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Analysis/synthesis comparison

Published online by Cambridge University Press:  23 July 2001

MATTHEW WRIGHT
Affiliation:
CNMAT: University of California at Berkeley, 1750 Arch Street, Berkeley, CA 94709, USAmatt@cnmat.berkeley.edu
JAMES BEAUCHAMP
Affiliation:
UIUC: School of Music and Electrical and Computer Engineering, University of Illinois at Urbana-Champaign, Urbana, IL 61801, USAj-beauch@uiuc.edu
KELLY FITZ
Affiliation:
CERL Sound Group: c/o Prof. Lippold Haken, UIUC kfitz@lcerlsoundgroup.org
XAVIER RODET
Affiliation:
IRCAM: 1 Place Igor Stravinsky, 75004 Paris, Francerod@ircam.fr
AXEL RÖBEL
Affiliation:
CCRMA: Department of Music, Stanford University, Stanford, CA 94305-8180, USAAxel.Roebel@ircam.fr IRCAM: 1 Place Igor Stravinsky, 75004 Paris, Francerod@ircam.fr
XAVIER SERRA
Affiliation:
IUA/UPF: Audiovisual Institute, Pompeu Fabra University, Rambla 31, 08002 Barcelona, Spainxserra@iua.upf.es
GREGORY WAKEFIELD
Affiliation:
UM: University of Michigan EECS Dept,1101 Beal Avenue, Ann Arbor, MI 48109, USAghw@eecs.umich.edu

Abstract

We compared six sound analysis/synthesis systems used for computer music. Each system analysed the same collection of twenty-seven varied input sounds, and output the results in Sound Description Interchange Format (SDIF). We describe each system individually then compare the systems in terms of availability, the sound model(s) they use, interpolation models, noise modelling, the mutability of various sound models, the parameters that must be set to perform analysis, and characteristic artefacts. Although we have not directly compared the analysis results among the different systems, our work has made such a comparison possible.

Type
Research Article
Copyright
© 2000 Cambridge University Press

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