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Finished first draft of background

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Sam Perry
2016-08-25 14:07:34 +01:00
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Journal_Article.tex
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\documentclass{scrartcl}
\usepackage{enumitem}
\usepackage[british]{babel}
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\graphicspath{{./resources/}}
\addbibresource{~/PerryPerrySource/LaTeX/library.bib}
\usepackage{etoolbox}
\makeatletter
\expandafter\patchcmd\csname\string\maketitle\endcsname
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Progress has also been made in improving the quality of instrument
synthesis. As with speech synthesis, the use of samples directly allows for
natural sounding results, which provides a method for reproducing real
instruments convincingly. An important aspect of instrument synthesis is
that of performer expression. The reproduction of performance qualities
such as dynamics, timbre and timing are an important factor and CS has been
used to effectively reproduce these aspects. This is achieved through
splicing of grains based on their characteristics to form musical phrases.
Just as a performer might transition seamlessly from one musical phrase to
the next, the CS software will join grains to produce the varying
articulations and transitions. This contrasts the traditional approach to
sampling, where samples are played in isolation, resulting in a
discontinuity between adjacent samples. The comercial software synthesizer
``Synful'' (\url{www.synful.com}) successfully demonstrates the use of
CS to produce highly convincing recreations of orchestral instrument
performances.~\parencite[p.82]{Lindemann2007}.
instruments convincingly.\\
Another important aspect of instrument synthesis is that of performer
expression. The reproduction of performance qualities such as dynamics,
timbre and timing are essential when emulating a real instrument and CS has
been used to effectively reproduce these aspects. This is achieved through
splicing of grains based on their expressive characteristics to form
musical phrases. For example, just as a violinist might transition
seamlessly from one articulation to the next, the CS software will join
grains to produce the varyation in articulations. This contrasts the
traditional approach to sampling, where samples are played in isolation,
resulting in a discontinuity between adjacent samples. The comercial
software synthesizer ``Synful'' (\url{www.synful.com}) successfully
demonstrates the use of CS to produce highly convincing recreations of
orchestral instrument performances in real-time.
~\parencite[p.82]{Lindemann2007}.
\subsubsection*{Creative Sound Design}
The flexibilty of CS allows for creativity in a broader context than simply
emulating real-world instruments and speech. It can also be used as a tool
to explore the possibilities for synthesizing new abstract sounds for
creative purposes.
One example of this is Tremblay and Schwarz's~\citeyearpar{Tremblay2010}
use of ``audio mosaicing'' to explore electroacoustic sample banks. CS is
used in this context as a means for synthesizing matches in a corpus
database to real-time input from an electric bass. Significance is placed
on linking the playback of grains to the expressivity of the performer. The
use of perceptualy based audio descriptors to match the source to the
target allows the performer to navigate the database intuitively based on
factors such as the pitch and timbre of the bass guitar. The result is a
performance that mixes characteristics of both the bass guitar performance
and the qualities of the corpus database to create a hybrid of the two.
further forms of concatenative synthesis techniques include: Spectral resynthesis (see tremblay sect 4.1.2)
creative purposes.\\
A prominent project in this area of CS is IRCAM's CataRT project *needs
reference*. The project focuses on the playback of source grains based on
their proximity to a target in multi-dimensional descriptor space.
By providing a target point in the descriptor space, the user is able to
navigate the database, playing selections of samples that are nearest to
the target. This allows the user to explore the database intuitively
through a graphic user interface, selecting a point in 2-dimensional space
with the mouse. Grains are then played back in real-time to create an
``audio mosaic''.\\
Alternatively, target audio can be provided and analysed to create a target
location based on it's location in the descriptor space. Tremblay and
Schwarz's~\citeyearpar{Tremblay2010} use of CataRT to explore
electroacoustic sample banks demonstrates the creative potential of this
method. CS is used in this context as a means for synthesizing matches in a
corpus database to real-time input from an electric bass. Significance is
placed on linking the playback of grains to the expressivity of the
performer. The use of perceptualy based audio descriptors to match the
source to the target allows the performer to navigate the database
naturally based on factors such as the pitch and timbre of the bass
guitar. The result is a performance that mixes characteristics of both the
bass guitar output and the qualities of the corpus database to create a
hybrid of the two.
\section*{Concatenator Program Design and Implementation}
Aims:
instrument resynthesis onto a pre-existing source sound, rather than from scratch onto things like midi notes.
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
\subsection*{Framework Design}
\subsection*{Descriptor Implementation}
\subsection*{Matching Algorithms}
\subsection*{Synthesis and Transformations}
\subsection*{Command line Interface}
High quantity of parameters is very time consuming ~\parencite{Petrushin2007}
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Given the limited time frame and complexity of modern approaches to this
form of synthesis, only a basic implementation was possible.
Spectral matching~\parencite{Hoffman2009}
Use of RPM?~\parencite[p.82]{Lindemann2007}
Viterbi path search~\parencite[p.1]{Schwarz2006a}
\section*{Conclusion}