Trends on the synthesis of the singing voice: technical problems and perspectives (original) (raw)
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Singing Voice Synthesis: History, Current Work, and Future Directions
Computer Music Journal, 1996
This article will briefly review the history of singing voice synthesis, and will highlight some currently active projects in this area. It will survey and discuss the benefits and trade-offs of using different techniques and models. Performance control, some attractions of composing with vocal models, and exciting directions for future research will be highlighted.
A singing voice synthesis system based on sinusoidal modeling
… Speech, and Signal …, 1997
Although sinusoidal models have been demonstrated to be capable of high-quality musical instrument synthesis 1], speech modi cation 2], and speech synthesis 3], little exploration of the application of these models to the synthesis of singing voice has been undertaken. In this paper, we propose a system framework similar to that employed in concatenation-based text-to-speech synthesizers, and describe its extension to the synthesis of singing voice. The power and exibility of the sinusoidal model used in the waveform synthesis portion of the system 1] enables high-quality, computationally-e cient synthesis and the incorporation of musical qualities such as vibrato and spectral tilt variation. Modeling of segmental phonetic characteristics is achieved by employing a \unit selection" procedure that selects sinusoidally-modeled segments from an inventory of singing voice data collected from a human vocalist. The system, called Lyricos, is capable of synthesizing very natural-sounding singing that maintains the characteristics and perceived identity of the analyzed vocalist.
The CHANT Project: From the Synthesis of the Singing Voice to Synthesis in General
Computer Music Journal, 1984
Synthesis i n General In the third part we describe the CHANT synthesis-by-rule program and methods for controlling this technique. Finally, we give examples of works realized with CHANT in the context of the rulebased FORMES system (Rodet and Cointe 1984). From a Reconsideration of Synthesis Techniques and Programs to the Choice of a Production Model A Reconsideration of Synthesis Techniques and Programs Let us examine some of the reasons behind the development of the established digital sound synthesis techniques and programs. The Imitation of Analog Techniques Paradoxically, analog devices have often been simpler to use than many programs. Analog modules can be linked to each other by a simple cable. (This analogy does not work for subprograms because of complications with argument passing.) In systems that imitate analog synthesizers, effects are almost always obtained directly, without resorting to mysterious code, and control is achieved by such simple means as turning a knob. However, this approach makes meager use of the immense possibilities for controlling digital signals, and ignores the symbol processing capabilities of computer languages. Speed of Calculation This concern was particularly justified at the beginning of computer music when hardware was slow and not specialized for synthesis. But an emphasis Rodet, Potard and Barriere 'I
Journal of Voice, 1988
Analysis by synthesis is a method that has been successfully applied in many areas of scientific research, in speech research, it has proven to be an excellent tool for identifying perceptually relevant acoustical properties of sounds. This paper reports on some first attempts at synthesizing choir singing, the aim being to elucidate the importance of factors such as the frequency scatter in the fundamental and the formants. The presentation relies heavily on sound examples.
State of art of real-time singing voice synthesis
Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019), 2019
This paper describes the state of art of realtime singing voice synthesis and presents its concept, applications and technical aspects. A technological mapping and a literature review are made in order to indicate the latest developments in this area. We made a brief comparative analysis among the selected works. Finally, we have discussed challenges and future research problems. Keywords: Real-time singing voice synthesis, Sound Synthesis, TTS, MIDI, Computer Music.
Challenges and Perspectives on Real-time Singing Voice Synthesis
RITA, 2020
This paper describes the state of art of real-time singing voice synthesis and presents its concept, applications and technical aspects. A technological mapping and a literature review are made in order to indicate the latest developments in this area. We made a brief comparative analysis among the selected works. Finally, we have discussed challenges and future research problems.
2007
In this paper, we describe a voice synthesis model developed for musical purposes. Based on a source-filter model, this synthesizer has been specifically designed to allow the synthesis of natural sounding singing voices by including pitch and amplitude variations and by careful tuning of consonant to vowel transitions. A particular attention is given to the reproduction of plosive consonants. The model covers all singing voice registers, from bass to soprano, and allows the control of several tone quality parameters such as vibrato depth and frequency, voice roughness and articulation speed. Its database is structured to synthesize whole consonant-vowel syllables. As a result, it is relatively easy to construct musically expressive phrases with just a few manipulations and control commands. The model uses Csound as the audio engine and can produce several voices at small cost in CPU.
Toward the perfect audio morph? singing voice synthesis and processing
Proceedings of the 1st. International Conference on …
The human voice is the most ubiquitous, flexible, and general of acoustic instruments. We all have one, yet only a few of us learn to “play” it with proficiency as a musical instrument. Most functions of this instrument we take for granted, but huge regions of our brains are ...
The KTH Rule System for Singing Synthesis
Computer Music Journal, 1996
This article contains a description of rules controlling the singing synthesis at the Department of Speech Communication and Music Acoustics at the Royal Institute of Technology (KTH) in Stockholm. In our research, synthesis of singing has played an important part for a long period of time. The rules controlling the singing synthesiser MUSSE DIG are implemented in a programming environment originally developed for a text-to-speech system. There are context dependent rules for pronunciation of vowels and consonants, as well as rules for musical performance. The latter rules create crescendos, tempo and vibrato changes etc., depending on the musical context as defined by a score Jile. The rules were developed using an analysis-by-synthesis strategy, i.e., vocal performances are synthesised, the result is analysed and then the rules, which control the synthesis, are accordingly improved. In this article, musical rules, general rules for consonants and vowels, and for some special singing techniques are described.