Above‐ground biomass (AGB) is an important metric used to quantify the mass of carbon stored in terrestrial ecosystems. For forests, this is routinely estimated at the plot scale (typically 1 ha) using inventory measurements and allometry. In recent years, terrestrial laser scanning (TLS) has appeared as a disruptive technology that can generate a more accurate assessment of tree and plot scale AGB; however, operationalising TLS methods has had to overcome a number of challenges. One such challenge is the segmentation of individual trees from plot level point clouds that are required to estimate woody volume, this is often done manually (e.g. with interactive point cloud editing software) and can be very time consuming. Here we presentTLS2trees, an automated processing pipeline and set of Python command line tools that aims to redress this processing bottleneck.TLS2treesconsists of existing and new methods and is specifically designed to be horizontally scalable. The processing pipeline is demonstrated on 7.5 ha of TLS data captured across 10 plots of seven forest types; from open savanna to dense tropical rainforest. A total of 10,557 trees are segmented withTLS2trees: these are compared to 1281 manually segmented trees. Results indicate thatTLS2treesperforms well, particularly for larger trees (i.e. the cohort of largest trees that comprise 50% of total plot volume), where plot‐wise tree volume bias is ±0.4 m³and %RMSE is 60%. Segmentation performance decreases for smaller trees, for example where DBH ≤10 cm; a number of reasons are suggested including performance of semantic segmentation step. The volume and scale of TLS data captured in forest plots is increasing. It is suggested that to fully utilise this data for activities such as monitoring, reporting and verification or as reference data for satellite missions an automated processing pipeline, such asTLS2trees, is required. To facilitate improvements toTLS2trees, as well as modification for other laser scanning modes (e.g. mobile and UAV laser scanning),TLS2treesis a free and open‐source software.

Audio segmentation and sound event detection are crucial topics in machine listening that aim to detect acoustic classes and their respective boundaries. It is useful for audio-content analysis, speech recognition, audio-indexing, and music information retrieval. In recent years, most research articles adopt segmentation-by-classification. This technique divides audio into small frames and individually performs classification on these frames. In this paper, we present a novel approach called You Only Hear Once (YOHO), which is inspired by the YOLO algorithm popularly adopted in Computer Vision. We convert the detection of acoustic boundaries into a regression problem instead of frame-based classification. This is done by having separate output neurons to detect the presence of an audio class and predict its start and end points. The relative improvement for F-measure of YOHO, compared to the state-of-the-art Convolutional Recurrent Neural Network, ranged from 1% to 6% across multiple datasets for audio segmentation and sound event detection. As the output of YOHO is more end-to-end and has fewer neurons to predict, the speed of inference is at least 6 times faster than segmentation-by-classification. In addition, as this approach predicts acoustic boundaries directly, the post-processing and smoothing is about 7 times faster.

Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects.

Music production technology has made few advancements over the past few decades. State-of-the-art approaches are based on traditional studio paradigms with new developments primarily focusing on digital modelling of analog equipment. Intelligent music production (IMP) is the approach of introducing some level of artificial intelligence into the space of music production, which has the ability to change the field considerably. There are a multitude of methods that intelligent systems can employ to analyse, interact with, and modify audio. Some systems interact and collaborate with human mix engineers, while others are purely black box autonomous systems, which are uninterpretable and challenging to work with. This article outlines a number of key decisions that need to be considered while producing an intelligent music production system, and identifies some of the assumptions and constraints of each of the various approaches. One of the key aspects to consider in any IMP system is how an individual will interact with the system, and to what extent they can consistently use any IMP tools. The other key aspects are how the target or goal of the system is created and defined, and the manner in which the system directly interacts with audio. The potential for IMP systems to produce new and interesting approaches for analysing and manipulating audio, both for the intended application and creative misappropriation, is considerable.

The development of intelligent music production tools has been of growing interest in recent years. Deep learning approaches have been shown as being a highly effective method for approximating individual audio effects. In this work, we propose an end-to-end deep neural network based on the Wave-U-Net to perform automatic mixing of drums. We follow an end-to-end approach where raw audio from the individual drum recordings is the input of the system and the waveform of the stereo mix is the...

Intelligent Mixing Systems (IMS) are rapidly becoming integrated into music mixing and production workflows. The intelligences of a human mixer and IMS can be distinguished by their abilities to comprehend, assess, and appreciate context. Humans will factor context into decisions, particularly concerning the use and application of technologies. The utility of an IMS depends on both its affordances and the situation in which it is to be used. The appropriate use for conventional purposes, or...