CHAPTER 4
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| Audio 4.1. | Loudness variation due to phonetics for the utterance [a-ma]. |
| Audio 4.2. | Pitch variation due to phonetics for the utterance [a-ga]. |
| Audio 4.3. | Voice used in an example of the low-delay phonetic alignment algorithm. |
| Audio 4.4. | Input male performance, with the same singer used to create the MTG-SVS. |
| Audio 4.5. | Input male performance. Offline synthesis. |
| Audio 4.6. | Input male performance. Real-time synthesis. |
| Audio 4.7. | Input female performance. |
| Audio 4.8. | Input female performance. Offline synthesis. |
| Audio 4.9. | Input female performance. Real-time synthesis. |
| Audio 4.10. | Instrument to singing. Voice input used for singing voice synthesis example. |
| Audio 4.11. | Instrument to singing. Violin input used for singing voice synthesis example. |
| Audio 4.12. | Instrument to singing. Piano input used for singing voice synthesis example. |
| Audio 4.13. | Instrument to singing. Voice-driven singing voice synthesis example. |
| Audio 4.14. | Instrument to singing. Violin-driven singing voice synthesis example. |
| Audio 4.15. | Instrument to singing. Piano-driven singing voice synthesis example. |
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CHAPTER 5
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| Audio 5.1. | Voice used in an example of the formant tracking algorithm. |
| Audio 5.2. | Voice used in an example of the formant tracking algorithm. |
| Audio 5.3. | Voice used in an example of the syllabling segmentation algorithm. |
| Audio 5.4. | Voice used in an example of the syllabling segmentation algorithm. |
| Audio 5.5. | Example of breathy voice. |
| Audio 5.6. | Musical scale sung with normal and breathy phonation. |
| Audio 5.7. | Voice used in an example for comparing pitch estimation. |
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CHAPTER 6
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| Audio 6.1. | Voice to show the micro-variations present in the pitch and loudness analysis. |
| Audio 6.2. | Phonetic-specific mappings. Staccato voice input. |
| Audio 6.3. | Phonetic-specific mappings. Staccato violin synthesis. |
| Audio 6.4. | Phonetic-specific mappings. Legato voice input. |
| Audio 6.5. | Phonetic-specific mappings. Legato violin synthesis. |
| Audio 6.6. | Timbre mappings. Input voice. |
| Audio 6.7. | Timbre mappings. Saxophone sound synthesis without timbre control. |
| Audio 6.8. | Timbre mappings. Saxophone sound synthesis with timbre control. |
| Audio 6.9. | Mappings to abstract parameters envelopes. Voice example. |
| Audio 6.10. | Database file example: a musical phrases with several notes. |
| Audio 6.11. | Demo 1. Bass guitar synthesis example with voice (left), Bass guitar (right). |
| Audio 6.12. | Demo 2. Bass guitar synthesis example with accompaniment. |
| Audio 6.13. | Demo 3. Saxophone synthesis example with voice (left), saxophone (right). |
| Audio 6.14. | Demo 4. Saxophone synthesis example with accompaniment. |
| Audio 6.15. | Demo 5. Violin offline synthesis example with voice (left), violin (right). |
| Audio 6.16. | Demo 6. Violin offline synthesis example with accompaniment. |
| Audio 6.17. | Perceptual experiment. Bass guitar sound synthesis(proposed mapping) |
| Audio 6.18. | Perceptual experiment. Bass guitar sound synthesis(Variation 1) |
| Audio 6.19. | Perceptual experiment. Bass guitar sound synthesis (Variation 2) |
| Audio 6.20. | Perceptual experiment. Bass guitar sound synthesis(Variation 3) |
| Audio 6.21. | Perceptual experiment. Sax sound synthesis with DB1(proposed mapping) |
| Audio 6.22. | Perceptual experiment. Sax sound synthesis with DB1(Variation 1) |
| Audio 6.23. | Perceptual experiment. Sax sound synthesis with DB2(proposed mapping) |
| Audio 6.24. | Perceptual experiment. Sax sound synthesis with DB2(Variation 1) |
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