Introduction to Granular Synthesis

Roads, Curtis

doi:10.2307/3679937

Cited by 47 publications

(25 citation statements)

References 3 publications

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“…D'autres sources d'inspiration pour la synthèse concaténative sont la composition musicale par collage manuel, pratiquée depuis le milieu du 20 ème siècle par les compositeurs de musique concrète à partir de Pierre Schaeffer (Schaeffer, 1966) et d'autres artistes (Oswald, 1993). La synthèse granulaire (Roads, 1988) permet également une exploration en temps réel d'un enregistrement sonore avec déplacement libre de la tête de lecture sur les grains (petites particules sonores) en fonction de leur position temporelle dans l'enregistrement. Le principe de la synthèse par corpus en temps réel pourrait donc être vu comme une extension de la synthèse granulaire basée sur le contenu, où le seul mode d'accès par position temporelle dans un son est augmenté par un accès ciblé à un ensemble de sons contrôlés par leurs caractéristiques sonores.…”

Section: Principes De Baseunclassified

Sample Orchestrator : gestion par le contenu d’échantillons sonores

Vinet¹,

Assayag²,

Burred

et al. 2011

Traitement du signal

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RÉSUMÉ. Nous présentons les principaux travaux menés dans le projet Sample Orchestrator, destiné au développement de fonctions innovantes de manipulation d'échantillons sonores. Celles-ci se fondent sur des études consacrées à la description des sons, c'est-à-dire à la formalisation de structures de données pertinentes pour caractériser le contenu et l'organisation des sons. Ces travaux ont été appliqués à l'indexation automatique des sons, ainsi qu'à la réalisation d'applications inédites pour la création musicale -synthèse sonore interactive par corpus et aide informatisée à l'orchestration. Le projet a aussi comporté un important volet consacré au traitement de haute qualité des sons, à travers plusieurs RÉSUMÉ ÉTENDU EN ANGLAISThe Sample Orchestrator R&D project was aimed at the development of innovative functions for the content-based manipulation of sound samples. Its main objectives and advances are summarized hereinafter. Sound description and automatic indexingThis objective concerns the development of new heuristics for managing sample databases. The sound description issue involves a top-down process for elaborating representations of the sound world relevant to the human cognition. Recent studies define three levels for sound similarity: semantic, causal and acoustic. Causal relates to the sound production in terms of sources and actions. For each homogeneous sound set, a specific timbre space, with dimensions directly correlated to acoustical attributes, can be obtained. A first study consisted in performing a meta-analysis of timbre spaces resulting from several studies related to different sound corpora. A second study was dedicated to an experience of categorization of a given corpus of environmental sounds targeted to the materials of the sources. The results show a good correlation between the experimental data and the actual categories. Three labeled corpora were elaborated from these experiences: Materials, Reduced materials and Onomatopoeia.The second stage, automatic indexing, aimed at building a signal model of the classes in order to perform the automatic classification of new sounds from the analysis of their signals. First, an extensive set of audio descriptors, combining several models (spectral, harmonic, perceptual) was elaborated and implemented as the IrcamDescriptor library. For the learning phase of classification, an algorithm provides a selection of descriptors for a given set of classes. After applying an LDA, various supervised classification methods were evaluated. The best results were obtained with an SVM, with accuracies and f-measures greater than 70% for the 3 formerly produced corpora.A last study concerned the categorization of sound morphologies. 6 classes emerged from an experience on intensity profiles and very good results were obtained for the automatic classification with a binary decision tree operating on selected descriptors. High-quality sound processingThis objective consisted in extending the phase vocoder model for high-quality sound processing. The model...

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Section: Principes De Baseunclassified

Sample Orchestrator : gestion par le contenu d’échantillons sonores

Vinet¹,

Assayag²,

Burred

et al. 2011

Traitement du signal

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“…Granular synthesis consists in adding grains in order to obtain granular sounds [28]. The two most important parameters for the sound are the position of the grains and their shape.…”

Section: 22mentioning

confidence: 99%

Design and Use of Some New Digital Musical Instruments

Arfib¹,

Kessous²

2004

Gesture-Based Communication in Human-Computer Interaction

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Abstract. This article presents some facts about the use of gesture in computer music, more specifically in home made instruments dedicated to performance on stage. We first give some theoretical and practical ideas to design an instrument, in the following areas: the sound, the gesture and the mapping. Then, we introduce three examples of digital instruments we have created, focusing on their design and their musical use.

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“…General additive models have been under consideration in the field of computer music since its inception [70,155,197,198,199]. The basic idea of such additive synthesis is that a complex sound can be constructed by accumulating a large number of simple sounds.…”

Section: Signal Representationsmentioning

confidence: 99%

Adaptive Signal Models

Goodwin¹

1998

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Introduction to Granular Synthesis

Cited by 47 publications

References 3 publications

Sample Orchestrator : gestion par le contenu d’échantillons sonores

Sample Orchestrator : gestion par le contenu d’échantillons sonores

Design and Use of Some New Digital Musical Instruments

Adaptive Signal Models

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