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MIXINGISN'TMORPHING
Manysoundfileeditors(suchasAudacity,showninFigure1below)provideafacilityforgraduallyfadingoutonesoundwhile graduallyfadinginanothersound.Couldthiscrossfadingmechanismbeusedformorphingonesoundintoanother?
Listentothisexampleofacrossfadebetweenafluteandatrumpet,andnoticewhathappensintheregionofthecrossfade.
Playexample.
Now,onlyasingleinstrumenttoneisaudiblethroughout.Perfectlytunedharmonicssuchasthesecanbegeneratedsynthetically(using acomputeroramusicsynthesizer,forexample),buttheydonotoccurnaturally.
A DDITIVESOUND MODELS
Inordertoartificiallyaligntheharmonicsofonerecordedsoundtothoseofanother,itisfirstnecessarytodeterminethefrequenciesof thoseharmonics.Fortunately,avarietyoftechniquesareavailablefordeterminingthetimevaryingfrequenciesandamplitudesofthe sinewavecomponentsofasound,andmodernmethodsworkwellformanysounds.Inparticular,weuseamethodcalledtime frequencyreassignmenttoobtainsharperestimatesofthetimeandfrequencybehaviorofthosecomponentsthanisavailableusing classicalanalysistechniques. AsoundanalyzedinthiswayisplottedinFigure2,below.Timeincreasesfromlefttoright,andfrequencyincreasesfrombottomto top.Darkareasshowregionsinwhichenergyisconcentrated,andtheharmoniccomponentsofthesoundareclearlyvisibleasdark, horizontalstripes.Inapitchedsound,asinthisexample,theharmoniccomponentsarespacedapproximatelyevenlyinfrequency.The lightergreysmudgesbetweenthedarkstripesshowregionsofnoisinessandnonharmonicenergyinthesound.
Listentothecatmeow,depictedinthefiguresabove,reconstructedfromadditivemodeldata.
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Listentotheeffectoftimestretchingonthesoundofaflexitone(apercussioninstrumentsometimesusedtomakeeeriesoundeffects). Theunmodifiedflexitonereconstructionisplayedfirst,followedbyastretchedversion.
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Listentotheeffectoftimestretchingonthesoundofaflexitone(apercussioninstrumentsometimesusedtomakeeeriesoundeffects). Theunmodifiedflexitonereconstructionisplayedfirst,followedbyastretchedversion.
Playexample.
M ORPHINGWITHADDITIVESOUND MODELS
Soundmorphingcanbeperformedbyblendingtheparameters(amplitudesandfrequencies)ofthesinewavecomponentsinapairof additivemodels.Thesinewavefrequenciesdonotneedtobeperfectlyalignedinordertoperformthemorph.Rather,therawadditive modelcomponentscanbemorphedtoproduceanewmorphedmodelfromwhichthemorphedsoundissynthesized.Aloudsine waveinonesoundmorphedwithaquietsinewaveinanotheryieldsasinewaveofmediumamplitude.Ahighfrequencysinewavein onesoundmorphedwithalowfrequencysinewaveinanotheryieldsasinewaveofintermediatefrequency.Thisparameterblending operationisdepictedinFigure4,below,forasinglemorphedsinewave.
Listentothisexampleofamalesingermorphedwithatrombone,playedusingatechniquecalled"fluttertoungue".Thesingerandthe trombonearepresentedindividually,followedbyasequenceofmorphs.
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R EHABILITATINGTHEWORLD'SWORSTSOUNDS
TrevorCox,aprofessorofacousticengineeringatSalfordUniversity,conductedayearlongwebbasedstudyofpeople'sperception ofhorriblesounds,andtodeterminewhatmakescertainnoisessoobjectionable.YoucanreadaboutthestudyanditsresultsonThe Guardianwebsite,orinhispaper"Theeffectofvisualstimulionthehorriblenessofawfulsounds,"inAppliedAcoustics,availablefrom ScienceDirect,orvisitwww.sound101.org. WehavecollectedafewofthesoundsusedinProfessorCox'sstudy,andattemptedto"rehabilitate"thembymorphingthemwith other,lesshorriblesounds,or,atleast,moreentertainingones.Someexamplesareincludedhere. Hereisanexampleofacryingbabymorphedintoapiano.
Playexample.
Hereisanexampleofatrumpetmorphedinacryingbaby(notsurewhyyou'dwanttodothat).
other,lesshorriblesounds,or,atleast,moreentertainingones.Someexamplesareincludedhere. Hereisanexampleofacryingbabymorphedintoapiano.
Playexample.
Hereisanexampleofatrumpetmorphedinacryingbaby(notsurewhyyou'dwanttodothat).
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Hereareexamplesofseveralmorphsperformedusingthesoundofameowingcat (*) .
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Notsurprisingly,wefoundthatmorphingtwoawfulsounds(thecryingbabyandthemeowingcat,inthiscase)doesnotimproveeither ofthem.
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Inthislastexample,ametalicscrapingsoundistransformedintoaflexitone(apercussioninstrumentsometimesusedtomakeeerie soundeffects).Twoslightlydifferentmorphsarepresented.
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HOTTOPICSINMUSICAL ACOUSTICS
SomeofthismaterialwaspresentedontheHotTopicssessionatthe153rdMeetingoftheAcousticalSocietyofAmericainSaltLake City,UtahinJune,2007.Youcanlistentosomeofthemediacoverageofthateventatthesesites:
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FORMORE INFORMATION
AllsoundmorphsandsynthesespresentedherewerecreatedusingtheopensourceLorissoftwareforsoundanalysis,synthesis,and manipulation.VisittheLoriswebsitetoreadmoreaboutsoundmorphingusingtheLoris,software,includingexamplecodeandsound morphingdemonstrations. ThisresearchisconductedbyKellyFitzincollaborationwith LippoldHakenfromtheDepartmentofElectricalandComputer EngineeringattheUniversityofIllinoisinUrbanaChampaign.
GotoKelly'shomepage.
(*)
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Lastupdate:28August2007