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Journal_Article.tex

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+\setkomafont{subsubsection}{\normalfont\fontsize{12}{17}\itshape}
-\usepackage{titlesec} 
 
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+\addbibresource{~/PerryPerrySource/LaTeX/library.bib}
 
 
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@@ -50,10 +49,9 @@
 
     \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
@@ -85,58 +83,100 @@
     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}.
+    these databases automatically~\parencite[p.1]{Schwarz2006}.  CS utilises
-    Concatenative synthesis utilises these technologies to provide a
+    these technologies to provide a content-based extension to granular
-    content-based extension to granular
+    synthesis; by analysing a database of source grains, grains can be
-    synthesis~\parencite[p.102]{schwarz2007cbcs}; by analysing a database of
+    differentiated based on their charcteristics.  These charachteristics can
-    source grains, grains can be differentiated based on their charcteristics.
+    then be used for grain selection in the process of synthesizing output for
-    These charachteristics can then be used for grain selection in the process
+    a wide range of applications~\parencite[p.102]{Schwarz2007}.
-    of synthesizing the output.
 
     \subsection*{Related Works}
-    A number of programs utilize concatenative synthesis to achieve various
+    A number of programs utilize CS to achieve various goals. The process has
-    goals. The process has been used for applications in areas such as: 
+    been used for applications in areas such as Speech Synthesis, Instrument
-    \begin{itemize}
+    synthesis and for applications in creative sound design.\\
-        \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}
-
     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
+    the use of real recorded samples, as opposed to traditional methods that
-    directly recorded from a source, the subtle nuances of the sources sound
+    focus on defining sets of rules for emulating real sounds. By transforming
-    are preserved. These would be difficult to reproduce using other synthetic
+    samples that have been directly recorded from a source, the subtle nuances
-    methods for modeling an instrument.~\parencite[p.24]{mrks2009csrs}
+    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
+    \subsubsection*{Creative Sound Design}
-    objective is not to emulate any real sound, but to explore the
+    The flexibilty of CS allows for creativity in a broader context than simply
-    possibilities for synthesizing new abstract sounds for creative purposes.
+    emulating real-world instruments and speech. It can also be used as a tool
-    Perhaps the most advanced project in this area is CataRT;
+    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}