There have been several attempts to synthesize the timbre in between two sounds. Several synthesis methods are reported to work well, but are not automatic throughout the whole process or are not precisely described if one wishes to trace the algorithm. An automatic algorithm of synthesizing morphed sounds and interpolated timbre has been reported. Two original sounds are analyzed using the M&Q algorithm. Correspondent partials of each sound are found using Dynamic Programming. Two synthesis methods are introduced using a sinusoidal model. One is to find correspondent partials within correspondent frames of two sounds. Then an interpolated partial of a new frame is calculated. Peak-to-peak match of sinusoidal parameters is done for a new frame and synthesized sounds are acquired. The other method is the one which changes the procedure sequence of the first method. Correspondence is considered for sequent partials and not a framewise signal. These two methods are compared with another simple synthesis method, that is, wave-to-wave interpolation of one pitch period. Total performance of sounds are discussed using subjective test results.
A physical model based on the sound production mechanism of the sho is proposed with intention of applying it to sound synthesis. Time-domain simulation was done using this model, and effects of the tube length and blowing pressure on the sounding frequency and sounds spectra were investigated. The reed vibration, pressure variation inside the tube, and threshold blowing pressure for oscillation were measured by artificially blowing air into the sho. The experimental results are in acceptable agreement with simulation results in terms of the relationships between tube length and threshold pressure and between tube length and the sounding frequency. In addition, recorded sound waveforms and simulated ones have a common feature in the sense that high-frequency components of their spectra increase with increasing blowing pressure. Further, it is concluded that a sho reed acts as an "outward-striking valve."
This paper proposes a synthesis framework for sound hybridization that creates sho-like sounds with articulations that are the same as that of a given input signal. This approach has three components: acoustic feature extraction, physical parameter estimation, and waveform synthesis. During acoustic feature extraction, the amplitude and fundamental frequency of the input signal are extracted, and in the parameter estimation stage these values are converted to control parameters for the physical model. Then, using these control parameters, a sound waveform is calculated during the synthesis stage. Based on the proposed method, a mapping function between acoustical parameters and physical parameters was determined using recorded sho sounds. Then, sounds with various articulations were synthesized using several kinds of instrumental tones. As a result, sounds with natural frequency and amplitude variations such as vibrato and portamento were created. The proposed method was used in music composition and proved to be effective.
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