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Spectral Envelopes in Sound
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Spectral Envelopes in Sound
Contents
Contents
List of Figures
2. Introduction
2.1 Motivation
2.2 Outline of the Project
2.3 Outline of this Documentation
2.4 Acknowledgements
3. Basic Concepts
3.1 Digital Signal Processing
3.1.1 Sampling
3.1.2 Power and Energy
3.1.3 Fourier Transform
3.1.4 Convolution, Filtering and Linear Systems
3.1.5 Windowing
3.2 Additive Analysis and Synthesis of Sound
3.3 Spectral Envelopes
3.3.1 Spectral Envelope Correction for Transposition
3.3.2 Vibrato Tracing of Spectral Envelopes
3.4 The Source-Filter Model of Speech Production
3.5 The Software-Environment at IRCAM
4. Estimation of Spectral Envelopes
4.1 Requirements
4.2 LPC Spectral Envelope
4.3 Cepstrum Spectral Envelope
4.4 Discrete Cepstrum Spectral Envelope
4.5 Improvements of the Discrete Cepstrum Method
4.5.1 Regularization
4.5.2 Stochastic Smoothing (The Cloud Method)
4.5.3 Logarithmic Frequency Scaling
4.5.4 Adding Points to Control the Envelope
4.6 Evaluation of Discrete Cepstrum Estimation
5. Representation of Spectral Envelopes
5.1 Requirements
5.2 Filter Coefficients
5.3 Spectral Representation
5.4 Geometric Representation
5.5 Formants
5.6 High Resolution Matching Pursuit
5.7 Wavelets
5.8 Summary and Chosen Methods
6. Manipulation of Spectral Envelopes
6.1 Interpolation
6.1.1 Interpolation between Spectral Envelopes
6.1.2 Shifting Formants
6.1.3 Shifting Fuzzy Formants
6.1.4 Interpolation between Precise Formants
6.1.5 Summary of Formant Interpolation
6.2 Amplitude Manipulations
6.3 Other Manipulations
7. Sound Synthesis with Spectral Envelopes
7.1 Additive Synthesis
7.2 Filtering
8. Implementation
8.1 Some Words about Software Engineering
8.2 The Architecture Notation
8.3 General Considerations for Library Development
8.3.1 Principles of Re-use
8.3.2 Testing
8.3.3 Error Handling in a Library
8.4 The Development of the Spectral Envelope Library
8.4.1 The Architecture
8.4.2 Going from Analysis to Implementation
8.4.3 Example of a Data Structure: The Spectral Envelope Class
8.5 The Spectral Envelope File Format
9. Applications
9.1 Controlling Additive Synthesis
9.2 Synthesis of the Singing Voice
9.3 Integration in Diphone
9.4 Application to Real-Time Signal Processing
9.5 Conversion between Spectral Envelopes and Images
9.6 Voice Synthesis by Rule
10. Conclusion and Perspectives
10.1 Summary of the Project
10.2 Perspectives of Future Research
10.2.1 Optimization of Spectral Representation
10.2.2 Wavelets for Representation
10.3 Possibilities of Artistic Application
11. Envelope Viewing Application
11.1 Usage
11.1.1 Running V
IEW
E
NV
11.1.2 Files and Curves
11.1.3 Other Functions in the Display Window
11.1.4 Parameters and the Control Window
11.1.5 The Manipulation Window
11.1.6 The Evaluation Window
11.2 Architecture
11.3 Utility Functions
11.3.1 Reading Sound Files
11.3.2 Reading Format Files
11.3.3 Reading SDIF Envelope Files
11.3.4 Miscellaneous
12. Spectral Envelope Library User Manual
12.1 Installation
12.1.1 Directory Structure
12.1.2 Building
12.1.3 Testing
12.2 Programs User Manual
12.2.1
estimate
12.2.2
modformat
12.2.3
convert
12.3 Library Functions User Manual
12.3.1 Error Handling
12.3.2 Message Handling
12.3.3 Parameter Passing
12.3.4 Function Reference
Bibliography
Index
Next:
List of Figures
Up:
Spectral Envelopes in Sound
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Spectral Envelopes in Sound
Diemo Schwarz
1998-09-07
