Download e-book for iPad: Analysis, Synthesis, and Perception of Musical Sounds: The by James Beauchamp

Download e-book for iPad: Analysis, Synthesis, and Perception of Musical Sounds: The by James Beauchamp

By James Beauchamp

ISBN-10: 0387324968

ISBN-13: 9780387324968

This ebook encompasses a entire and actual mathematical remedy of the sounds of song with an emphasis on musical timbre. The booklet spans the diversity from educational advent to complicated examine and alertness to speculative evaluate of its a variety of ideas. the entire individuals use a generalized additive sine wave version for describing musical timbre which provides a conceptual harmony, yet is of enough software to be tailored to many alternative tasks.

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Additional resources for Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music

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Note: atan2(y,x) is a function that is available in C and other computer languages, and unlike atan(y/x), it correctly computes the angle (in radians) of the phasor x + j y, even when x is nonpositive. Eq. 15d) gives a general equation for time-varying synthesis, and Ak (t), f k (t), and θk0 are the parameters that must be known in order for synthesis to proceed. However, for real audio signals, only a finite number of harmonics (K ) are needed. 4). 3 Signal Reconstruction (Resynthesis) and the Band-Pass Filter Bank Equivalent Theoretically, if all band-pass filter outputs are combined, the original signal can be accurately reconstructed, regardless of whether the signal’s frequency components line up with the filter center frequencies, using sˆ (t) = ∞ k=−∞ s˜k (t) = s0 (t) + ∞ (˜sk (t) + s˜−k (t)) ≈ s(t).

With piecewise constant amplitudes and frequencies, the waveform recreated by “identity resynthesis” (resynthesis without any spectral modifications) is the original signal amplitudemodulated by the analysis window function. 4 dB. This could be compensated by multiplying by an inverse function. Merely changing the amplitudes of the spectrum should produce similar results, but when frequencies or the time scale are altered, unpredictable results can take place. What happens to the synthesis phase offset for the constant frequency synthesis case can be seen by looking at the first frame.

31b) gives 3( θ)2 − 3H · f · θ + H 2 ( 2 f )2 . 31c) H4 Noting from Eq. 30i) that θ can be written as θ = θ1 + 2π M, the derivative of Eq. 31c) with respect to M can be taken and set to zero. This gives g(M) = M= 1 2π H ( fa + 2 2 f b ) − (θb − θa ) . 31d) This continuous result should be rounded to the nearest integer before substituting into Eqs. 30h) for computation of the cubic polynomial coefficients α and β. These coefficients and the fact that γ = f a are then used for the phase formula of Eq.

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Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music by James Beauchamp


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