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L. Vetter, MI. J.. Terrell, AN. R.. Simpson, and A. McPherson, "Estimation of Overdrive in Music Signals," Paper 8911, (2013 May.). doi: L. Vetter, MI. J.. Terrell, AN. R.. Simpson, and A. McPherson, "Estimation of Overdrive in Music Signals," Paper 8911, (2013 May.). doi:
Abstract: In this paper we report experimental and modeling results from an investigation of listeners’ ability to estimate overdrive in a signal. The term overdrive is used to characterize the result of systematic, level-dependent nonlinearity typical of audio equipment and processors (e.g., guitar amplifiers). Listeners (N=7) were given the task of estimating the degree of overdrive in music signals that had been processed with a static, saturating nonlinearity to introduce varying degrees of nonlinear distortion. A statistical model is proposed to account for the data, which is based on a measure of time-variance in the summed frequency-response deviation introduced by the nonlinearity. This provides a useful “black-box” metric that describes the perceived amount of overdrive introduced by an audio processing device.

@article{vetter2013estimation,
author={vetter, lasse and terrell, michael j. and simpson, andrew j. r. and mcpherson, andrew},
journal={journal of the audio engineering society},
title={estimation of overdrive in music signals},
year={2013},
volume={},
number={},
pages={},
doi={},
month={may},} @article{vetter2013estimation,
author={vetter, lasse and terrell, michael j. and simpson, andrew j. r. and mcpherson, andrew},
journal={journal of the audio engineering society},
title={estimation of overdrive in music signals},
year={2013},
volume={},
number={},
pages={},
doi={},
month={may},
abstract={in this paper we report experimental and modeling results from an investigation of listeners’ ability to estimate overdrive in a signal. the term overdrive is used to characterize the result of systematic, level-dependent nonlinearity typical of audio equipment and processors (e.g., guitar amplifiers). listeners (n=7) were given the task of estimating the degree of overdrive in music signals that had been processed with a static, saturating nonlinearity to introduce varying degrees of nonlinear distortion. a statistical model is proposed to account for the data, which is based on a measure of time-variance in the summed frequency-response deviation introduced by the nonlinearity. this provides a useful “black-box” metric that describes the perceived amount of overdrive introduced by an audio processing device.},}

TY - paper
TI - Estimation of Overdrive in Music Signals
SP - EP -
AU - Vetter, Lasse
AU - Terrell, Michael J.
AU - Simpson, Andrew J. R.
AU - McPherson, Andrew
PY - 2013
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2013 TY - paper
TI - Estimation of Overdrive in Music Signals
SP - EP -
AU - Vetter, Lasse
AU - Terrell, Michael J.
AU - Simpson, Andrew J. R.
AU - McPherson, Andrew
PY - 2013
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2013
AB - In this paper we report experimental and modeling results from an investigation of listeners’ ability to estimate overdrive in a signal. The term overdrive is used to characterize the result of systematic, level-dependent nonlinearity typical of audio equipment and processors (e.g., guitar amplifiers). Listeners (N=7) were given the task of estimating the degree of overdrive in music signals that had been processed with a static, saturating nonlinearity to introduce varying degrees of nonlinear distortion. A statistical model is proposed to account for the data, which is based on a measure of time-variance in the summed frequency-response deviation introduced by the nonlinearity. This provides a useful “black-box” metric that describes the perceived amount of overdrive introduced by an audio processing device.