A Phase Vocoder based on Nonstationary Gabor Frames

We propose a new algorithm for time stretching music signals based on the theory of nonstationary Gabor frames (NSGFs). The algorithm extends the techniques of the classical phase vocoder (PV) by incorporating adaptive time-frequency (TF) representations and adaptive phase locking. The adaptive TF representations imply good time resolution for the onsets of attack transients and good frequency resolution for the sinusoidal components. We estimate the phase values only at peak channels and the remaining phases are then locked to the values of the peaks in an adaptive manner. During attack transients we keep the stretch factor equal to one and we propose a new strategy for determining which channels are relevant for reinitializing the corresponding phase values. In contrast to previously published algorithms we use a non-uniform NSGF to obtain a low redundancy of the corresponding TF representation. We show that with just three times as many TF coefficients as signal samples, artifacts such as phasiness and transient smearing can be greatly reduced compared to the classical PV. The proposed algorithm is tested on both synthetic and real world signals and compared with state of the art algorithms in a reproducible manner.Comment: 10 pages, 6 figure

Hardward and algorithm architectures for real-time additive synthesis

Additive synthesis is a fundamental computer music synthesis paradigm tracing its origins to the work of Fourier and Helmholtz. Rudimentary implementation linearly combines harmonic sinusoids (or partials) to generate tones whose perceived timbral characteristics are a strong function of the partial amplitude spectrum. Having evolved over time, additive synthesis describes a collection of algorithms each characterised by the time-varying linear combination of basis components to generate temporal evolution of timbre. Basis components include exactly harmonic partials, inharmonic partials with time-varying frequency or non-sinusoidal waveforms each with distinct spectral characteristics. Additive synthesis of polyphonic musical instrument tones requires a large number of independently controlled partials incurring a large computational overhead whose investigation and reduction is a key motivator for this work. The thesis begins with a review of prevalent synthesis techniques setting additive synthesis in context and introducing the spectrum modelling paradigm which provides baseline spectral data to the additive synthesis process obtained from the analysis of natural sounds. We proceed to investigate recursive and phase accumulating digital sinusoidal oscillator algorithms, defining specific metrics to quantify relative performance. The concepts of phase accumulation, table lookup phase-amplitude mapping and interpolated fractional addressing are introduced and developed and shown to underpin an additive synthesis subclass - wavetable lookup synthesis (WLS). WLS performance is simulated against specific metrics and parameter conditions peculiar to computer music requirements. We conclude by presenting processing architectures which accelerate computational throughput of specific WLS operations and the sinusoidal additive synthesis model. In particular, we introduce and investigate the concept of phase domain processing and present several “pipeline friendly” arithmetic architectures using this technique which implement the additive synthesis of sinusoidal partials

Computer Models for Musical Instrument Identification

PhDA particular aspect in the perception of sound is concerned with what is commonly termed as texture or timbre. From a perceptual perspective, timbre is what allows us to distinguish sounds that have similar pitch and loudness. Indeed most people are able to discern a piano tone from a violin tone or able to distinguish different voices or singers. This thesis deals with timbre modelling. Specifically, the formant theory of timbre is the main theme throughout. This theory states that acoustic musical instrument sounds can be characterised by their formant structures. Following this principle, the central point of our approach is to propose a computer implementation for building musical instrument identification and classification systems. Although the main thrust of this thesis is to propose a coherent and unified approach to the musical instrument identification problem, it is oriented towards the development of algorithms that can be used in Music Information Retrieval (MIR) frameworks. Drawing on research in speech processing, a complete supervised system taking into account both physical and perceptual aspects of timbre is described. The approach is composed of three distinct processing layers. Parametric models that allow us to represent signals through mid-level physical and perceptual representations are considered. Next, the use of the Line Spectrum Frequencies as spectral envelope and formant descriptors is emphasised. Finally, the use of generative and discriminative techniques for building instrument and database models is investigated. Our system is evaluated under realistic recording conditions using databases of isolated notes and melodic phrases

A Linear Hybrid Sound Generation of Musical Instruments using Temporal and Spectral Shape Features

The generation of a hybrid musical instrument sound using morphing has always been an area of great interest to the music world. The proposed method exploits the temporal and spectral shape features of the sound for this purpose. For an effective morphing the temporal and spectral features are found as they can capture the most perceptually salient dimensions of timbre perception, namely, the attack time and the distribution of spectral energy. A wide variety of sound synthesis algorithms is currently available. Sound synthesis methods have become more computationally efficient. Wave table synthesis is widely adopted by digital sampling instruments or samplers. The Over Lap Add method (OLA) refers to a family of algorithms that produce a signal by properly assembling a number of signal segments. In granular synthesis sound is considered as a sequence with overlaps of elementary acoustic elements called grains. The simplest morph is a cross-fade of amplitudes in the time domain which can be obtained through cross synthesis. A hybrid sound is generated with all these methods to find out which method gives the most linear morph. The result will be evaluated as an error measure which is the difference between the calculated and interpolated features. The extraction of morph in a perceptually pleasant manner is the ultimate requirement of the work. DOI: 10.17762/ijritcc2321-8169.16045

Algorithms and architectures for the multirate additive synthesis of musical tones

In classical Additive Synthesis (AS), the output signal is the sum of a large number of independently controllable sinusoidal partials. The advantages of AS for music synthesis are well known as is the high computational cost. This thesis is concerned with the computational optimisation of AS by multirate DSP techniques. In note-based music synthesis, the expected bounds of the frequency trajectory of each partial in a finite lifecycle tone determine critical time-invariant partial-specific sample rates which are lower than the conventional rate (in excess of 40kHz) resulting in computational savings. Scheduling and interpolation (to suppress quantisation noise) for many sample rates is required, leading to the concept of Multirate Additive Synthesis (MAS) where these overheads are minimised by synthesis filterbanks which quantise the set of available sample rates. Alternative AS optimisations are also appraised. It is shown that a hierarchical interpretation of the QMF filterbank preserves AS generality and permits efficient context-specific adaptation of computation to required note dynamics. Practical QMF implementation and the modifications necessary for MAS are discussed. QMF transition widths can be logically excluded from the MAS paradigm, at a cost. Therefore a novel filterbank is evaluated where transition widths are physically excluded. Benchmarking of a hypothetical orchestral synthesis application provides a tentative quantitative analysis of the performance improvement of MAS over AS. The mapping of MAS into VLSI is opened by a review of sine computation techniques. Then the functional specification and high-level design of a conceptual MAS Coprocessor (MASC) is developed which functions with high autonomy in a loosely-coupled master- slave configuration with a Host CPU which executes filterbanks in software. Standard hardware optimisation techniques are used, such as pipelining, based upon the principle of an application-specific memory hierarchy which maximises MASC throughput

Time-stretching using the instantaneous frequency distribution and partial tracking

This article presents a method of signal timescale modification using spectral analysis-resynthesis. It discusses an alternative technique for instantaneous frequency estimation, the Instantaneous Frequency Distribution (IFD). The partial tracking analysis employed in this process is explained in some detail, followed by a look into the resynthesis method. The article discusses this technique of time-stretching in comparison to the standard phase vocoder process. Performance details and specific aspects of this implementation are examined, including the C++ code for a time-stretching application

A review of differentiable digital signal processing for music and speech synthesis

The term “differentiable digital signal processing” describes a family of techniques in which loss function gradients are backpropagated through digital signal processors, facilitating their integration into neural networks. This article surveys the literature on differentiable audio signal processing, focusing on its use in music and speech synthesis. We catalogue applications to tasks including music performance rendering, sound matching, and voice transformation, discussing the motivations for and implications of the use of this methodology. This is accompanied by an overview of digital signal processing operations that have been implemented differentiably, which is further supported by a web book containing practical advice on differentiable synthesiser programming (https://intro2ddsp.github.io/). Finally, we highlight open challenges, including optimisation pathologies, robustness to real-world conditions, and design trade-offs, and discuss directions for future research