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Cook: Real Sound Synthesis for Interactive Applications

Fontana proposed a synthesis and control model for crushing, walking, and running sounds [12], [13].

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Example S9.5: LPC Cross Synth Example
LPC Example: LPC allows pitch scaling, time scaling, and other manipulations (similar to the phase vocoder, but very different in implementation). This example shows the “cross synthesis” of speech with a lion roaring. LPC analysis/coding was performed on both sounds, then the residue of the Lion was used as a source to drive the filters derived from the speech analysis.

Real sound synthesis for interactive applications / Perry R

Example S9.4: Modal Synthesis Sampler
Wood/Metal Modal Synthesis Example: Using only a 4-mode (resonant filter) model, varying the parameters of modal resonance frequencies, mode dampings, and excitation, allows for a wide variety of different sounds, from just one computationally efficient algorithm.

Real Sound Synthesis for Interactive Applications

Example S9.6: Body Formant Sonification
Parallel Formant Synthesis Example: Here a parallel formant model is controlled in real-time by a 6DOF (degree of freedom) two-hand tether device. The left hand controls voiced (pitched) vs. noise, and the pitch of the periodic source. The right hand controls the center frequencies of the three formant frequencies.

The synthesis and the control models of both systems are implemented as software running in real time at the audio sample rate, and they are available for download at

[PDF/ePub Download] real sound synthesis for …

YouTube video]—1) a voice recording following by that same recording granulated altering both timing and pitch; 2) voice-like tones made from sine wave grains—the sine wave frequencies match vocal formant frequencies and the pitch is determined by the time between the grains; 3) a vocal tone create by a special granular synthesis method, FOF, that was designed for vocal synthesis; 4) a cloud of drum-sample grains where the time between the grains is initially uneven (asynchronous) and becomes even (synchronous) generating a pitch.

Digital waveguide synthesis is efficient and realistic and captures the complete dynamics of the underlying physics but is restricted to instruments that are well-described by the one-dimensional string equation.

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  • Physics-Based Sound Synthesis for Games and Interactive Systems

    Cook: Real Sound Synthesis for Interactive Applications Softcover/CD-ROM, 2002, ISBN 1-56881-168-3, 263 pages; A.

  • Cook: Real Sound Synthesis for Interactive Applications

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    Real Sound Synthesis

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Real Sound Synthesis for Interactive Applications (With …

Example S9.1: Diphone Speech Singing Display
PCM Diphone Synthesis Example: Diphone Speech by concatenation of diphones, with pitch shift. Diphone “Singing” example using the same small diphone library. Interactive display of laptop tilt controls pitch and crossfade of two vowels.

Real Sound Synthesis for Interactive Applications ..

Example S9.7: Body Formant Sonification
The above S9.6 example of 6DOF (degree of freedom) controlled Parallel Formant Synthesis is also available as a Movie file.

Physics-based Sound Synthesis for Games and …

Example S9.8: FM Synthesis Example
FM Example: Simple FM with C:M frequency ratio of 1.0 (both=300Hz), Index of modulation (deltaF/F) ranges from 0 to 7 in increments of 1. Then, with index=4, C:M is gradually changed from harmonic (1.0) to weakly inharmonic (1.1).

book is Perry Cook's "Real Sound Synthesis …

Granular Synthesis Inspektor Gadjet Granular synthesis is a powerful type of synthesis that fragments pieces of audio into very small bits called grains Since each grain can have its own

Cook’s Real Sound Synthesis for Interactive Applications (A.K

It is non-realtime in that after you patch the modules together you click "synthesize," at which time a soundfile is created, and then "play" to play the soundfile.

- Sound Synthesis and Sampling (Third Edition)

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after this book is Perry Cook's "Real Sound Synthesis for ..

This chapter covers most means for synthesizing sounds, with an emphasis on describing the parameters available for each technique, especially as they might be useful for data sonification. The techniques are covered in progression, from the least parametric (the fewest means of modifying the resulting sound from data or controllers), to the most parametric (most flexible for manipulation). Some examples are provided of using various synthesis techniques to sonify body position, desktop GUI interactions, stock data, etc.

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