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Sam Perry
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\setkomafont{disposition}{\normalfont\fontsize{12}{17}\bfseries}
\setkomafont{section}{\normalfont\fontsize{12}{17}\bfseries}
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\maketitle
\begin{abstract}
A command-line tool is proposed for the exploration of a new form of audio
synthesis known as ``concatenative-synthesis'': A form of synthesis that uses
synthesis known as ``concatenative-synthesis'' (CS): A form of synthesis that uses
perceptual audio analyses to arrange small segments of audio based on their
characteristics. The tool is designed to synthesise representations of an
input sound using a database of source sounds. This involves the
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to as ``grains''). This representation of sound allows for the temporal
decomposition and re-arranging of real-world samples, with the potential to
create new ``complex, dynamically-evolving
sounds.''~\parencite[p.1]{itgs1988cr}\\
sounds.''~\parencite[p.1]{Roads1988}\\
Concatenative synthesis is a form of synthesis that has developed
significantly over the past 15 years, driven by recent advancements in
technology. Key advancements have been in easy access to large databases of
audio and the development of methods for extracting useful information from
these databases automatically~\parencite[p.1]{schwarz2006cstey}.
Concatenative synthesis utilises these technologies to provide a
content-based extension to granular
synthesis~\parencite[p.102]{schwarz2007cbcs}; by analysing a database of
source grains, grains can be differentiated based on their charcteristics.
These charachteristics can then be used for grain selection in the process
of synthesizing the output.
these databases automatically~\parencite[p.1]{Schwarz2006}. CS utilises
these technologies to provide a content-based extension to granular
synthesis; by analysing a database of source grains, grains can be
differentiated based on their charcteristics. These charachteristics can
then be used for grain selection in the process of synthesizing output for
a wide range of applications~\parencite[p.102]{Schwarz2007}.
\subsection*{Related Works}
A number of programs utilize concatenative synthesis to achieve various
goals. The process has been used for applications in areas such as:
\begin{itemize}
\item Speech Synthesis (Talkapillar)
\item Creative exploration of databases in a live performance context
(CCCombine, Riding the Waves)
\item Musical Instrument Synthesis (Synful)
\item Musical Sound Synthesis (CataRT, Catapillar)
\end{itemize}
A number of programs utilize CS to achieve various goals. The process has
been used for applications in areas such as Speech Synthesis, Instrument
synthesis and for applications in creative sound design.\\
The wide range of applications demonstrates the versatility of this
synthesis technique. It differs from traditional synthesis methods through
the use of real recorded samples. By transforming samples that have been
directly recorded from a source, the subtle nuances of the sources sound
are preserved. These would be difficult to reproduce using other synthetic
methods for modeling an instrument.~\parencite[p.24]{mrks2009csrs}
the use of real recorded samples, as opposed to traditional methods that
focus on defining sets of rules for emulating real sounds. By transforming
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}.
This is particularly important in speech Synthesis
\subsubsection*{Speech Synthesis}
Creating a natural and intelligible realisation is an important factor when
developing a speech synthesis system.*add part about continuity here* The
Talkapillar project is one such example of how highly convincing results
are possible with CS. Through careful analysis of a vocal database, the
project aims to impose the qualities of the database voice on an input
voice. This would result in the words of the input speaker being
transformed to appear as if they were spoken by the voice in the
database.~\parencite{Hueber}
Progress has also been made in instrument Synthesis
\subsubsection*{Instrument Synthesis}
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}.
There has also been considerable work on musical sound synthesis, where the
objective is not to emulate any real sound, but to explore the
possibilities for synthesizing new abstract sounds for creative purposes.
Perhaps the most advanced project in this area is CataRT;
\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)
\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.
\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}
\section*{Results and Evaluation}
\section*{Research Limitations/Potential Improvments}
\section*{Research Limitations/Potential Development}
Given the limited time frame and complexity of modern approaches to this
form of synthesis, only a basic implementation was possible.
Use of RPM?~\parencite[p.82]{Lindemann2007}
\section*{Conclusion}
\printbibliography
\end{document}