Abstract
A mobile phone vibrating on a hard surface often sounds qualitatively unlike ordinary audiovisual recordings when reproduced through laptop loudspeakers. We propose that part of this perceptual distinctiveness can be described as a nested periodicity: a first-order cepstral structure reflecting the vibration period and its multiples, and a second-order cepstral structure reflecting repeated spacing within the first-order cepstrum. Treating the perceptual effect as real and using a deliberately transparent synthetic signal chain, we model six stages: mechanical generation, surface and air propagation, microphone capture, encoding and decoding, laptop-speaker playback, and re-recording or post-processing. The synthetic analysis shows that the first-order cepstral periodicity is preserved across the chain, whereas a cleaner bimodal or quasi-bimodal second-order cepstral signature is most evident at the mechanical source and at laptop-speaker playback. The result supports, but does not prove, the hypothesis that laptop reproduction can re-emphasize a latent contact-vibration periodicity that is less cleanly expressed in intermediate recorded and encoded forms. We frame second-order cepstral bimodality as an exploratory descriptor of contact-vibration playback rather than as a completed perceptual metric. Required validation includes recordings of real devices, controlled playback transfer functions, perceptual judgments, and comparisons against ordinary speech, music, and environmental recordings.
Abstract (translated)
URL
https://arxiv.org/abs/2606.04475
