Analysis/synthesis comparison

Authors:
Matthew Wright;James Beauchamp;Kelly Fitz;Xavier Rodet;Axel Röbel;Xavier Serra;Gregory Wakefield
Affiliations:
CNMAT: University of California at Berkeley, 1750 Arch Street, Berkeley, CA 94709, USA matt@cnmat.berkeley.edu;UIUC: School of Music and Electrical and Computer Engineering, University of Illinois at Urbana-Champaign, Urbana, IL 61801, USA j-beauch@uiuc.edu;CERL Sound Group: c/o Prof. Lippold Haken, UIUC kfitz@lcerlsoundgroup.org;IRCAM: 1 Place Igor Stravinsky, 75004 Paris, France rod@ircam.fr;CCRMA: Department of Music, Stanford University, Stanford, CA 94305-8180, USA Axel.Roebel@ircam.fr;IUA/UPF: Audiovisual Institute, Pompeu Fabra University, Rambla 31, 08002 Barcelona, Spain xserra@iua.upf.es;UM: University of Michigan EECS Dept,1101 Beal Avenue, Ann Arbor, MI 48109, USA ghw@eecs.umich.edu
Venue:
Organised Sound
Year:
2000

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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.