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

Algorithms and VLSI architectures for parametric additive synthesis

A parametric additive synthesis approach to sound synthesis is advantageous as it can model sounds in a large scale manner, unlike the classical sinusoidal additive based synthesis paradigms. It is known that a large body of naturally occurring sounds are resonant in character and thus fit the concept well. This thesis is concerned with the computational optimisation of a super class of form ant synthesis which extends the sinusoidal parameters with a spread parameter known as band width. Here a modified formant algorithm is introduced which can be traced back to work done at IRCAM, Paris. When impulse driven, a filter based approach to modelling a formant limits the computational work-load. It is assumed that the filter's coefficients are fixed at initialisation, thus avoiding interpolation which can cause the filter to become chaotic. A filter which is more complex than a second order section is required. Temporal resolution of an impulse generator is achieved by using a two stage polyphase decimator which drives many filterbanks. Each filterbank describes one formant and is composed of sub-elements which allow variation of the formant’s parameters. A resource manager is discussed to overcome the possibility of all sub- banks operating in unison. All filterbanks for one voice are connected in series to the impulse generator and their outputs are summed and scaled accordingly. An explorative study of number systems for DSP algorithms and their architectures is investigated. I invented a new theoretical mechanism for multi-level logic based DSP. Its aims are to reduce the number of transistors and to increase their functionality. A review of synthesis algorithms and VLSI architectures are discussed in a case study between a filter based bit-serial and a CORDIC based sinusoidal generator. They are both of similar size, but the latter is always guaranteed to be stable

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

On the synthesis and processing of high quality audio signals by parallel computers

This work concerns the application of new computer architectures to the creation and manipulation of high-quality audio bandwidth signals. The configuration of both the hardware and software in such systems falls under consideration in the three major sections which present increasing levels of algorithmic concurrency. In the first section, the programs which are described are distributed in identical copies across an array of processing elements; these programs run autonomously, generating data independently, but with control parameters peculiar to each copy: this type of concurrency is referred to as isonomic}The central section presents a structure which distributes tasks across an arbitrary network of processors; the flow of control in such a program is quasi- indeterminate, and controlled on a demand basis by the rate of completion of the slave tasks and their irregular interaction with the master. Whilst that interaction is, in principle, deterministic, it is also data-dependent; the dynamic nature of task allocation demands that no a priori knowledge of the rate of task completion be required. This type of concurrency is called dianomic? Finally, an architecture is described which will support a very high level of algorithmic concurrency. The programs which make efficient use of such a machine are designed not by considering flow of control, but by considering flow of data. Each atomic algorithmic unit is made as simple as possible, which results in the extensive distribution of a program over very many processing elements. Programs designed by considering only the optimum data exchange routes are said to exhibit systolic^ concurrency. Often neglected in the study of system design are those provisions necessary for practical implementations. It was intended to provide users with useful application programs in fulfilment of this study; the target group is electroacoustic composers, who use digital signal processing techniques in the context of musical composition. Some of the algorithms in use in this field are highly complex, often requiring a quantity of processing for each sample which exceeds that currently available even from very powerful computers. Consequently, applications tend to operate not in 'real-time' (where the output of a system responds to its input apparently instantaneously), but by the manipulation of sounds recorded digitally on a mass storage device. The first two sections adopt existing, public-domain software, and seek to increase its speed of execution significantly by parallel techniques, with the minimum compromise of functionality and ease of use. Those chosen are the general- purpose direct synthesis program CSOUND, from M.I.T., and a stand-alone phase vocoder system from the C.D.P..(^4) In each case, the desired aim is achieved: to increase speed of execution by two orders of magnitude over the systems currently in use by composers. This requires substantial restructuring of the programs, and careful consideration of the best computer architectures on which they are to run concurrently. The third section examines the rationale behind the use of computers in music, and begins with the implementation of a sophisticated electronic musical instrument capable of a degree of expression at least equal to its acoustic counterparts. It seems that the flexible control of such an instrument demands a greater computing resource than the sound synthesis part. A machine has been constructed with the intention of enabling the 'gestural capture' of performance information in real-time; the structure of this computer, which has one hundred and sixty high-performance microprocessors running in parallel, is expounded; and the systolic programming techniques required to take advantage of such an array are illustrated in the Occam programming language

Real-time sound synthesis on a multi-processor platform

Real-time sound synthesis means that the calculation and output of each sound sample for a channel of audio information must be completed within a sample period. At a broadcasting standard, a sampling rate of 32,000 Hz, the maximum period available is 31.25 μsec. Such requirements demand a large amount of data processing power. An effective solution for this problem is a multi-processor platform; a parallel and distributed processing system. The suitability of the MIDI [Music Instrument Digital Interface] standard, published in 1983, as a controller for real-time applications is examined. Many musicians have expressed doubts on the decade old standard's ability for real-time performance. These have been investigated by measuring timing in various musical gestures, and by comparing these with the subjective characteristics of human perception. An implementation and its optimisation of real-time additive synthesis programs on a multi-transputer network are described. A prototype 81-polyphonic-note- organ configuration was implemented. By devising and deploying monitoring processes, the network's performance was measured and enhanced, leading to an efficient usage; the 88-note configuration. Since 88 simultaneous notes are rarely necessary in most performances, a scheduling program for dynamic note allocation was then introduced to achieve further efficiency gains. Considering calculation redundancies still further, a multi-sampling rate approach was applied as a further step to achieve an optimal performance. The theories underlining sound granulation, as a means of constructing complex sounds from grains, and the real-time implementation of this technique are outlined. The idea of sound granulation is quite similar to the quantum-wave theory, "acoustic quanta". Despite the conceptual simplicity, the signal processing requirements set tough demands, providing a challenge for this audio synthesis engine. Three issues arising from the results of the implementations above are discussed; the efficiency of the applications implemented, provisions for new processors and an optimal network architecture for sound synthesis

Analysis and resynthesis of polyphonic music

This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical examples, and critically assess its performance and limitations. I then address these issues in the design of a second system based on Gabor wavelets. I conclude by summarising the research and outlining suggestions for future developments

Design of a Scalable Polyphony-MIDI Synthesizer for a Low Cost DSP

Tässä diplomityössä esitetään Scalable Polyphony-MIDI-standardin soitinvalikoiman toteuttavan musiikkisyntetisaattorin suunnittelu edulliselle signaaliprosessorille. Ensiksi esitellään SPMIDI- standardi ja käytettävä signaaliprosessori. Sen jälkeen kerrataan yleisesti käytössä olevia synteesitekniikoita, ja niiden soveltuvuutta järjestelmiin, joissa laskentateho ja muistin määrä ovat rajoittuneita. Seuraavaksi käydään yksityiskohtaisesti läpi vähentävässä synteesissä käytettäviä oskillaattori- ja suodintekniikoita. Erityistä huomiota kiinnitetään laskostumiseen, joka johtuu perinteisissä aaltomuodoissa, kuten sahalaita- ja pulssi-aallossa, olevista epäjatkuvuuksista, ja olemassa olevia kaistarajoitettuja aaltomuotosynteesimenetelmiä kerrataan. Tämän jälkeen kerrataan olemassaolevia rakenteita laskennallisesti tehokkaille aikavarianteille suotimille. Kokonaan uusi, rajataajuuden ja resonanssin ohjauksen erottava, suodinrakenne esitellään. Analogiseen Korg MS-20-alipäästösuotimeen perustuva rakenne on laskennallisesti erittäin tehokas ja soveltuu hyvin toteutettavaksi vähäbittisillä arkkitehtuureilla. Lopuksi käsitellään toteutukseen liittyviä yksityiskohtia kiinnittäen erityistä huomiota differentioituun paraabeliaaltoon ja MS-20-suotimeen ja rajoitetun laskentakapasiteetin ja laskentaresoluution vaikutuksiin. Tämän jälkeen esitetään joidenkin esimerkkisoitinten toteutus.In this thesis, the design of a music synthesizer implementing the Scalable Polyphony-MIDI soundset on a low cost DSP system is presented. First, the SP-MIDI standard and the target DSP platform are presented followed by review of commonly used synthesis techniques and their applicability to systems with limited computational and memory resources. Next, various oscillator and filter algorithms used in digital subtractive synthesis are reviewed in detail. Special attention is given to the aliasing problem caused by discontinuities in classical waveforms, such as sawtooth and pulse waves and existing methods for bandlimited waveform synthesis are presented. This is followed by review of established structures for computationally efficient time-varying filters. A novel digital structure is presented that decouples the cutoff and resonance controls. The new structure is based on the analog Korg MS-20 lowpass filter and is computationally very efficient and well suited for implementation on low bitdepth architectures. Finally, implementation issues are discussed with emphasis on the Differentiated Parabole Wave oscillator and MS-20 filter structures and the effects of limited computational capability and low bitdepth. This is followed by designs for several example instruments

Algorithm and architecture for simultaneous diagonalization of matrices applied to subspace-based speech enhancement

This thesis presents algorithm and architecture for simultaneous diagonalization of matrices. As an example, a subspace-based speech enhancement problem is considered, where in the covariance matrices of the speech and noise are diagonalized simultaneously. In order to compare the system performance of the proposed algorithm, objective measurements of speech enhancement is shown in terms of the signal to noise ratio and mean bark spectral distortion at various noise levels. In addition, an innovative subband analysis technique for subspace-based time-domain constrained speech enhancement technique is proposed. The proposed technique analyses the signal in its subbands to build accurate estimates of the covariance matrices of speech and noise, exploiting the inherent low varying characteristics of speech and noise signals in narrow bands. The subband approach also decreases the computation time by reducing the order of the matrices to be simultaneously diagonalized. Simulation results indicate that the proposed technique performs well under extreme low signal-to-noise-ratio conditions. Further, an architecture is proposed to implement the simultaneous diagonalization scheme. The architecture is implemented on an FPGA primarily to compare the performance measures on hardware and the feasibility of the speech enhancement algorithm in terms of resource utilization, throughput, etc. A Xilinx FPGA is targeted for implementation. FPGA resource utilization re-enforces on the practicability of the design. Also a projection of the design feasibility for an ASIC implementation in terms of transistor count only is include