Finished Concatenator intro
This commit is contained in:
+28
-10
@@ -24,7 +24,7 @@
|
||||
\setkomafont{subsubsection}{\normalfont\fontsize{12}{17}\itshape}
|
||||
|
||||
\graphicspath{{./resources/}}
|
||||
\addbibresource{~/PerryPerrySource/LaTeX/library.bib}
|
||||
\addbibresource{~/Documents/library.bib}
|
||||
|
||||
\usepackage{etoolbox}
|
||||
\makeatletter
|
||||
@@ -104,7 +104,7 @@
|
||||
samples that have been directly recorded from a source, the subtle nuances
|
||||
of the source's sound are preserved. These would be difficult to reproduce
|
||||
using other synthetic methods for modeling an
|
||||
instrument~\parencite[p.24]{Maestre2009a}.
|
||||
instrument~\parencite[p.24]{Maestre2009}.
|
||||
|
||||
\subsection*{Speech Synthesis}
|
||||
Creating a natural and intelligible realisation is an important factor when
|
||||
@@ -188,20 +188,38 @@
|
||||
the framework was written in the Python programming language. Python has
|
||||
grown in popularity in the scientific community recently, primarily due to
|
||||
it's focus on productivity, readability and the large number of efficient
|
||||
numeric processing libraries (Numpy, SciPy, Scikitlearn etc...)
|
||||
available~\parencite[p.11]{Fangohr2014}. This makes Python a good choice
|
||||
for quickly developing ideas in the context of audio signal processing.
|
||||
numeric processing libraries available (Numpy, SciPy, Scikitlearn
|
||||
etc...)~\parencite[p.11]{Fangohr2014}. This makes Python a good choice for
|
||||
quickly developing ideas in the context of audio signal processing.
|
||||
Unfortunatley, the language does sacrafice processing speed for simplicity
|
||||
and as a result is not suitable for real-time signal processing. Other
|
||||
performance focused languages such as C++ are better suited to this type of
|
||||
processing. However, it was decided that the increase in productivity, lack
|
||||
of prior CS research and the author's previous experience in the language,
|
||||
made it the most suitable choice for this project.
|
||||
|
||||
Offline processing to allow for large databases to be used - disadvantage: loss of feedback between performer and system, as described in PA's paper.
|
||||
advantage: Real-time approach results in reduced continuity of grains
|
||||
of prior CS research and the author's previous experience in Python,
|
||||
made it the most suitable choice for this project.\\
|
||||
|
||||
The choice to limit the project to offline processing has both positive and
|
||||
negative implications on the function of the project. A key disadvantage to
|
||||
this type of processing is the lack of possibility for any live performance
|
||||
aspect. This method provides no way of exploring the feedback between
|
||||
performer and system in a live environment, comparable to the work of
|
||||
Tremblay and Schwarz's~\citeyearpar{Tremblay2010}.
|
||||
However, there are advantages to offline processing that would not be
|
||||
possible in a real-time context.\\
|
||||
One significant advantage is that databases can afford to be far larger
|
||||
than they could in real time. Without the requirement to process output in
|
||||
a short period of time, more time can be taken to search vast databases in
|
||||
the hope that the closest match to a target will be found.\\
|
||||
Another advantage is in the global view of a target that can be taken in an
|
||||
offline approach. Because the complete audio file is available from the
|
||||
start of processing, techniques can be applied that consider the output as
|
||||
a whole rather than on a grain by grain basis. This allows for algorithms
|
||||
such as the viterbi algorithm to find the sequence of grains that provide
|
||||
the best continuity, as demonstarted in the Catapillar
|
||||
project~\parencite[p.4]{Schwarz2003} This would not be possible in
|
||||
real-time, as audio is processed on the fly.
|
||||
|
||||
|
||||
instrument resynthesis onto a pre-existing source sound, rather than from scratch onto things like midi notes.
|
||||
|
||||
|
||||
|
||||
Reference in New Issue
Block a user