Sliced Song Download

We propose sliced score matching to greatly scale up the computation of score matching. The motivating idea is that one dimensional data distribution is much easier to estimate for score matching. We propose to project the scores onto random directions, such that the vector fields of scores of the data and model distribution become scalar fields. We then compare the scalar fields to determine how far the model distribution is from the data distribution. It is clear to see that the two vector fields are equivalent if and only if their scalar fields corresponding to projections onto all directions are the same.

which we name as the sliced Fisher divergence. Unfortunately, sliced Fisher divergence has the same problem as Fisher divergence, due to the unknown data score function $\nabla_\mathbf{x} \log p_\text{data}(\mathbf{x})$. We therefore play the same trick of integration by parts, as done in score matching, to obtain the following tractable alternative form

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which is our sliced score matching objective. Again, $\mathbf{v}^\intercal\nabla_\mathbf{x} \log p_\theta(\mathbf{x})$ can be computed by one backpropagation for deep energy-based models. The first term of the objective again involves Hessian, but it is in the form of Hessian-vector products, which can be computed within $O(1)$ backpropagations. Therefore, the computation of sliced score matching does not depend on the dimension of data, and is much more scalable for training deep energy-based models on high dimensional datasets.

Human brain organoids provide unique platforms for modeling development and diseases by recapitulating the architecture of the embryonic brain. However, current organoid methods are limited by interior hypoxia and cell death due to insufficient surface diffusion, preventing generation of architecture resembling late developmental stages. Here, we report the sliced neocortical organoid (SNO) system, which bypasses the diffusion limit to prevent cell death over long-term cultures. This method leads to sustained neurogenesis and formation of an expanded cortical plate that establishes distinct upper and deep cortical layers for neurons and astrocytes, resembling the third trimester embryonic human neocortex. Using the SNO system, we further identify a critical role of WNT/-catenin signaling in regulating human cortical neuron subtype fate specification, which is disrupted by a psychiatric-disorder-associated genetic mutation in patient induced pluripotent stem cell (iPSC)-derived SNOs. These results demonstrate the utility of SNOs for investigating previously inaccessible human-specific, late-stage cortical development and disease-relevant mechanisms.

McLean remained famously tight-lipped about the specific details of the song for years. In 2015, the original lyrics were sold at auction for $1.2m; McLean wrote in the catalog notes, "Basically in 'American Pie' things are heading in the wrong direction. It [life] is becoming less idyllic. I don't know whether you consider that wrong or right but it is a morality song in a sense." McLean further expounds on the lyrics in the doc, confirming, for example, Elvis was not the "king" he was referring to in the line "While the King was looking down/ The jester stole his thorny crown." So who was the King? You'll have to watch the film for the answer.

And loops can also make things rather easy. This can be cool: you sit down with Garage Band or Reason and throw together a bunch of library loops until you have a song. This is fantastic for kids, or if you enjoy putting together songs as a hobby without having the spare time to learn all the dorky synthesis stuff. It can also be a starting point to inspire something else: you set a few loops going and you hear a new groove that you can start working against. Sometimes, after a while, you can take out the original loops altogether and the construction stands up on its own, like removing the framework from an arch when all the bricks are in place. But another option is to take loops and transform them into something that's your own, and that's what we're interested in here.

Save The File: Before saving, put the tempo dial at a speed of your choice, because this information will be saved by Recycle within the file as its default. Saving leaves the original sample untouched and creates a new REX 2 file. If, however, you've actually used an existing library REX file instead of raw audio, it will update the file. It is possible at this stage to export the file as unsliced audio at a new tempo (where you left the tempo dial). This is useful if you don't have anything that can play back REX 2 files.

Screen 1b.Test The File: For this demonstration, I made a fresh song in Reason and created a Dr:Rex module, the Reason instrument that exists solely for playing back and manipulating REX files. When opened from the Dr:Rex 's file browser, the sample appears in the central display, along with the slice markers. The small preview button plays back the loop using the current tempo of the song. If Reason is playing back, the loop will trigger in sync. Phatmatik and Intakt have exactly the same operation in this regard. The REX player will stay locked to the tempo of the song, and provides a host of sound-manipulation options for messing with both the whole loop and the individual slices.

Screen 2a. NI Intakt.Screen 2b.Not all sequencing platforms have this level of integration, however, so there are many situations where you need to use MIDI tracks to play back sliced loops. Staying with Recycle files for the moment, most current software samplers can read REX 2 files, so they can take the place of the Dr:Rex unit in the first example. Some samplers, like Phatmatik and Intakt, can generate the necessary MIDI file to trigger playback. For other samplers you need to use Recycle to do this, using the Export option in the File menu. In the following example, I'm going to look at importing a REX file into Intakt.Screen 2c.

Another application is to 'pick and mix' particular components of a loop. For example, you might have a loop that contains a snare sound and pattern that you like, but you don't want the rest. Once the loop is sliced up it's usually fairly easy to just discard the slices that you don't want. Or maybe you want to treat some sections with a particular effect. This is possible too by opening up two copies of the loop in different tracks and triggering different slices in each track.

Finally, beat slicing provides a link between the studio and live worlds. If you are producing music that you think you might take out and perform in some way, it's worth working like this from the outset. By having your rhythm tracks as sliced samples triggered by MIDI, instead of as continuous recorded audio, you are leaving yourself options. At the basic level, if you use these elements as backing tracks you are not tied down by tempo or linear transport like you are with tape or continuous tracks. By working with loops you also have real-time control over rearrangement, and can easily fly bits of different songs in and generally mess about with stuff.

If you play completely live with a band, using beat-sliced audio tracks in the studio can open up production possibilities that would have been difficult to re-create on the stage. Say you used a distinctive-sounding drum loop as the basis of a song, and you sliced it up and rearranged it in different ways throughout the track. When you play live you can just load the REX file into a sampler and trigger the individual slices from drum triggers. It's the best of both worlds: it's still a genuine performance, but you're getting the same sounds as you used in the studio.

Intakt takes technology available in NI's top-flight sampler Kontakt and packages it into a streamlined looping tool. Functionally it is quite similar to Phatmatik, with a few extras. For a start it can create tempo-shifted loops using granular resynthesis as well as beat slicing. In addition to the usual keyboard mapping, complete (but sliced) loops can be assigned to single keys for simple triggering and layering. For full details, check out the review in this issue.

You can play whatever slices you like, in any order you fancy, and thereby create cool new rhythms, loops, and various elements you can add to your songs. You can also change the order of the slices, either via a MIDI keyboard or by using your computer. You can also choose warp markers, transient spikes, bars, or notes.

In 1939, Gone with the Wind reaped seven Oscars, while Billie Holiday's song reached number 16 on the charts, even though Columbia Records refused to release it: Holiday had to record it with a small company that was run out of a storefront in midtown Manhattan.

The time frame where elders might tell stories, children might put on a show for the adults, or those gathered might sing songs came to be occupied by background music, from the radio or phonograph, or by television.

As online games like Second Life provide users with new tools and platforms to tell and retell their own stories, or their own versions of well-trodden paths, as digital multimedia tools do the same for individuals outside of the collaborative storytelling platforms, we can begin to see a reemergence of folk stories and songs as widespread cultural practices.

To kick off the night, the crowd first had a chance to mingle and enjoy the installation in the CCAM gallery until the performances commenced. The songs performed were Placerita by Jack Vees, Soon Song by Gabrielle Herbst, I was talking to Palestrina when my mother told me Takemitsu was on the phone, an homage to Leo Brouwer by Benjamin Verdery, and The Making of a Memory by Tanner Porter. 17dc91bb1f