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2. Introduction
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Spectral Envelopes in Sound
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List of Figures
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2.1 Conversion of an analog to a time-discrete signal (
sampling
)
2.2 Conversion of a time-discrete to a digital signal (
quantization
)
2.3 Result of A/D conversion
2.4 Convolution of a discrete signal
x
(
n
) with a signal
h
(
n
).
2.5 A general linear time-invariant system.
2.6 Filtering in the frequency-domain.
2.7 Overlapping Hamming windows
2.14 Spectrum of a clarinet played at 440 Hz (a purely harmonic sound)
2.15 Spectrum of a shakuhachi flute (a harmonic sound with noise)
2.16 Spectrum of a bell sound (an inharmonic spectrum)
2.17 Spectrum of a shakuhachi flute and partials found by additive analysis
2.18 Spectrum of the resynthesized sinusoidal part of a shakuhachi flute
2.19 Spectrum of the non-sinusoidal residual noise of a shakuhachi flute
2.20 Spectrum and spectral envelope of a clarinet
2.21 Spectrum and spectral envelope of a piano
2.22 Spectrum and spectral envelope of a violin
2.23 Spectrum and spectral envelope of a the vowel /e/
2.24 Spectrum and spectral envelope of a the vowel /a/
2.25 Spectrum and spectral envelope of a the vowel /o/
2.26 Transposition of voice without spectral envelope correction
2.27 Transposition of voice with spectral envelope correction
2.28 Transposition of voice: spectral envelopes with and without correction
2.31 Saggital cross section of the vocal tract
2.32 Source-filter model of speech production
2.33 Acoustic tube model of the vocal tract
3.1 LPC-analysis and synthesis for transmission
3.9 Cloud of points around the original partial generated by stochastic smoothing.
3.13 Principle of evaluation of the discrete cepstrum method
4.1 Geometric representations of spectral envelopes
4.2 A FOF, a precise formant, and a fuzzy formant with their parameters
5.1 General manipulation of spectral envelopes
5.2 Interpolation, the most important type of manipulation of spectral envelopes
5.3 Linear interpolation within a spectral envelope
5.4 Formant interpolation versus formant shift
5.5 Interpolation of formants by horizontal interpolation of the integral
5.6 Interpolation of two formants by horizontal interpolation of the integral
5.7 Skew functions
6.1 Synthesis with a modifying spectral envelope
7.1 The classic waterfall model of software development
7.2 The extended waterfall model of software development
7.3 The working area model of a software development
7.4 Relations between functional module classes
7.5 Relations between data classes
h
7.6 Usage relation for functional classes and data classes
7.7 Top level data flow diagram of the spectral envelope library
7.8 The
Sound Data
class, its subclasses and the transformations between them
7.9 The
Spectral Envelope
data class and its subclasses
7.10 The
Estimation
functional class and its subclasses
7.11 The subclasses of
Estimation
with data flows
7.12 The
Synthesis
functional class and its subclasses
7.13 The subclasses of
Synthesis
with data flow
7.14 The
Interpolation
functional class and its subclasses
7.15 The subclasses of
Interpolation
with data flow
The class and its subclasses
8.1 Example for converting between spectral envelopes and images
p
p
9.1 An artificial spectral envelope
9.2 The inflection points of the spectral envelope
2.3 The derivation and reference relations in the control window
3.1 Optimal class design for V
IEW
E
NV
.
3.2 Feasible class design for V
IEW
E
NV
.
Next:
2. Introduction
Up:
Spectral Envelopes in Sound
Previous:
Contents
Diemo Schwarz
1998-09-07
