Audio Analysis/synthesis System

A method and apparatus for the automatic analysis, synthesis and modification of audio signals, based on an overlap-add sinusoidal model, is disclosed. Automatic analysis of amplitude, frequency and phase parameters of the model is achieved using an analysis-by-synthesis procedure which incorporates successive approximation, yielding synthetic waveforms which are very good approximations to the original waveforms and are perceptually identical to the original sounds. A generalized overlap-add sinusoidal model is introduced which can modify audio signals without objectionable artifacts. In addition, a new approach to pitch-scale modification allows for the use of arbitrary spectral envelope estimates and addresses the problems of high-frequency loss and noise amplification encountered with prior art methods. The overlap-add synthesis method provides the ability to synthesize sounds with computational efficiency rivaling that of synthesis using the discrete short-time Fourier transform (DSTFT) while eliminating the modification artifacts associated with that method.Georgia Tech Research Corporatio

Modelling and extraction of fundamental frequency in speech signals

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.One of the most important parameters of speech is the fundamental frequency of vibration of voiced sounds. The audio sensation of the fundamental frequency is known as the pitch. Depending on the tonal/non-tonal category of language, the fundamental frequency conveys intonation, pragmatics and meaning. In addition the fundamental frequency and intonation carry speaker gender, age, identity, speaking style and emotional state. Accurate estimation of the fundamental frequency is critically important for functioning of speech processing applications such as speech coding, speech recognition, speech synthesis and voice morphing. This thesis makes contributions to the development of accurate pitch estimation research in three distinct ways: (1) an investigation of the impact of the window length on pitch estimation error, (2) an investigation of the use of the higher order moments and (3) an investigation of an analysis-synthesis method for selection of the best pitch value among N proposed candidates. Experimental evaluations show that the length of the speech window has a major impact on the accuracy of pitch estimation. Depending on the similarity criteria and the order of the statistical moment a window length of 37 to 80 ms gives the least error. In order to avoid excessive delay as a consequence of using a longer window, a method is proposed ii where the current short window is concatenated with the previous frames to form a longer signal window for pitch extraction. The use of second order and higher order moments, and the magnitude difference function, as the similarity criteria were explored and compared. A novel method of calculation of moments is introduced where the signal is split, i.e. rectified, into positive and negative valued samples. The moments for the positive and negative parts of the signal are computed separately and combined. The new method of calculation of moments from positive and negative parts and the higher order criteria provide competitive results. A challenging issue in pitch estimation is the determination of the best candidate from N extrema of the similarity criteria. The analysis-synthesis method proposed in this thesis selects the pitch candidate that provides the best reproduction (synthesis) of the harmonic spectrum of the original speech. The synthesis method must be such that the distortion increases with the increasing error in the estimate of the fundamental frequency. To this end a new method of spectral synthesis is proposed using an estimate of the spectral envelop and harmonically spaced asymmetric Gaussian pulses as excitation. The N-best method provides consistent reduction in pitch estimation error. The methods described in this thesis result in a significant improvement in the pitch accuracy and outperform the benchmark YIN method

Examining the Oscillator Waveform Animation Effect

An enhancing effect that can be applied to analogue oscillators in subtractive synthesizers is termed Animation, which is an efficient way to create a sound of many closely detuned oscillators playing in unison. This is often referred to as a supersaw oscillator. This paper first explains the operating principle of this effect using a combination of additive and frequency modulation synthesis. The Fourier series will be derived and results will be presented to demonstrate its accuracy. This will then provide new insights into how other more general waveform animation processors can be designed

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

Modeling and frequency tracking of marine mammal whistle calls

Submitted in partial fulfillment of the requirements for the degree of Master of Science at the Massachusetts Institute of Technology and the Woods Hole Oceanographic Institution February 2009Marine mammal whistle calls present an attractive medium for covert underwater communications. High quality models of the whistle calls are needed in order to synthesize natural-sounding whistles with embedded information. Since the whistle calls are composed of frequency modulated harmonic tones, they are best modeled as a weighted superposition of harmonically related sinusoids. Previous research with bottlenose dolphin whistle calls has produced synthetic whistles that sound too “clean” for use in a covert communications system. Due to the sensitivity of the human auditory system, watermarking schemes that slightly modify the fundamental frequency contour have good potential for producing natural-sounding whistles embedded with retrievable watermarks. Structured total least squares is used with linear prediction analysis to track the time-varying fundamental frequency and harmonic amplitude contours throughout a whistle call. Simulation and experimental results demonstrate the capability to accurately model bottlenose dolphin whistle calls and retrieve embedded information from watermarked synthetic whistle calls. Different fundamental frequency watermarking schemes are proposed based on their ability to produce natural sounding synthetic whistles and yield suitable watermark detection and retrieval