Download Metrix: A Musical Data Definition Language and Data Structure for a Spectral Modeling Based Synthesizer
Since the MIDI 1.0 specification [1], well over 15 years ago, many have been the attempts to give a solution to all the limitations that soon became clear. None of these have had a happy ending, mainly due to commercial interests and as a result, when trying to find an appropriate synthesis control user interface, we had not many choices but the use of MIDI. That’s the reason why the idea of defining a new user interface aroused. In this article, the main components of this interface will be discussed, paying special attention to the advantages and new features it reports to the enduser.
Download Different ways to write digital audio effects programs
This paper is a very basic one, where one tries to explain how one can write a digital audio effect in a non-real time situation with a very general mathematical language such as MATLAB, and how such digital audio effects can be used in the real life.
Download A Real-Time DSP-based Reverberation System with Computer
This paper describes a highly versatile, low-cost reverberation system comprising two main elements: a computer for building and editing the desired reverberation effect impulse response, and a commercial DSP-based board, to run the algorithm in real-time, allowing the evaluation of the results. The main parameters of the reverberation algorithm can be modified by means of a dedicated graphic interface in the host computer.
Download Making Sounds with Numbers: A Tutorial on Music Software Dedicated to Digital Audio
A (partial) taxonomy of software applications devoted to sounds is presented. For each category of software applications, an abstract model is proposed and actual implementations are evaluated with respect to this model.
Download Digital Filtering for Musicians
The CD-ROM Digital Filtering for Musicians was made to build a bridge between two very diverse, yet interrelated topics; digital audio techniques and music, with the main focus on one of the central techniques: filtering. To make optimal use of digital filtering in a musical context requires insight in mathematics and computational theory as well as music. By presenting these three fields side-by-side on an interactive basis, readers can familiarize themselves with the relevant topics and their relations, without being overwhelmed by the complexity of the subject.
Download Fundamental Frequency Estimation in the SMS analysis
This paper deals with the fundamental frequency estimation for monophonic sounds in the SMS analysis environment. The importance of the fundamental frequency as well as some uses in SMS is commented. The particular method of F0 estimation based on a two-way mismatched measure is described as well as some modifications. Finally we explain how pitch-unpitched decision is performed.
Download Digital Signal Processors for Real-Time Audio Processing
We analyze the requirements for digital signal processors used in audio applications. Methods for assessing the real computing power expected from them are presented. Proper requirements for a real-time development platform are also described. Code development tools are also included. Finally a review of common processors is done according to those criteria.
Download Toward the Perfect Audio Morph? Singing Voice Synthesis and Processing
This paper reviews the popular methods and models used for the synthesis of the singing voice, discussing strengths and weaknesses of each technique. Then a brief review is given of research on cross-modal visual/auditory perception of the human voice. The paper concludes with comments related to the singing synthesis systems discussed, addressing multi-modal perception, audio morphing, and the categorical perception of sound.
Download Waveform Preserving Time Stretching and Pitch Shifting for Sinusoidal Models of Sound
A method for performing waveform invariant time stretching and pitch shifting on a quasi harmonic and sinusoidally modeled sound is presented. The method is based on the relative phase delay representation of the phase, defined as the difference between the phase delay of the partials and the phase delay of the fundamental. This representation makes the waveform characterization independent from the phase of the first partial. It is therefore possible to compute a smooth trajectory for the phase of the modified fundamental and rebuild the waveform on the synthesis frame boundaries by adding the relative phase delays to the new fundamental phase delay.
Download Generalizing the Reflection Model by the Use of a Particle Tracing Method
Splitting the reflection phenomenon in a specular and a dioeuse one, current acoustic quality prediction methods can't deal with real materials. In this paper, we describe the implementation of a particle tracing method that can deal with a general model of reflection, the bidirectional reflectance distribution function. Furthermore, being based on the Monte-Carlo methods, this method is not sensitive to combinatorial explosion. The flexibility of the particle tracing method make it a good test bed for comparisons and evaluations of source or reflection models.