-Manual.pdf

Français

Guide de Prise en Main

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Annexe 2 : Guide de prise en main iZotope.

Lien de téléchargement du manuel :

M-AUDIO IZOTOPE RX QUICK START GUIDE: Télécharger le mode d'emploi au format PDF (378 Ko)

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Annexe 3 : Guide de prise en main FAST EQUALISER.

Manual

Lien de téléchargement du manuel :

https://collective.focusrite.com/documents/fast-equaliser.pdf

45 sur 51

Annexe 4 : Guide de prise en main FAST COMPRESSOR.

Manual

Lien de téléchargement du manuel :

https://collective.focusrite.com/documents/fast-compressor.pdf

46 sur 51

Annexe 5 : Guide de prise en main FAST VERB.

Manual

Lien de téléchargement du manuel :

https://collective.focusrite.com/documents/fast-verb.pdf

47 sur 51

Annexe 6 : Guide de prise en main FAST LIMITER.

Manual

Lien de téléchargement du manuel :

https://collective.focusrite.com/documents/fast-limiter.pdf

Annexe 7 : Guide de prise en main Smart Eq 3.

		smart:EQ3 manual
smart:EQ 3	manual	The intelligent equalizerequalizer

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Lien de téléchargement du manuel :

https://www.sonible.com/wp-content/uploads/2021/05/manual-smartEQ3-1.pdf

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Annexe 8 : Guide de prise en main Playbeat audiomodern.

Windows, MacOS & iOS

Getting Started

Lien de téléchargement du manuel :

// www.mediafire.com/file/ivrkwp2xlo18kpu/Playbeat_3_User_Manual.pdf

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Annexe 9 : Guide de prise en main Algonaut Audio Atlas 2.

Lien de téléchargement du manuel :

https://algonaut.audio/manuals/atlas/2_0_2/index.html

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Annexe 10 : Article de recherche sur Flow Machines.

Assisted music creation with Flow Machines:
towards new categories of new

François Pachet, Pierre Roy, Benoit Carré
CTRL, Spotify [e-mail]

Abstract. This chapter reflects on about 10 years of research in AI-assisted music composition, in particular during the Flow Machines project. We reflect on the motivations for such a project, its background, its main results and impact, both technological and musical, several years after its completion. We conclude with a proposal for new categories of «new», created by the many uses of AI techniques to generate novel material.

Keywords: Machine-Learning· Markov chains · Applications · Music · global constraints

1 Background and Motivations

The dream of using machines to compose music automatically has long been a subject of investigation, by musicians and scientists.

Since the 60s, many researchers used virtually all existing artificial intelligence techniques at hand to solve music generation problems. However, little convincing music was produced with these technologies.

A landmark result in machine music generation is the Illiac suite, released to the public in 1956 [17]. The Illiac suite demonstrated that Markov chains of a rudimentary species (first order, augmented with basic generate-and-test methods) could be used to produce interesting music¹.

However, the technology developed for that occasion lacked many fundamental features, to make it actually useable for concrete, professional musical projects. Notably, the experiment involved generate-and-test methods to satisfy various constraints imposed by the authors. Also, the low order of the Markov chain did not produce convincing style imitation. In spite of these many weaknesses, the Illiac suite remains today a remarkable music piece, that can still be listened to with interest.

The Flow Machines project (2012-2017) ² aimed at addressing the core technical issues at stake when generating sequences in a given style. In some sense, it addressed the two main weaknesses of the Markov chains used in the Illiac suite:

¹ we invite the reader to listen to the Illiac suite, composed more than 70 years ago, to appreciate its enduring innovative character https://www.youtube.com/watch? v=n0njBFLQSk8

² funded by an ERC advanced grant, and conducted at Sony CSL and UniversitéPierre et Marie Curie, now Sorbonne Université.

Lien de téléchargement de l'article :

https://www.francoispachet.fr/wp-content/uploads/2020/05/FlowMachines.pdf