## Abstracts
### S2. Oral Session 2: Nordic SMC  
Session Chair: [PERSON]  
S2.1. Adaptive Loudness Compensation in Music Listening  
[PERSON], [PERSON], and [PERSON]  
The need for loudness compensation is a well-known fact arising from the nonlinear behavior of human sound perception. Music and other sounds are mixed and mastered at a certain loudness level, usually louder than the level at which they are commonly played. This implies a change in the perceived spectral balance of the sound, which is largest in the low frequency range. As the volume setting in music playing is decreased, a loudness compensation filter can be used to boost the bass appropriately, so that the low frequencies are still heard well and the perceived spectral balance is preserved. The present paper proposes a loudness compensation function derived from the standard equal-loudness-level contours and its implementation via a digital first-order shelving filter. Results of a formal listening test validate the accuracy of the proposed method. S2.2. Toward Automatic Tuning of the Piano  
[PERSON], [PERSON], and [PERSON]  
The tuning of a piano is a complicated and time-consuming process, which is usually left for a professional tuner. To make the process faster and non-dependent on the skills of a professional tuner, a semi-automatic piano tuning system is developed. The aim of the system is to help a nonprofessional person tune a grand piano with the help of a computer and a motorized tuning machine. The system is composed of an aluminum frame, a stepper motor, an Arduino processor, a microphone, and a laptop computer. The stepper motor changes the tuning of the piano strings by turning the pins connected to them whereas the aluminum frame holds the motor in place. The Arduino controls the motor. The microphone and the computer are used as a part of a closed loop control system, which is used to tune the strings automatically. The control system tunes the strings by minimizing the difference between the current and optimal fundamental frequency. The current fundamental frequency is obtained with an inharmonicity coefficient estimation algorithm, and the optimal fundamental frequency is calculated with a novel tuning process, called the connected reference interval (CRI) tuning. With the CRI process, a tuning close to that of a professional tuner is achieved with a deviation of 2.5 cents (RMS) between the keys, A0 and G5, and 8.1 cents (RMS) between G#5 and C8, where the tuner's results are not very consistent. S2.3. Real-Time Control of Large-Scale Modular Physical Models Using the Sensel Morph  
[PERSON], [PERSON], [PERSON], and [PERSON]  
In this paper, the implementation, instrument design, and control issues surrounding a modular physical modelling synthesis environment are described. The environment is constructed as a network of strings and a resonant plate, accompanied by user-defined connections and excitation models. The bow, in particular, is a novel feature in this setting. The system as a whole is simulated using finite difference (FD) methods. The mathematical formulation of these models is presented, alongside several new instrument designs, together with a real-time implementation in JUCE using FD methods. Control is through the Sensel Morph. S2.4. An Interactive Music Synthesizer for Gait Training in Neurorehabilitation  
[PERSON] and [PERSON]  
Rhythm-based auditory cues have been shown to significantly improve walking performance in patients with numerous neurological conditions. This paper presents the design, implementation, and evaluation of a gait training device capable of real-time synthesis and automated manipulationof rhythmic musical stimuli, as well as auditory feedback based on measured walking parameters. The proof-of-concept was evaluated with six healthy participants, as well as through critical review by one neurorehabilitation specialist. Stylistically, the synthesized music was found by participants to be conducive to movement, but not uniformly enjoyable.