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

Sound and Automated Synthesis of Digital Stabilizing Controllers for Continuous Plants

Modern control is implemented with digital microcontrollers, embedded within a dynamical plant that represents physical components. We present a new algorithm based on counter-example guided inductive synthesis that automates the design of digital controllers that are correct by construction. The synthesis result is sound with respect to the complete range of approximations, including time discretization, quantization effects, and finite-precision arithmetic and its rounding errors. We have implemented our new algorithm in a tool called DSSynth, and are able to automatically generate stable controllers for a set of intricate plant models taken from the literature within minutes.Comment: 10 page

A Critical Analysis of Synthesizer User Interfaces for Timbre

In this paper, we review and analyse categories of user interface used in hardware and software electronic music synthesizers. Problems with the user specification and modification of timbre are discussed. Three principal types of user interface for controlling timbre are distinguished. A problem common to all three categories is identified: that the core language of each category has no well-defined mapping onto the task languages of subjective timbre categories as used by musicians

A Binaural Neuromorphic Auditory Sensor for FPGA: A Spike Signal Processing Approach

This paper presents a new architecture, design flow, and field-programmable gate array (FPGA) implementation analysis of a neuromorphic binaural auditory sensor, designed completely in the spike domain. Unlike digital cochleae that decompose audio signals using classical digital signal processing techniques, the model presented in this paper processes information directly encoded as spikes using pulse frequency modulation and provides a set of frequency-decomposed audio information using an address-event representation interface. In this case, a systematic approach to design led to a generic process for building, tuning, and implementing audio frequency decomposers with different features, facilitating synthesis with custom features. This allows researchers to implement their own parameterized neuromorphic auditory systems in a low-cost FPGA in order to study the audio processing and learning activity that takes place in the brain. In this paper, we present a 64-channel binaural neuromorphic auditory system implemented in a Virtex-5 FPGA using a commercial development board. The system was excited with a diverse set of audio signals in order to analyze its response and characterize its features. The neuromorphic auditory system response times and frequencies are reported. The experimental results of the proposed system implementation with 64-channel stereo are: a frequency range between 9.6 Hz and 14.6 kHz (adjustable), a maximum output event rate of 2.19 Mevents/s, a power consumption of 29.7 mW, the slices requirements of 11 141, and a system clock frequency of 27 MHz.Ministerio de Economía y Competitividad TEC2012-37868-C04-02Junta de Andalucía P12-TIC-130

Singing synthesis with an evolved physical model

A two-dimensional physical model of the human vocal tract is described. Such a system promises increased realism and control in the synthesis. of both speech and singing. However, the parameters describing the shape of the vocal tract while in use are not easily obtained, even using medical imaging techniques, so instead a genetic algorithm (GA) is applied to the model to find an appropriate configuration. Realistic sounds are produced by this method. Analysis of these, and the reliability of the technique (convergence properties) is provided

miMic: The microphone as a pencil

miMic, a sonic analogue of paper and pencil is proposed: An augmented microphone for vocal and gestural sonic sketching. Vocalizations are classified and interpreted as instances of sound models, which the user can play with by vocal and gestural control. The physical device is based on a modified microphone, with embedded inertial sensors and buttons. Sound models can be selected by vocal imitations that are automatically classified, and each model is mapped to vocal and gestural features for real-time control. With miMic, the sound designer can explore a vast sonic space and quickly produce expressive sonic sketches, which may be turned into sound prototypes by further adjustment of model parameters

The enigma of Vitruvian resonating vases and the relevance of the concept for today

The clarity of sound within Greek or Roman theatres (without any form of enhancement) will be impressive to any visitor. The seats arranged in curved rows around the circular orchestra form large horizontal reflecting surfaces. The paths of sound waves travel from the source (the actor or singer) to each of the listeners in a direct path (i.e. without obstruction or reflection). Vitruvius, however, claimed further enhancements could be made. In theatres, also, are copper vases and these are placed in chambers under the rows of seats in accordance with mathematical reckoning. The Greeks call them Echeia. The differences of the sounds which arise are combined into musical symphonies... … it becomes fuller, and reaches the audience with a richer and sweeter note. Vitruvius, on Architecture, Book I, – on training of architects, Loeb This paper explores the notion of intent and purpose behind the Vitruvian concept and also addresses an arguably more complex issue, that of a potential fusion between archaeology, science and art.Peer reviewe

Designing a novel virtual collaborative environment to support collaboration in design review meetings

Project review meetings are part of the project management process and are organised to assess progress and resolve any design conflicts to avoid delays in construction. One of the key challenges during a project review meeting is to bring the stakeholders together and use this time effectively to address design issues as quickly as possible. At present, current technology solutions based on BIM or CAD are information-centric and do not allow project teams to collectively explore the design from a range of perspectives and brainstorm ideas when design conflicts are encountered. This paper presents a system architecture that can be used to support multi-functional team collaboration more effectively during such design review meetings. The proposed architecture illustrates how information-centric BIM or CAD systems can be made human- and team-centric to enhance team communication and problem solving. An implementation of the proposed system architecture has been tested for its utility, likability and usefulness during design review meetings. The evaluation results suggest that the collaboration platform has the potential to enhance collaboration among multi-functional teams