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Diphone Studio Manual & Tutorial

1. Figure 99 61 Diphone Studio Manual You may want to save the sequence already at this stage before continuing any further in the manipulation of the segments Save the sequence from the File menu option Save As Name it by putting it in the Dico amp Seq folder for example You are advised to end the name with seq 62 Diphone Studio Manual 2 6 Actions on the Bpf First of all remember that Bpf means Break Point Function i e a sampled waveform These operations will enable us to modify the parameters of the segments These parameters are accessible in the lower part of the sequence window fig 100 Untitled Sequence HB fs ao beme E a gt Fundamental f gt Transposition gt Energy gt Gain gt Frequency of Partials gt Amplitude of Partials gt Phase of Partials gt Original Fundamental gt Original Energy gt Scaler Figure 100 You can display or mask this list of parameters by clicking on the triangle situated to the left of the Parameters We will discuss in the next sections the Bpf from the Additive model The segments from other models such as Direct Signal or Chant will have a different series of parameters Manipulations however stay the same 63 Diphone Studio Manual 2 6 1 Types of Bpfs There are two Bofs e The simple Bpf that have one waveform only for example the fundamental or the energy e The multi Bpfs are
2. Figure 30 Figure 31 A window of this type appears fig 32 E amp a VOIXH S Crip E Dictionary voixH cont Plugin Additive Instrument vo xH File Ext rieur_Guillaume Diphone 2 7b Ircam IlmpExport Fundamentaty voixH FO File Ext rieur_Guillaume Diphone 2 7b lrcam IlmpExport Partial voikH ADD Segment voixH beg 0 0 end 2 940 Figure 32 For users who are already familiar with Diphone this operation creates a dictionary an instrument with the name of the sound and one segment only the length of which is equal to the total length of the sound The container is saved with the extsension cont line 1 The type of analysis performed is specified line 2 as well as the folders in which the FO and ADD files are saved For new users we advise you not to create this script just now and to go straight into Diphone In the following chapters the notions specific to Diphone will be developed script segments instruments of dictionaries and containers 24 Diphone Studio Manual 2 The Diphone program When you open Diphone two windows appear an empty sequence window and an Inspector window also empty These will now be explained briefly As in Addan you may open the toolbar from the Window menu fig 33 Figure 33 The toolbar functions in the same way as for Addan see section 1 1 It offers you immediate access to Addan or Resan to t
3. ccccsecceecceeeceeceeeeeecceeeeceeeneeeseeeseeeeeeeenenenes 70 2 6 4 Modifying the Bpf and multi Bpf curves ccc ccecceeccececeeeceeceeeceueceeeeeeeceecaeeceueeseeseuesueeneesaaes 77 2 7 Transfer and replacement of parameters from a Segment tO another 0 ccc ceece eee eee cece eeeeeeeeeneeneeeeeees 87 2 8 How Direct Signal OU GS caressa cases pve pears eine sd verso ceneneeiaugasisescostoisansisaseaerieienidars eiopeeaanrhiceshiceses 91 2 8 1 Example of the use of Direct SIGN vexciecacccncesines oacaanesccdonntessexeeancuahedicardcunsesrnnsteysteaentebatustanciinsianness 91 2 9 General principal of CNAN scissure aiai EEE E EEEE RKE EIEEE EREE 93 2 9 1 What is a Fof Formantic wave function ccccseeeececeneeeecseeeeeeseaeeeeeceaeeeeeseusecessageeeessaaeeeesnaneeeeas 93 2 9 2 The parameters of a Fof siccaccovnssowensndcassadoetcnzeteovendancagusiatesiviehssiuidanstsxcasiedixiessmeeidaindiereidediaiedincyideteds 94 2 9 93 IAG OLNEr elements of Cham a scceen even scsasaerenkeescnadanessuunenetnaneleuedataeasdueumubbeatiinencianraisistenmnleasdaduscesmecen 94 2 10 Using Chant with DIDNON G cin ty re essere cae ornes yew esac casement penn pide A errer einai T 95 2 10 1 A sequence with Formantic Waveforms patch 0 cccccsseecceeeseeeeeceeeeeeeseseeeeeeeeeeeseueeeeeesaeeeeeens 95 2 10 2 The parameters of Fof and Bpf cc ccccccccseccsecceeeeeeeeceeeceeeceeeceueceeeeeueeceeecseeseueesuesessseees
4. Figure 179 113 Diphone Studio Manual 3 1 The analysis The controls of the analysis don t appear under the Synthesis tab anymore To run an analysis display the analysis tab First load a Preset which will give you the parameters necessary for an analysis fig 180 wv Analysis Settings Ly Figure 180 A pull down menu appears and gives you the choice of 10 presets fig 181 Choose File Choose Directory Open Ext rieur_Guillaume Diphone 2 7 3 Ircam ImpExport _ResAnPreset Preset 01 Preset 02 Preset 03 Preset 04 Preset 05 Preset 06 Preset 07 Preset 08 Preset 09 Preset 10 Figure 181 Depending on the nature of the initial sound you can try several presets The result of the synthesis will allow you to choose the best suited preset Under the analysis tab enter the name of the file to be analysed or load it by clicking on the icon of a hard disk Now click on the Validate button The Generic Name field fills in with the name of the sound without its extension The Validate option changes into the Run option fig 182 114 Diphone Studio Manual Untitled Analysis 1 Synthesis Sound Input alga GenerioName at JE Since Step lo To Step s gt Analysis Settings Preset 01 al ia Run q Figure 182 Click on Run to run the analysis 3 2 The synthesis Once the analysis has finished click on the Synthesis tab In the Input Fof File field
5. Current lt Diphone Prefs gt Coa Figure 184 Environment preferences Here you can choose all the source or destination folders for the files used in Diphone The expression USERHOME is the generic name which defines the path of the Diphone folder USERHOME is itself defined by DEFAULTWD This path is locked You can however redirect the different files into folders of your choice 123 Diphone Studio Manual Preferences Additive Preferences General Environment Chant DirectSignal Preview Nb Partials C am Sampling Rate s Synthesis Default Nb Partials f an Do Synthesis Sampling Rate 144100 0 s Delete intermediates files Current lt Diphone Prefs gt Coa Figure 185 Preferences for Additive The left hand side of the window enables you to specify the parameters for the synthesis Export to Synthesis Number of partials sampling frequency deleting intermediary files generated by the synthesis The right hand side enables you to set the values for immediate medium quality listening of the sequence Play button or Space bar 124 Diphone Studio Manual Preferences Chant Preferences DirectSignal k Preview Nb Fof Fils DA an Sampling Rate e C Filtering with Sound L olila General Environment Additive Synthesis Default Nb Fof Fils f an Do Synthesis Sampling Rate 144100 0 s Delete intermediates files Current
6. First select the relevant segments for the wanted extension or narrowing by clicking on it with the shift key pressed down or Select All if it is used on all the segments Select Glue Selection in the Sequence menu A window appears in which you can specify in seconds the required spacing between the segments fig 70 45 Diphone Studio Manual Sequence Glue Selection Glue Duration sec Figure 70 To make the time as small as possible between two or more segments enter the value O in the window shown previously or click directly on the dedicated icon situated at the top of the sequence window fig 71 CHE eat Model Chant 2 AAE Bl a w Parameters Figure 71 This tool can only set the value of Glue Selection to 0 5 Changing the amplitude of the segment Scaler The height of the graphical representation of the segment represents the scale of the relative amplitude of the different segments compared to each other It is called Scaler To modify it move the cursor towards a horizontal edge of the relevant segment A double vertical arrow appears With the mouse pressed move the double arrow to make the height of the picture of the segment go up or down fig 72 0 20 0 25 Figure 72 Let go of the mouse button when you have reached the required dimension of the scaler 46 Diphone Studio Manual 2 5 5 Modifying the segments with the Inspector window The Inspector window g
7. Sampling Rate e Sound ajaja Delete intermediates files Ceme Ce Figure 97 The synthesis can be done on part of the sequence Adjust the values of the beginning and end by ticking the Processing interval box and by entering values in seconds 60 Diphone Studio Manual You can determine the number of partials with which the synthesis is done either with all the partials All box ticked or with the number of partials you want the first n In the Fund File Partial file and Sound boxes the name of the FO and ADD files are specified with the name of the sequence by default The folder icons enable you to choose the save destinations The Delete Intermediate files bow insures the intermediate files from the synthesis are automatically deleted Run the synthesis process by clicking on OK When the synthesis is finished you can listen to the created file by clicking on the Play Stop last synthesis button in the sequence window fig 98 PSI Mose et a ER o w Parameters Figure 98 To listen to the sequence or part of a sequence that is older than the one which has just been analysed use the Open Movie amp Sound option from the File menu fig 99 File New Text New Console New Bpf New Dictionary New Sequence 3N Open 360 Open Movie amp Sound Close W Save 365 Save AS Revert Page Setup Print 36P Activate AddAn Activate ResAn Quit dQ
8. 2 5 7 Creating a segment from a sequence You have the option to create a segment from the entire contents of a sequence but also from a fragment of your choice selected in the sequence First case The sequence window having been activated select the Create Segment From Sequence option in the Parameters menu fig 78 Parameters Remove External Parameters 0 Ko 3R Create Default Seqment Create Segment From Sequence Figure 78 A new dictionary window appears fig 79 Untitled Dictionary vv Untitled Instrument gt dP Untitled Segment Figure 79 You can rename the dictionary from the menu File Save as and by placing it in the Dico amp Seq folder or in a folder that you have created yourself if you have made your own environment You can also use the copy and paste procedure and place the instrument in any other open dictionary Second case You can also create a segment from a selected part of the sequence Select the Selection button in the upper part of the sequence window and select the chosen part from the graphical representation of the segment fig 80 51 Diphone Studio Manual Untitled Sequence 1 Figure 80 The sequence window having been activated select the menu Parameters Create Segment From Selection fig 81 which has substituted itself to the option Create Segment From Sequence Now proceed in the same way as described earlier for the first case CEUS
9. FODIR USERHOME ImpExport Fundamental FFTDIR USERHOME ImpExport Fft HOME USERHOME ImpExport SFDIR USERHOME ImpExport Sound DEF AULTWD Disk Access Path Hard_Disk Diphone 2 7 1 Clrcam Current lt Addan Prefs gt Coa Figure 189 Environment preferences Settings are done in exactly the same way here as they are done for the equivalent window in Diphone see section 5 1 Diphone preferences on page 122 128 Diphone Studio Manual index SUSERHOME 123 Activate Addan 116 Activate Diphone 120 Activate Resan 116 ADD 21 Addan 2 7 120 preferences 127 Additive 2 31 preferences 124 Additive Synthesis 60 AIFC 11 AIFF 11 All Curves 118 Amplitude of partials 64 Analysis settings 16 Anchor Toolbar 119 121 Apply Constant Note 83 119 Apply Constant Value 119 Apply with phases 21 Articulations 49 ASCII 17 Attack 19 AudioSculpt 17 28 markers 28 Back Curves 96 118 Bandwidth for 19 Banks of filters 104 basic segment 26 beg 27 Bpt 22 36 38 63 77 Bpf Gain 92 Bpf Mode 48 Break Point Function 22 Calcul took xmxs 14 Carrive J 2 Changing the amplitude of the segment 46 Changing the name of a segment 47 Chant 2 93 94 preferences 125 Chant dictionaries 100 Chant Base dico 95 Chant Base Filters dico 101 104 Chant Filter Instruments dico 101 Chant Fof Instruments dico 101 Chant Fof Voyelles dico 101 Choose Directory 12 Choose File 12 Choose Selectio
10. Rubber 77 Validate 121 Run 121 soy Virtual memory 7 S W satel fas dai White noise 105 Saveas 116 Z Scale 78 92 119 Scale Ratio 79 92 Zoom 70 118 122 Scaler 46 64 99 Scaling 78 Script 24 28 writing 27 Script From Markers 28 sd2 11 SDIF 17 111 sdiftotext 17 Segment 26 creating 51 Select All 120 Sequence Grid Step 56 Sequences 38 Set Grid Step 56 Set Plug in Model 117 Set Selected Articulations To 118 Show Grid 56 118 Show Inspector 32 119 Show Parameters 118 Show Points 69 118 Show Separation Marks 66 118 Show Toolbar 119 121 Signal 92 Smooth Order 17 Snap Selection to Grid 57 118 Sort Dictionary 37 Sort Instrument 37 Sound Description Interchange Format 111 Sound Designer 30 SoundDesigner 92 Stop 118 Straight line 77 131 Diphone Studio Manual index
11. Sampling Rate Hz Figure 52 For the Additive model you specify the number of harmonics Number of Curves the length of the segment in seconds and the number of points per Bpf Sampling Rate Click on OK Don t confuse the number of points of a Bpf with the sampling frequency of the sound A new dictionary appears if no other was open and selected beforehand which contains the new segment fig 53 Model Untitled Instrument gt dP Untitled Segment Figure 53 36 Diphone Studio Manual 2 3 3 Sorting functions of the dictionaries These two buttons fig 54 55 enable you to open Expand all or to close Collapse all all the elements contained in the dictionary Model Additive Model Additive Le UF Figure 54 left et 55 right You may also use an alphabetical sort of the instruments in the dictionary and the segments in the instrument To sort the instruments open the dictionary without selecting the instrument In the Dictionary menu choose the Sort Dictionary option fig 56 Dictionary Expand All Collapse All Sort Dictionary Create Instrument K Play Preview Low Quality Figure 56 To sort the segments Select an instrument in the dictionary In the Dictionary menu choose the Sort Instrument option fig 57 Dictionary Expand All Collapse All Sort Instrument Create Composite Segment 1 Play Preview Low
12. The opening of the Bpf in the edition window cannot be done if the interpolation has not been run lt S b Fundamental SO Ea oO E v Figure 108 You can now operate on this curve from this window The modifications will automatically be displayed in the sequence window 67 Diphone Studio Manual The modification tools are accessible directly from the icons situated at the top of the window or by opening the Bpf menu fig 109 or by clicking on the dedicated tool at the top of the Bpf window fig 110 Show Points View p Current Curve 1 Current Curve For All Editors Apply Constant Value Scale Translate Fill Gaps Crop On Curves Apply Constant Note Note Transpose Figure 109 One Curve s ns Figure 110 68 Diphone Studio Manual To access the points making up the Bpf choose the Show Points option in the Bpf menu Each point that makes up the curve then appears fig 111 lt S1 gt Fundamental a v 2 sec Figure 111 69 Diphone Studio Manual 2 6 3 Zoom format and selection in the Bpf window The horizontal axis shows time The vertical axis shows the unit of the specific parameter displayed in the Bpf Hertz for the fundamentals or the pitch of the partials decibels for the gain or energy etc You can modify the scaling of the representation of these two axes by placing the mouse on the measuring units axi
13. appears a sketch of the current patch It is set to O zero by default This patch corresponds to the simple work on the banks of Fof 102 Diphone Studio Manual By clicking on the small yellow arrows on the right of the indication of the Patch number a pull down menu displays all the available patches fig 167 gt ror FILTER we amp lnd Iin In qe 7 ss l j 2 j 3 j a j 5 j E j 7 E El j Figure 167 The rectangle at the top is the legend of the symbols used for the representation of the structure of the patches The elements are the Fof the noise the sound files Every patch runs to the output small speaker The following section presents a few uses of the patches 103 Diphone Studio Manual 2 10 5 Using the patches We remind you that the Preview mode Listening test doesn t work with any other patch than patch 0 You must therefore always use the Export to Synthesis command The banks of filters The banks of filters are comparable to banks of Fof but these are made to resonate with combinations of different sources white noise sound files Fof Open the Chant Base Filters dico dictionary and place the first segment 1 Filter in a sequence window fig 168 w Parameters gt Filter Amplitude ey gt Filter Bandwidth gt Filter Correction B D gt Filter Out Gain Si gt Frequency Warping gt Noise Amplitude gt Filter
14. fig 179 click on the hard disk icon and go to the ImpExport Chant folder There you will find a group of files created by the analysis and configure in the following way Generic Name M1 FOF SDIF Generic Name M2 FOF SDIF Generic Name Mn FOF SDIF where n is equal to the number of steps in the analysis that has been run Choose one of these files The quality of the analysis goes up as a function of the of the step number Click on Validate If you wish to you can change the name of the default name of the file Sound Output Click on Run Listen to the result Once you are satisfied you can return into Diphone to write a script and create a dictionary that you can exploit with the Chant model 115 Diphone Studio Manual 4 The menus 4 1 The Diphone menus These menus are of course the basic way of accessing the commands in Diphone that we have just explored 4 1 1 File New Text creates a new text window This can be saved as a script New Bpf displays a dialogue window enabling you after you have displayed the desired values and clicked on Apply to create a Bpf trace by using the pencil in the toolbar Once this Bpf curve has been drawn you can save it in a file or copy it Copy command in the Edit menu to paste it in another already existing Bpf window New Console displays a new console in which appears the list of calculation operations for the synthesis as well as different messages Creating a d
15. 1 HH LEN vos e T o ea eo ee E 816 8 826 8 838 8 846 0 050 sec In the Parameters menu choose the Create Default Segment option Parameters Remove External Parameters 0 Ko R Create Default Segment Create Segment From Sequence 3 Diphone Studio Manual A segment definition window appears Create Default Seqment Model Additive Number of Curves Duration sec Sampling Rate Hz Check that the Additive option is chosen in the Model box If this is not the case click on the Model menu and choose Additive Click OK This window appears O untitled Dictionary H S Model Additive s ZF gt Untitled Instrument 7 Untitled Instrument gt dP Untitled Segment 4 Diphone Studio Manual The segment which you have just created appears with the name Untitled Segment Click on the segment Untitled Segment and while still keeping the mouse button down drag it to the sequence window This operation is Known under the name drag and drop The segment immediately appears in the sequence window Untitled Sequence 1 HH Ma e S bem Blo oe Untitled Segment gt Fundamental gt Transposition gt Eneray gt Gain gt Frequency of Partials To listen to your first try hit the space bar The result probably does not meet your expectations but it has however enabled you to quickly work your way through using Diphone We will
16. 59 From the dictionary window drag the segment icon towards the upper part of the new sequence The graphical representation of the segment appears immediately fig 60 39 Diphone Studio Manual Untitled Sequence 1 OFF Ga ee bee Bl gt Fundamental gt Transposition gt Energy wy gt Gain ay gt Frequency of Partials S gt Amplitude of Partials gt Phase of Partials gt Original Fundamental Ay gt Original Energy gt Scaler 2 9 Figure 60 As for the dictionary the Inspector window then gives you access to all the details on the segment You may change the name of the segment and change its data in a manner described in the following sections 40 Diphone Studio Manual 2 4 2 Construction of a sequence of several segments After having placed you first segment as explained in the previous section you are now ready to move on in the construction of your sequence Reproduce the same operation by dragging the icon of the second segment this time behind the graphical representation of the first A pink zone appears indicating that you can let the mouse button go fig 61 00 0 10 0 20 0 30 0 40 o tlsecl oe Figure 61 Once this is done a second segment appears after the first fig 62 Go on in this fashion by placing other segments before after or in between those already placed gt Parameters Figure 62 You will notice that the window auto
17. A E EE E 121 Setting the preferences ssssnsnnsnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnna 122 5 1 Diph hone PIETSRS MCCS va ccseietinttaicxne vac dinavadiccisawiinwnryenweriale Cea aa aaa aE EEE rra N rapera tient aE ESENE EE Ea 122 5 2 Preferences for Addan and Resan access xtecec ccdecsucseandcexsiebadetdoadadaddcdedseeedndandestagebadcadindes dxdecncdseesdsenickecs 127 The concept of Diphone In speech a diphone is defined as a transition between two phonemes In a musical context this could be taken to mean not only a transition between two vocal sounds but more generally a transition between two sounds of any kind whether instrumental vocal or recorded sound objects As such the definition of a musical diphone could also be extended to include a single stable sound or silence The idea of synthesis using diphones was conceived in the late 1980s by Xavier Rodet in an attempt to address the problem of successfully synthesizing a musical phrase using both transient and stable sounds Using traditional analog studio techniques a series of transient and stable sounds can be concatenated or pieced together by splicing small pieces of tape end to end In today s digital studios this is done by cross fading In both cases the result usually can end up sounding far from convincing since the inner contents of the spliced or faded sounds do not generally match In Rodet s system of ge
18. Base dico If you now use the banks of more than one Fof the graphical representations and the multi Bpfs will appear with the trace of all the curves of the parameters of each Fof If for example you load the segment SFof from Chant Base dico you will obtain the following multi Bpfs for the Fof frequency parameter fig 165 lt 5 Fof gt Fof Toda R H Figure 165 You may now have access to the pitch of each individual Fof by using all the modification procedures of the Bpfs seen in the chapter on the Additive model All other parameters except Fundamental will consist in a number of curves equal to the number Fof in the bank 100 Diphone Studio Manual Chant Fof Voyelles dico enables you to try Chant with the banks of parameterised Fof depending on the emission of vowels and the range of the voice To hear the low frequency excitation impulses go into the range of emission of the voice trace in Fundamental a curve from 10 to 196 Hz It is always surprising to hear simple impulses turn into the human voice Chant Fof Instruments dico gives you a group of banks of Fof and of filters from the analysis of the instrument sounds You can edit sequences with segments of the Fof from different instruments and manipulate the multi Bpf for example the inversion of Fof frequency using Scale Ration in negative values The replacement of multi Bpf data by that of another Bpf can allow you to generate interesting
19. Creating sequences e Re synthesis 2 8 1 Example of the use of Direct Signal Place the sound which you would like to work on in the Import Export Sound folder Take note with AudioSculpt for example of where the articulations of your sound sequence are Then write a script to cut the sequence up into musical segments and start the process of creating the dictionary Create Dictionary From Script in the Plugins menu The creation window of the dictionary appears Don t forget in the Model pull down menu to attach it to Direct Signal fig 154 Create Dictionary From Script Script phrase script Model DirectSignal Container phrase script cont 0 Figure 154 The dictionary that has been created presents a similar structure to those that were created with the Additive model The number of parameters for each segment is however reduced to three fig 155 91 Diphone Studio Manual 7 phrase T i 1 My Signal My Gain ky Scaler dF 2 dF 3 dr 4 dP 5 dP 6 Figure 155 The creation of the sequence is then done in exactly the same way as what has been described for the Additive model If you change the length of a sequence with the Bpf mode in the Inspector window set to Elastic you will at the same time modify the pitch of the segments Transpose down to lengthen the time scale and up to shorten it This transposition effect is relative to the proportion of compression or expansion
20. Dictionary Sequence Windo Remove External Parameters 0 Ko 3 R Create Default Segment Create Segment From Selection ls Figure 81 These two operations must not be confused with the creation of a Composite segment see following section 52 Diphone Studio Manual 2 5 8 Composite segment A composite segment is a segment that contains a sequence i e several segments The graphical form and the direct manipulation on the graphical representation of a composite segment are identical to the ones of a basic segment The biggest difference with the operations already explained for the creation of segments from a sequence is that the composite segment always enables you to find individual segments that compose it Visually a composite segment is different from a basic segment because its name is always written in italics in the sequence window as well as in the dictionary where its icon is modified Two small linked segments Creating a composite segment In a dictionary window click on the name of an instrument It will go black fig 82 voixH dico Figure 82 In the Dictionary menu select the Create Composite Segment option fig 83 Dictionary Expand All Collapse All Sort Instrument Create Composite Segment K Play Preview Low Quality lt Figure 83 The composite segment appears in a list of segments of the instrument Its icon is slightly modified
21. Frequency SS gt Scaler i 0 AEF 0 4 0 6 0 8 1 fsec Figure 168 The roles of the parameters of the filters are obvious and we will not detail them Noise Amplitude is necessary when using a patch with noise We will now detail a certain number of procedures using the patches 104 Diphone Studio Manual White noise in a bank of filters patch 4 As written previously a bank of filters can be made to resonate with white noise Place a filter in the sequence window set its length with the Inspector for instance 6 sec and prepare its trajectory by varying its frequency and also its bandwidth by editing its two Bpfs Select the Export for synthesis option in the sequence window or in the Plug in menu In the Export for synthesis window select from the pull down menu of the patches patch 4 representing the noise in the filter fig 169 Figure 169 Note that the indication and the number of Filters box are shaded and inaccessible and replaced by Number of Filters Execute the synthesis by clicking on OK To modify the level of the white noise use the Bpf Noise Amplitude Since the signal is normalised after synthesis applying a constant value onto the white noise doesn t modify the resulting sound Explore and modify the parameters of the multi Bpfs frequency bandwidth of each filter and observe the behaviour of the filters witht the white noise as the source Sound file in a bank of filters
22. GES i t 100 ee a i a ttt F Sree the 7 a et tt pam gt ska En DL bis T Wiz eli A SEPA 5 ea ae y sane i TH set be se 10000 4 res ul dl i ie e NA Menn bee ii l wi mga ji Hi whee rer sae j i H ay Si eae os Fi ree 5000 Lie F i ji y ra Figure 120 The sub menu View to the top right hand side of the Bpf window is now accessible It is shaded in the case of a simple Bpf The All Curves option is selected by default fig 121 E E View All Curves v JH He Ce ar ar e a oe es eet pcs Fii re by Vs E gt Ee Roig 7 5 Figure 121 In the All Curves mode you can make no modification in the multi Bpfs It is used for visualisation only To modify the multi Bpfs first choose the Back Curves option in this same menu fig 121 Figure 122 74 Diphone Studio Manual The curves then appear in pale blue and you can select particular curves in the multi Bpfs ifthe multi Bpf is large you may have to wait until Diphone has finished its calculations for each curve starting with the lowest one The progress of the calculations is shown on the toolbar fig 123 Calculating curve region n 247 Figure 123 You can now move the cursor on the Bpfs and see the trace of each curve appear with red lines around it fig 124 lt 1 gt Frequency of Pa
23. Its link with Diphone functions on the same principle as for Addan Resan makes an analysis using the method of Resonance models On the output we obtain banks of Fof or of parameterised filters depending on the resonance peaks of the analysed sound Resan performs series of iterative analyses that you can parameter and run selectively The format of the output file is the SDIF norm Sound Description Interchange Format which is being more and more widely used thereby allowing communication with a group of other programmes In Diphone you apply the same procedures for cutting up segments into scripts and constituting Containers and dictionaries as those defined from the files analysed by Addan or output by Direct Signal Manipulation menus and toolbars in Resan are exactly the same as those in Addan The main window is made up of two tabs that enable you to navigate between choosing data for analysis and data for synthesis fig 178 179 111 Diphone Studio Manual Untitled Analysis 1 Synthesis Sound Input PO I GenerioName CS Since Step fo To Step 5 w Analysis Settings E Figure 178 The lower part of the window details the different steps to go through for an analysis There are eight steps in the analysis By default steps 0 to 5 are suggested for the analysis 112 Diphone Studio Manual Untitled Analysis 1 Analysis input FofFile NC Sound Output a I Sampling Rate
24. Listen to the result This time you get a glissando The third experiment now consists in simply setting the fundamentl to a very mow frequency from 5 to 10 Hz Leave the pitch of the Fof round 500 Hz The result is that you hear the Fof one by one The following figures are sonagrammes made with AudioSculpt showing each of the previous examples 2 oS gt Figure 160 You can see in this representation that the fundamental does not move The spectral rays stay horizontal during the whole length of the sound A variation in intensity of the harmonic bands moves upwards 97 Diphone Studio Manual Figure 161 Here you can easily see the glissando effect The intensity of the harmonics stays stable 600 00 li 400 200 0 5 0 6 0 7 0 6 0 9 1 0 TE 1 2 1 3 Figure 162 Four Fof are visible here The bandwidth is read on the vertical axis and time on the horizontal axis The intensity peak of the formant is situated in the darkest zone If you make the fundamental frequency too high you make the number of calculations larger and you therefore make listening in real time a lot more difficult cuts in the sound This is due to the fact that the number of triggers of banks of Fof goes up a large quantity of redundancy occurs You must then for perfect audition use the Export to synthesis function see next section 98 Diphone Studio Manual 2 10 2 The parameters of Fof and Bpf In o
25. by reducing the masking effect which could be produced by the noise in the sound It means that the search is led in the zone between the top and bottom middle harmonic values whether they are present or not Figure 22 to 24 illustrate different settings of this parameter 19 Diphone Studio Manual search bandwidth 0 5 eee eee eee eee y l or em ee eee eee eee eee i fe ee me eee Figure 22 Figure 23 20 Diphone Studio Manual a ee search bandwidth 0 1 eee eee eee eee ee ee ee PTs em ee s s ee ele te me ee Figure 24 By looking at the above figures you will understand that the default setting of 0 5 is quite sufficient for a lot of sounds A higher value can in some rare instances give a solution to a difficult problem You must be careful not to use too big values near to 1 which can create some problems for the software of coherence between rows of harmonics for the partials of the analysed sound in the succession of steps 1 5 5 Synthesis checking w More Settings Synthesis Checking Nb Partials G al M Apply with phases Sampling Rate 144100 0 e Figure 25 Here you may set the re synthesis parameters You are advised to keep the same number of partials as the one used for the extraction of partials as well as the same sampling frequency as used for the analysed sound The Apply with phases box indicat
26. choice The basic parameters a set by default You can choose the number of partials or the Fof Create Segment From Sequence enables you to create a segment from the contents of a sequence or from a selected part of the sequence 4 1 5 Dictionary The Dictionary menu is only accessible when the dictionary window is open Expand All selected opens all the instruments and composite segments contained in the dictionary window Collapse All selected closes all the instruments and composite segments contained in the dictionary window Sort If no instrument is selected sorts the instruments in the Dictionary window in inverse alphabetical order If an instrument is selected sorts the segments of an instrument in alphabetical order Create composite segment create instrument In a dictionary if an instrument is selected creates an empty composite segment which you will have to fill with segments from a sequence If no instrument is selected creates a new instrument Play preview plays a segment placed in the dictionary 117 Diphone Studio Manual 4 1 6 Sequence The Sequence menu is only accessible when the sequence window is active Show Parameters opens or closes the lower part of the window parameters and visualisation of Bpfs of a sequence An equivalent command exists which is the zoom square at the top right hand side of the bar of the window Show Separation Marks activates or disactivates the visualisation of th
27. e The bandwidth e The time of excitation e The time at which attenuation starts e The time attenuation lasts for e The phase The idea with synthesis is to have as many Fof as formants we want to represent We then obtain a bank of Fof When the bank is triggered all the Fof are triggered simultaneously and added To obtain a note you have to trigger the bank repeatedly at the repeat frequency or the fundamental you want A sound can be easily synthesised that gives the impression of a pronounced vowel You only need a bank of 3 to 5 Fof parameterised to the formants of the vowel you want and which are excited at a frequency corresponding to the range of a voice 110 Hertz for example 2 9 3 The other elements of Chant Chant doesn t stop at Fof First of all it is possible to feed the output of a bank of Fof into a bank of resonant filters parameterised in the same way as the Fof You also have access to white noise which when filtered give breath sounds It is also possible to use audio files to filter them and to combine them with the noise or bank of Fof Managing the filters is done in the same way as for the Fof Each filter has four parameters frequency amplitude bandwidth correction i e four Bpfs The breath sounds and the sound files are simpler objects than the banks They each have one amplitude Bpf only They have to be connected onto a bank of filters 94 Diphone Studio Manual 2 10 Using Chant with Di
28. into account to calculate the fundamental frequency By reducing the value of Noise threshold you are also reducing the number of peaks that are used to search for the fundamental The fundamental frequency is calculated using the average time between peaks in the spectrum that have a frequency smaller than Freq max and an amplitude bigger than Noise thres Figure 20 is a picture taken from AudioSculpt which displays the peaks and the settings for Extract Fundamental Smooth Order smoothes the fundamental after calculation You can set this value between 3 and 30 a bigger or smaller value is displayed in red and is not taken into account This value can help trying to eliminate certain undesirable jumps in frequency You are however advised to be careful in its utilisation with large values Pertinent jumps in frequency could indeed be eliminated The sub menu Output enables you to choose the output format of the file FO You have the choice between the SDIF format default and the ASCII format The latter insures backward compatibility with certain other programmes You may display the data with the command sdiftotext 17 Diphone Studio Manual threshold 504B ow ee Limite du Noise threshold gt Imit of the Noise Threshold r _o Oe Average jump between peaks Figure 20 18 Diphone Studio Manual 1 5 4 Extract Partials _ Extract Partials Nb Partials yf a
29. new segment with the Create Basic Segment function The creation window asks you the number of Fof you would like Start with one only so as to understand the principal properly If you use this command you will see a group of parameters appear which is superior to those of the strict definition of an Fof This process also creates the defini tion parameters of a filter You can delete from the list of parameters those which you do not need for the moment Clear Drag the segment icon containing a Fof into the upper part of the sequence window The segment appears graphically exactly like those already seen with the Additive or Direct Signal model The lower part of the window shows us as usual the parameters of the segment fig 159 95 Diphone Studio Manual v7 Parameters AY gt Fundamental gt Fof Frequency gt Fof Amplitude gt Fof Bandwidth gt Fof Excitation Duration gt Fof Attenuation Start z 1 gt Fof Attenuation Duration gt Fof Phase gt Scaler Oo De 0 4 0 6 0 8 1 clsec Figure 159 By hitting space bar you can immediately listen to the sound In Chant the Preview direct listening only works with Patch O work on the banks of Fof only Note on the Bpf A large number of parameters of the Fof are expressed by the multi Bpfs shown by a hard disk icon to the right of their name in the sequence window If you use segments made up of one Fof only multi Bpfs wil
30. now give more detailed explanations on the functions of the programme and you will be able to discover its wealth 5 Diphone Studio Manual Flow chart of Diphone Studio Procedures Proc dures Data Fof Filters Fundamental Partials Breakdown script Dictionaries Creation of a default segment Sequences Diphone export via Synthesis Plug in Audio file 6 Diphone Studio Manual The Addan program Addan is a synthesis programme that works on the additive model Using this procedure sound is analysed as the addition of sinusoidal waves each of which has a frequency an amplitude and a phase each of these varying with time The idea is to carry out a series of FFT analyses decomposition of sound into partials on successive time windows The parameters of these windows are set by the user to gain optimal sound results This type of analysis is well adapted to harmonic sounds the partials follow an arithmetic relationship and with little noise Despite being delivered as an autonomous application like Resan Addan is an input module into Diphone In carrying out this operation you run Diphone without having to quit Addan You may therefore navigate between the two applications or three if Resan is running without wasting any time If your computer has too little memory you may use virtual memory without any problem 1 1 Using Addan for the first time When you run Addan for the fi
31. para meters from a segment to another on page 87 64 Diphone Studio Manual By clicking on the triangle in front of the name of a parameter the trace of a Bpf appears fig 103 Untitled Sequence e 7 Fundamental gt Transposition Figure 103 If you have more than one segment in your Bpf you can observe the superposition of curves in the interpolation zone You can run the interpolation of the displayed parameter by clicking on the button dedicated to that function fig 104 The new curve after interpolation appears and you can immediately listen to the result 65 Diphone Studio Manual w Fundamental Bo Figure 104 By selecting Show Separation Marks from the Sequence menu fig 103 you can visualise the markers of the beginnings of segments and beginnings of interpolation zones fig 104 Sarita Window Aide Show Separation Marks Out Composite Segmen Figure 105 w Fundamental 100 200 3 fHz Figure 106 66 Diphone Studio Manual 2 6 2 Visualisation of Bpf points Access through the sequence window opens with a graph of the Bpf These traces are not the Bpfs but their images that you select to obtain the Bpf to be modified By moving the cursor near to the trace of the Bpf to be selected a blue box surrounds the trace fig 107 7 Fundamental Figure 107 Double click this bow the edition window of the Bpf appears fig 108
32. patch 5 T auld SES Figure 170 If the previous example seems clear using patch 5 will not be a proble After having prepared the sequence of filters run the Export for synthesis option In the Filtering box write the name of the sound file you want to put through the filters fig 171 105 Diphone Studio Manual Chant Synthesis LJ Processing Interval Start sec End sec Export Settings Patch n Buffer Size Number of Fofs v All Number of Filters yf Am Filtering voixH AIFF HEI Chant File Untitled Sequence sdif MM Do Synthesis Sampling Rate 441000 8 IM Delete intermediates files Cr a Figure 171 Click on Ok the synthesis procedure starts After having listened to the result you can change the characteristics of the filters as much as you like by controlling their Bpfs When the value of the bandwidth of the filters is small the resonance of the filter can be longer than the length of the segment and can be cut suddenly To make the synthesis longer without changing the length of the segment use the More Time box of the Do Synthesis part of the Export for synthesis window The time in seconds written in that box is added to the length of the synthesis 106 Diphone Studio Manual Bank of Fof in a bank of filters patch 6 gt ln g a N Figure 172 If the two previous patches are clear to you patch 6 should seem obvious to you A bank of filter
33. sound objects The replacement of Fof Frequency for example of the segment of a type of instrument by the Fof Frequency of another instrument gives a hybridisation of sounds where the character of both initial sounds appears To run the hybridisation of sounds drag the Fof Frequency data from the segment folder of your choice to the segment to be modified The segment to be modified can just as well be in a dictionary as in the sequence window Chant Base Filters dico regroups simple banks of filters from 1 to 5 filters To manipulate them it is necessary to understand the patches system see next section Chant Filter Instruments dico Here you will find parameterised filters on the analyses of instruments They will be very useful if you want to perform the hybridisation of timbre 101 Diphone Studio Manual 2 10 4 The Export for Synthesis command and patches When entering the Export for synthesis procedure you will notice that the opened window differs a lot from that which is displayed by the Additive or Direct Signal models fig 166 Chant Synthesis i Processing Interval Start sec End sec Export Settings Patch n More Time Buffer Size siz Number of Fofs yf All Number of Filters C v AID Chant File ial M Do Synthesis Sampling Rate 441000 8 Delete intermediates files Cet Cine Ca Figure 166 In the Export Settings zone on the right
34. the Addan or Resan applications without quitting Diphone Quit quits the Diphone application 116 Diphone Studio Manual 4 1 2 Edit Undo cancels the last operation Cut cuts and removes one or several selected segment and stores it on the clipboard so it can be pasted elsewhere Copy copies one or several selected segment so you can paste it elsewhere The difference with cut is that the copied segment is not removed Paste pastes the cut or copied segment into the selected sequence Clear clears and removes the selected segment s permanently Select All selects all the segments present in the window of the sequence that is in the foreground Preferences enables you to change the general configuration of Diphone Environment re synthesis parameters 4 1 3 Plugins Create Script From Markers enables you to create a script from markers placed on a sound with AudioSculpt Create Dictionary From Script enables you to create a dictionary from a script Set Plug in Model gives a sub menu allowing you to choose the analysis model Three are available Additive Direct Signal and Chant 4 1 4 Parameters Remove External Parameters deletes multi Bpf data from memory when it has been visualised graphically in a Bpf access table The value in Kb corresponds to the amount of memory occupied by the display of the Bpf that you are about to delete Create Default Segment enables you to create a new segment in the model of your
35. the Sequence menu The Sequence Grid Step window appears fig 91 56 Diphone Studio Manual Sequence Grid Step Grid Step sec Figure 91 Indicate the grid step size in seconds and click on Apply The Snap Selection to Grid option of the Sequence menu enables you to automatically position yourself on the centre of each segment on the nearest grid step Figure 92 shows a positioning on a grid with a step size of 1 5 seconds gt Parameters 5 10 15 sec Figure 92 57 Diphone Studio Manual 2 5 10 Listening test of an additive sequence Preview A control listening test of the positioning of an additive segment is available from the toolbar at the top of the sequence window fig 93 PSI Game eea Bo o w Parameters re Figure 93 The next two buttons to the right of the Play key correspond respectively to Play a segment or a selection in a loop Pause and Stop These same four functions are also found in the Sequence fig 94 Sequence Show Parameters Show Separation Marks Out Composite Seqment Show Grid Set Grid Step Snap Selection To Grid Glue Selection Set Selected Articulations To Set Selected Bpf Mode To Concat Resampling 100 Hz Play Loop Pause Stop Export For Synthesis Play Last Synthesis Figure 94 The Low quality remark is there to remind you that this listening is only done for tests and not for listening th
36. the screen beneath the menu bar Unanchor Toolbar If selected the toolbar can be moved freely and can be closed or masked using the usual boxes of its title bar The windows present on the desk are listed in the lower part of the menu The name of the active window is ticked You can select the name of an inactive and hidden window and make it active and appear in the foreground 119 Diphone Studio Manual 4 2 The menus in Addan and Resan 4 2 1 File New Text creates a new text window New Console displays a new console in which a list of calculation operations appears for the analysis and the synthesis as well as different messages New Analysis displays a new analysis window Open opens an analysis configuration Open As Text opens an analysis configuration in the form as text Open Movie amp Sound opens the Sound folder and enables you to play aiff files generated by synthesis If QuickTime is not installed this command becomes Play Sound Close closes the current analysis window Save Save As saves the analysis configurations under a new name Revert reverts back to the original state of the analysis by eliminating the modifications made after its last save Page setup defines the standard modification options of the print format of the document Print prints the console Activate Diphone loads Diphone without quitting Addan Quit quits Addan or Resan 4 2 2 Edit Undo cancels the last operati
37. your choice to write a Markers file with only one sound locate the start centre and end times Write the definition of the markers in a text file by selecting File NewText or in the text editor of your choice Scrupulously respect the configuration of the text fig 41 mark_voix p E MARKERS 000 500 950 620 O70 930 490 810 690 210 0 0 0 1 2 2 3 3 4 5 Figure 41 The number of and the link between markers corresponds to the definition given above Save this file with the name of the sound in ImpExport Markers Now continue the creation of the script by following the procedure from the previous section 30 Diphone Studio Manual 2 3 Creating a dictionary from a script First of all save the written script following one of the protocols described earlier into the folder ImpExport Script or in a working directory that you have created From the script and all the analysis data an instrument is created An instrument collects all of the segmentation of a sequence The instruments are filed in a dictionary Part of the definitions of the dictionary are automatically placed in the Container In the Plugins menu select Create Dictionary From Script fig 42 Plugins Create Script From Markers Create Dictinnary From Script Set Plugin Model Figure 42 A window then appears called Create Dictionary From Script In the Script box enter the name of the s
38. 2 5 Hz the points at 100 Hz and 110 Hz being below and 125 Hz above the middle value the calculation for the first two cases is their double differences with the middle and for the third case the double of the spacing with respect to the middle 81 Diphone Studio Manual From Maximum the factor applies to the points of the Bpf above the highest point fig 136 120 130 110 100 So Figure 136 From Maximum Scale Ration 2 We get the trace 125 Hz 95 Hz and 75 Hz e This is to say 125 Hz is the highest point e The points at 110 Hz gt 125 125 110 2 95 Hz e The points at 100 Hz gt 125 125 100 2 75 Hz From Value The factor applies to the points of the Bpf depending on the written value in the Value box If you have followed the demonstrations for the selections given earlier from Zero Minimum Middle and Maximum the adjustment of this selection will seem obvious to you 82 Diphone Studio Manual Translation of a Bpf E Figure 137 With this function you will apply a translation by a constant value on the vertical axis The unit is of course variable depending on the parameter displayed by the Bpf Enter a positive or negative value in the Y Translation box and click on the Apply box fig 138 Bpf Translate Y Translation Hz Treat Curve L AID apply _J Figure 138 Operations specified with notes Figure 139 These two procedure
39. E E ee ee 00 0 05 0 10 0 15 0 20 0 25 secl _ Figure 66 0 20 0 25 Figure 67 Only the selected border changes position 3 Moving the centre Move the cursor onto the triangle representing the centre of the segment Press on the option key of your keyboard the picture of the triangle is modified Now move the mouse still pressing the mouse button down to the desired location fig 68 Let go of the mouse button the centre will go back to its triangle shape in the new location 44 Diphone Studio Manual ge J0 0 05 0 10 0 15 0 20 0 25 sec Figure 68 4 Moving segments Select the segment to be moved then press the option key Then move the cursor onto a part of the graphical representation of the segment to be moved The pointer turns into a double arrow By keeping the option key pressed down move the double arrow in the desired direction a light imprint of the segment follows the move fig 69 By using the chronometric markers at the bottom of the window place the segment at its new location by letting go of the option key on your keyboard Ee 0 0 2 0 4 0 6 0 8 1 0 sec 2 Figure 69 To move a group of segments first select with the shift key pressed down before the mouse button the seg ments to be moved then with the option key pressed down move the group of segments Another access to controlling the move of the segments has been designed in Diphone Glue Selection
40. Instruments dico contains a group of filters founded on the analysis of musical instruments You can with the Clear command Edit menu delete certain parameters which you don t have any use for 109 Diphone Studio Manual Sound file and noise in a bank of filters patch 2 WA I ato Figure 176 Noise can be added to the signal of a sound file at the entrance of a bank of filters Patch 2 is a variant of patch 5 with access to the control of noise amplitude parameters from the table of parameters of the sequence In the Bpf Noise Amplitude window apply the desired value by using Apply Constant Value or draw a curve with the tools from the toolbar Having selected patch 2 specify the name of the sound file in the Filtering field and run the synthesis process by clicking on OK Combined sources in a bank of filters patch 2 gt wn Hn i a Figure 177 In this patch you can associate three elements in a bank of filters Fof noise and sound file This patch uses the different control elements that we saw in the previous examples editing a sequence of Fof applying a bank of filters setting the amplitude envelope of the noise choosing the sound file and executing the synthesis We will not detail the other patches that offer different combinations of these same elements 110 Diphone Studio Manual 3 The Resan program As is the case with Addan Resan is an application dedicated to analysis
41. New Dictionary New Sequence N 0 Open Movies Figure 27 Diphone menu Now open the son F0 file which you have just extracted the fundamental from It appears in the form of a graph of a Bpf fig 28 A Bpf Break Point Function is a waveform defined in a discrete way by a group of points linked to each others by segments We will be discussing Bpfs again in section 2 6 For the moment we will we will make do with explaining only the tools that are needed for an alteration of the fundamental 22 Diphone Studio Manual voixH FO Ta 3 sec Figure 28 Using the pencil from the toolbar of the Bpf you may modify the shape of the temporal evolution of the fundamental voixH FO eee B 3 sec Figure 29 Once this has been done save the new waveform option Save in the File menu without modifying the name or the destination folder Now go back into Addan and follow the next steps in the analysis without forgetting to invalidate the Extract fundamental box 23 Diphone Studio Manual 1 8 A first Diphone script Once you are pleased with the result of your analysis you may create a first Diphone script inAddan The Create Diphone Script option in the Analysis menu as well as the icon on the right of the tools in the main window are now valid fig 30 31 Analysis Choose Session Clear File Names Yalidate Creat T 2 Diphone Script
42. Quality Figure 57 37 Diphone Studio Manual 2 4 Creating sequences During this phase of the work you enter the creation of sound and musical elements by manipulating the parameters of the segments of a dictionary Most manipulations are made by moving and modifying graphical representations those of the segments in the form of tiles and those of the parameters in the form of Bpfs A certain number of these operations may also be made in the Inspector window Finally other operations will appear in specialised windows non graphical modification of the Bpf or will be accessible using buttons or dedicated menus 2 4 1 The segment in the graphical representation of a sequence To see the segment you need to create a sequence An empty sequence window is created by default when Diphone is started up You may also create a new sequence with the File menu New Sequence option or with the dedicated tool from the toolbar fig 58 A non empty dictionary must of course also be loaded New Sequence Figure 58 A window called Untitled Sequence 1 appears fig 59 It is separated into two big superimposed zones The top zone to place the segments the bottom one for the parameters You may show or hide this lower part with the small triangle to the top left hand side of the upper zone 38 Diphone Studio Manual Untitled Sequence OS BB M tee w Parameters 0 050 sec g Figure
43. TC QU documentation e Research reports e Musical works e Software Diphone Studio User Manual amp tutorial x x x 0 4 6 z 10 sec First edition of the fourth version of the Diphone manual November 1999 E Centre Pompidou Copyright 1999 Ircam All rights reserved This manual may not be copied in whole or in part without written consent of Ircam This manual was written by Guillaume Loizillon en collaboration avec Xavier Rodet Adrien Lef vre Gilles Racot Carl Faia Dominique Virolle et Marc Battier and was produced under the editorial responsibility of Marc Battier Marketing Office Ircam Diphone Design Xavier Rodet Macintosh Programming Adrien Lef vre Unix Programming Thierry Galas Philippe Depalle Research assistants Guillaume Bouriez Marteen de Boer Xavier Hosxe Gilbert Nouno SuperVP Design Philippe Depalle Program Philippe Depalle Gilles Poirot Chris Rogers Jean Carrive Pm Design Xavier Rodet et Guillermo Garcia Program Guillermo Garcia Diemo Schwarz Chant Design Xavier Rodet Yves Potard Program Yves Potard Gerhart Eckel Francisco lovino Dominique Virolle Sdif Design Xavier Rodet Program Dominique Virolle Diemo Schwarz ModRes Design Xavier Rodet Program Pierre Francois Baisnee Francesc Marti This documentation corresponds to version 2 8 of Diphone Macintosh version Apple Macintosh is a trademark of Apple Computer Inc Dipho
44. The Signal and Gain parameters can be open and modified in the Bpf window Scaler can only be modified with the mouse on the graphical representation of the segment or in the Inspector window The Bpf Gain enables you to profile the general dynamic envelope of the segment If you open the Bpf signal you will get an amplitude versus time representation of the signal equivalent to the one found in traditional sound editors Sound Designer Peak To modify it you will therefore be able to use the pencil with all the risks that it represents on the deterioration of the signal More interesting manipulations of the dynamics are possible with modifications of scale ratios Scale Ratio 92 Diphone Studio Manual 2 9 General principal of Chant Chant is a specialised library for the synthesis of sound With the Resan analysis programme you will be able to integrate new elements into Chant The synthesis uses the Formantic Waves Function Fof method and banks of filters resonating in parallel like in synthesisers using parallel formants used for speech synthesis The principal behind Chant is to synthesise a sound as a function of formantic parameters that describe zones of dominant peaks in a particular spectrum Most of this data is described as functions of time defined by time value points i e Bpfs 2 9 1 What is a Fof Formantic wave function Take an excitation e t and a linear filter with an impulse response in time h t The
45. an for example apply the contents of the pitch of partials of an instrument to another while conserving the latter s fundamental and the intensity of its partials It may also be interesting to substitute a fundamental path from one segment to another Several methods are possible From the sequence window open the graphical representation of a parameter and drag and drop it onto the graphical representation to be modified fig 148 w Parameters RECS NE SNE a Fundamental D np Aaa AAA D 0 0 5 1 0 ic 2 0 s 3 0 3 5 4 olsec 4 Figure 148 87 Diphone Studio Manual The new values for this parameter of the destination segment are immediately updated fig 149 x a lt 7 Fundamental f h a onl len Noa aan Ad 0 0 5 1 0 1 5 2 0 25 3 0 3 5 4 gtsec 4 Figure 149 You obtain the same result by opening the two graphical representations of the segments in one window of the Bpf double click the representation which is circle in blue and by using the traditional copy and paste You can transfer the Bpf of a dictionary to the window of a sequence Follow the same instructions as given previously by dragging and dropping from the name of the parameter in the dictionary window to the segment in the sequence window fig 150 151 88 Diphone Studio Manual effpiaL dico Model Additive 7 effpiaL 7 d effpial Me Transposition Energy Gain Frequency of Partials Amplitud
46. and itis named Untitled Segment by default fig 84 You can rename it in the Inspector window 53 Diphone Studio Manual voixH dico Model Additive JME fll WMH voixH gt dP si 0 500 gt dP s2 0 550 a in a e as OD e iS Q 0S0 Figure 84 This composite segment is empty for the moment Now select in the sequences window the segments which make up the composite sequence Now click and drag the segments onto the icon of the composite segment in the dictionary fig 85 Untitled Sequence 1 HP H 1 0 sec Figure 85 Source Segments that make up the composite segment Let go of the mouse button The composite segment then appears complete with the segments that make it up inside the dictionary fig 86 54 Diphone Studio Manual VoixH dico Model Additive Figure 86 Destination in the dictionary for the creation of the composite segment You can now use this composite segment like any other segment in the construction of a sequence fig 87 1 4 Figure 87 if you create a composite segment from several instruments and several dictionaries this composite segment will reference the data from different containers Be careful therefore if you want to delete a container that your hard disk has recognised all the dictionaries that depend on it Return to basic segments of a composite segment In the sequence window double click on the graphical re
47. answer e t h t gives the signal s t convolution operator An Fof is the signal s t impulse response of the linear filter of the two filters in series e and h If we apply these elements to the voice e t is the representation of the opening of the glottis and h t that of a resonance of the vocal tract Since the vocal tract has several resonances we have several filters hl t hn t To each filter hi t which is excited by e t corresponds an Fof t si t The voice is therefore modelled using the sum of Fof which are excited by the same impulses In the spectral domain each Fof represents a formant resonance of the vocal tract A Fof is therefore a sinusoid modulated in amplitude by a raised sinusoid for the length of the attack then followed by a decreasing exponential This is what the signal looks like when a Fof is triggered fig 156 Amplitude s t Temps t Figure 156 93 Diphone Studio Manual and the corresponding formant fig 157 Amplitude db frq Hz 0 50 100 150 200 250 Figure 157 It is important to understand that a Fof is one and only one excitation limited in time We will see further on that it is possible to listen to a Fof separately if a sufficiently low fundamental is applied In the order of 1 to 10 Hz for example 2 9 2 The parameters of a Fof In the Chant library a Fof has 7 parameters controlled by Bpfs e The central frequency of the Bof e The amplitude
48. at gives all of the sound information on the sequence The synthesis does indeed only take the first three partials into account by default The number of partials and the sampling frequency can however be modified and determined in the Edit menu Preferences option or by displaying the preferences directly from the main toolbar Choose the Additive tab in the preferences fig 95 Make your adjustments in the right hand side of the window Preview 58 Diphone Studio Manual Preferences General Environment Chant DirectSignal Synthesis Default Preview Nb Partials Df Al 32 Nb Partials _ Alp Do Synthesis Sampling Rate s Sampling Rate s Delete intermediates files Current lt Diphone Prefs gt Coa Figure 95 59 Diphone Studio Manual 2 5 11 Synthesising a sequence and listening to it To listen to the sequence with better quality sound you have to first synthesise the sequence The Export for Synthesis button in the tools of the sequence window enables you to access this operation fig 96 PAIL wesc Geass TS o a Ro o w Parameters Figure 96 An Additive Synthesis window appears fig 97 Additive Synthesis Lj Processing Interval Start sec Endise Export Settings Number of Partials Yf l _ Apply with phase not recomanded Fade Harmonics Attack s Release s Fund File Untitled Sequence FO Partial File Untitled Sequence aDD O Do Synthesis
49. cript or load it from the folder where it is saved using the icon to the right of the name fig 43 Create Dictionary From Script Script i Model Additive Container o Figure 43 Adapt the model onto Additive The container takes the name of the dictionary defined in the script as the default name If the container already exists name underlined you will not be able to rewrite over it because it is locked If you are sure of your actions then you can put the file in the recycle bin by keeping the option key pressed You may also give it another name Click on OK A message appears confirming the creation of the container fig 44 If an error message appears instead click on More Information to find out what the problem is 31 Diphone Studio Manual Container voixH created k L Figure 44 Note Some of the possible problems The container already exists The script is not written properly Reopen it and check the syntax and the name By opening the Instrument folder of the dictionary triangle to the left of the small keyboard you will indeed find the icons of the segments you have created fig 43 OD yoixH dico SS H H Model Additive vv yoixH gt gE b gt dP s2 0 550 Figure 45 The length of time that appears to the right of the segment may differ slightly from End Beg as you defined them in the script You may display the Inspector
50. ction of the partials sound ADD in the folder ImpExport Partial Re synthesis sound synth AIFF in the folder ImpExport Sound 1 3 Reconfiguring the working environment Choose Session option You may adopt another configuration of the working environment in the Analysis menu Choose Session option fig 6 PUCAS Window Aide Choose Session Clear File Names Yalidate Create Diphone Script Figure 6 A dialogue and navigation box appears which enables you to choose a folder which will be the default folder and which will gather all the files created by analysis and synthesis 9 Diphone Studio Manual 1 4 Making a first analysis The main analysis window opens up when the programme is loaded If this is not the case choose the New Analysis option in the File menu or click on the left icon on the toolbar fig 7 8 New Analysis Figure 7 sit Edit Analysis Wir New Text New Console New Analysis JN Ope 360 Open As Text Open Movie amp Sound Close a6 W Save 365 Save AS Revert Page Setup Print 36P Quit Q Figure 8 Figure 9 shows the main window of AddAn This window is split into three zones At the top The tools zone three of them The one furthest on the right may be shaded which shows that the operation is not available for the moment In the middle The Organisation zone shows the progress of the analysis and the different fil
51. d with the size of the signal window The step size is set beforehand as a function of the stability of the sound to be analysed The more stable the sound the bigger the step can be Generally the step size is chosen between 0 01 and 0 005 s For a Stable sound a bigger step may be chosen that will reduce the size of the sound file Opposite the Anl Type indication a pull down menu fig 18 enables you to access the different shapes of analysis windows In certain specific cases it may be useful to change the window type FFT size smp hanning hamming Anl type blackman Figure 18 Generally Hanning windows give the best frequency resolution and Blackman the best spectral dynamics Hamming which is the default setting is a good compromise between the two In setting the analysis parameters choose to modify the size of the window and the step first before changing the type of window 16 Diphone Studio Manual 1 5 3 Extract fundamental __ Extract Fundamental gt Fund min Hz Freg max Hz 4000 0 Fund max Hz 1000 0 Noise thres dB Smooth order Output Sdif Figure 19 Extract fundamental is the stage at which you have to define the upper and lower limits between which the fundamental frequency is searched for Fund min and Fund max Setting the noise threshold Noise thres enables you to determine from which difference in intensity compared to the highest peak a peak will be taken
52. dit a model of a script that you can then use by changing the definition names and values of the segment each time you write a new script You may choose the name you want for the dictionary For the instrument you must take the exact name of the analysed file so that the procedure may access the FO and ADD files Diphone accepts a minimal definition of a segment It completes the centre time and interpolation zones with default values You just need to give the beginning and end times of the segment in the script fig 36 U ex script mk Dictionary vo xH Instrument voixH Segment s1 beg 0 end 5 Segment s2 beg 45 end 1 Figure 36 27 Diphone Studio Manual 2 2 1 Writing a script using the AudioSculpt markers A function in AudioSculpt enables you to locate the morphological articulations of the sound and to identify them with markers Markers These markers are exploitable and exportable into Diphone which integrates them directly into its script Refer to the AudioSculpt documentation for a detailed explanation of the procedure for placing the markers in a sound file You may either use the automatic procedure Place Markers which determines the location of each one depending on the peaks in the sound or you may place them by hand directly onto the sonagramme by hitting the Ctrl key and by clicking on the sonagramme at the desired location So that the script may function correctly you must
53. e 48 Hybridisation 101 Impulse response 93 Inspector 32 Inspector window 47 InterpBeg 26 27 InterpEnd 26 27 L Lefevre A 1 Length 86 Load 50 M Macintosh 1 Magnifying glass 71 Markers 28 AudioSculpt 28 file 29 Menu Addan 120 Analysis 120 Bpf 118 Dictionary 117 Diphone 116 Edit 117 120 File 116 120 Parameters 11 7 Plugins 117 Resan 120 Sequence 118 Window 119 121 Menus 116 More Information 31 More Settings 10 More Time 106 multi Bpf 73 77 New 116 New Analysis 120 New Bpf 116 New Console 116 120 New Dictionary 35 116 New Doc at Startup 127 New Sequence 38 New Text 27 116 120 Noise 17 Noise thres 17 Note 84 Note Transpose 83 119 Number of Curves 36 One Curve 75 118 Open 116 120 Open As Text 120 Open Movie amp Sound 61 120 Original Fundamental 64 Out Composite Segment 118 Output 19 Page Setup 116 Paste 120 Patch 95 102 104 Pause 118 Peak 30 92 Pencil 77 Phase of partials 64 Play 118 Play Last Synthesis 118 Play Loop 118 Play preview 117 Plugins 28 31 122 Poirot G 2 130 Diphone Studio Manual index Preferences 117 122 Synthesis 115 Preview 58 Print 116 T Q Toolbar 7 Translate 119 Quit 120 Translation 83 Transposition 64 Treat Curve 78 Release 19 U Remove External Parameters 73 117 Resampling 118 Unanchor Toolbar 119 121 Resan 2 93 111 120 Undo 120 preferences 127 UNIX 1 Resonance model 111 Revert 116 120 V Rodet X 1
54. e Studio Manual Eliminating the curves from a multi Bpf This function is accessible only from the Bpf menu fig 144 It only applies to multi Bpfs Bot Show Points View gt Current Curve 1 Current Curve For All Editors Apply Constant Value Scale Translate Fill Gaps Crop On Curves Apply Constant Note Figure 144 You can specify in the adjustment window the lowest number and highest number curve you wish to keep fig 145 Bpf Crop On Curves Preserve Curves To C Figure 145 Creating a new Bpf This function enables you to create a new Bpf that is not generated from a parameter You may then substitute it to the Bpf of a parameter by copying and pasting it In the File menu choose the New Bpf option fig 146 File New Text New Console New Bpf New Dictionary Figure 146 85 Diphone Studio Manual A configuration menu appears fig 147 Length sec Sampling Rate Hz k Figure 147 Specify the length of the Bpf Length and the number of points Sampling Rate Click on OK Do not confuse the number of points of a Bpf with the sampling frequency of the sound 86 Diphone Studio Manual 2 Transfer and replacement of parameters from a segment to ano ther This group of manipulations which is very easy to access constitutes one of the most powerful modes of transformation of sounds in Diphone You c
55. e graphs used when interpolating of the data from one segment to another They are represented by default beneath the sequence by a cross showing the position of the middle of the interpolation section fig 75 gt Parameters ks SS SS yo eens SS eT 0 0 2 0 4 0 6 0 8 1 0 sec 1 Figure 75 By keeping the mouse button down on the cross a pull down menu appears which suggests a list of transition graphs fig 76 Linear Smooth Logarithmic Exponantial 2Smooth Truncate Medium TruncMed Figure 76 Select the graph by moving the arrow to the chosen one The picture of articulation replaces that of the cross initially applied You may create your own transition graphs yourself The User icon validates this selection To create a personalised graph choose the Edit option in the transition window An editing window appears fig 77 49 Diphone Studio Manual O SS Articulation H B SA e Figure 77 With the pencil you may freely draw the waveform of your choice The left hand column shows you the eight predefined articulation curves You can use them as a starting point or as a way of distortion To do this click on one of these shapes By keeping the button of the mouse pressed down move the cursor back into the drawing zone and distort the curve You can save this new waveform Save or load other curves that you have already constructed Load 50 Diphone Studio Manual
56. e limits of each segment in the sequence window Out Composite Segment re forms a composite segment Show Grid displays the temporal grid marks in a sequence Snap Selection to Grid moves all the segments onto the temporal grid so that the centre of each segment is positioned on nearest grid step Glue Selection Moves each segment as near as possible to the next segment within the beginning and end zone limits of interpolation of each one It is also possible to define a space between each segment of the selection by entering the length of this space in the dialogue box Set Selected Articulations To gives all the different types of articulation that are usable to interpolate the data of a segment to another segment This list is also accessible by clicking and keeping the mouse button down on the articulation symbol directly in the sequence Concat Resampling choose the sampling frequency of the parameters for synthesis The value is by default set to 100 Hz This sampling frequency corresponds to the number of points per second in a Bot Don t confuse this with the sampling frequency of the sound file Play plays the sound of the sequence in preview mode Play Loop plays a segment a sequence or part of a sequence in a loop Pause pauses the sound which can be played again by pressing play Stop stops the sound and repositions the cursor at the beginning Export For Synthesis gives access to the window running the current h
57. e of Partials Phase of Partials Original Fundamental Original Energy YEP EEE FE Scaler Figure 150 Source in the dictionary o 0 5 ELE 1 5 2 0 2 3 3 0 3 5 4 0 sec 4 Figure 151 Destination segment in a sequence The transfer can at last be carried out from dictionary to dictionary Still using the drag and drop technique move a parameter to its equivalent destination in another dictionary this time fig 152 153 89 Diphone Studio Manual voixh dico Model Additive Q Fundamental Transposition Energy Gain Frequency of F Amplitude of Partials Phase of Partials Original Fundamental Original Energy TPF EEE Scaler Q Figure 152 Source source dictionary Model Additive itive 7 piano Ww dr 1 000 Fundamental Epos ition Energy Gain Frequency of Partials yy Amplitude of Partials Figure 153 Destination destination dictionary 90 Diphone Studio Manual 2 8 How Direct Signal works Diphone enables you to create and manipulate sequences using the segmentation principal by taking the actual sound signal as the main data With this model which doesn t require any preliminary analysis you will have access to a limited number of parameters You will however be able to make very precise editing The majority of operations is similar to those described previously for the Additive e Script model of cutting up segments e Creating dictionaries e
58. eantennavnens esses nnana Eerie 25 2 1 Elementary notions on the structure of the segment s ssssssessrresererrrrsrrrrerrrretrrrnrrrrrrnrrrrrrnrr rrene nr nne 26 PREA KEES E E EEE A E E E E E A E T E E E E EEEE E 27 2 2 1 Writing a script using the AudioSculpt markers ce eecceee cee eeeeeeeeceeeaaeeeeeeeeaaaaeeeeeseeaaeeeeeseeaaaeeees 28 2 2 2 Creating a scnipt from the Markers ws siccccesmadsnnedbesainescanedsceuncesoantensesstateatacesdpeadordundiendieeeaensedeasbidentseens 28 2 2 3 Writing the Markers file directly vain svicscncsaseesanianveccausniniendnadanvader ts nantwatearestanwuslauedwtewceneevnans niuddenaenredees 30 2 3 Creating a dictionary from a SCTIPt ccceccecseceeceeceeeees een eee eee eceeseeseeseeseeeeseeseeseeseeseseeseeseegeeneeeeseeseesenes 31 2 3 1 Creating and empty dictionary crcccicsccessccsincesccsascdincdecess lt veeetsares deedeuwedenscsbebdendeeds varseadesduesdadeesnceeiveds 35 2 323 COMING functions Of the dictionaries csc ccsceiccxeessisandibietepnsenevimananed tomceieonsentuninnnbeemeneecnecimuningasibewsasan 37 2 4 Creating SegUENCOS Oe eene net near eee eee ene ai ee ee ee eee eee eE E ai Creer ee eee eee 38 2 4 1 The segment in the graphical representation Of A SEQUENCE cccccseeeeeeceeeeeeceeeeeeeceaeeeeesaeeeeeens 38 2 4 2 Construction of a sequence of Several segments ceceeeeceeeeeeeeeeeeeeeeaeeeeaeeeeaeeesaeeeeaeeesaeeenaetens 41 2 5 3 Controlling the display of
59. eeseess 99 2 10 3 The available Chant CICHOMANCS xyencc2epeceelecceties senwencdcndsdacetiveandansantebeedtgunkedexietebantessee lt dabterendmetactes 100 2 10 4 The Export for Synthesis command and patches ccccecceeeceececeeeceeeceeeeeueceeeeeeeeneeeneeesseess 102 2 10 5 Using Me patches misessa aana eE E R E arae ae NE Er IA 104 The Resan progra ehsciicccceee sencrccneaceen iE SEE ted aR 111 CR EEE E E E A EEE T E E A A E A T S A OEA 114 STERE AE E o hose gees E EE N A EA A E EE A A E E ene E E A A A A cena 115 Te MENUS Yin attics en eE en AAA EEA E E EE 116 4 1 The Diphone MENUS sessrirveroaniry dorsais erena E AE EE SEAE E ri E aT NA Ea EEE ianen eai 116 Ao 1a FIG corea a EE E ESA 116 dae E aera E EEE A E E E E E E E E a 117 Ao IGIN see E S sateuc roeeuenttoutee 117 4 1 4 MMM ANS eS FS te echelon Gane carbone adic bataghena haat eiie nienie badd aeieeiaii 117 ERD TIOM ON Y Ea E E EAE E E EEEE TE E saan osameosuneonsniaines EE E sane 117 4 1 5 eI pao ctr atec taut ale ninie AA RSE N i Eea 118 AF ETE E e EE A E EE E EE AIN E N E E IEE A E A AET acu 118 A120 WOON narei E EEEE SE EEE EEEE Er E ir iie 119 4 2 The menus in Addan and Resan siiaduiin sctwisaescnsncdcudedsersisbagereadcacodsdand cededsuakdeblawxensnkusneddiunasimeeuedcancdeaues 120 EAA E WS A EN ENE ES E A E EE O E E N E T EN T NT 120 AAPA E S E EEE O EEEE E E OR O O EEE AE E E E EE 120 Bk Pel Ye ea E E E E beneeiicnewendeetonee 120 ea NOW eii ea E EEE E E i A EEA AA E EAEE
60. efine the centre When you have determined the perceptually most prominent instant in the length of sound to be segmented choose it as the centre ctr The segments are put together in sequences to constitute a musical phrase and inversely a musical phrase son aiff can be cut up into segments A sequence or a fragment of a sequence can be converted into composite segments segment made up of segments 26 Diphone Studio Manual 2 2 Writing a script The creation of segments is described in a script A script is a text file that contains the co ordinates of the limits the centre and the length of the interpolation zones The definition line for each segment in a script contains the instants of the beginning beg of the end end of the centre ctr and of the length of the interpolation zones InterpBeg and InterpEnd fig 35 DO SSS script E MB Dictionary vo xH Instrument voixH Segment s1 beg 0 end 5 ctr 0 35 interbeg 0 1 interpend 0 05 Segment s2 beg 45 end 1 ctr 0 25 interbeg 0 1 interpend 0 1 Figure 35 Open an empty text file using the New Text option in the File menu in order to write a script This configuration corresponds to the hierarchy of the folders Dictionary Instrument Segment and the values of the beginning time beg end time end of the centre ctr and of the interpolation zones for the beginning InterpBeg and the end InterpEnd of each segment You may e
61. es if the phase values are conserved or not when the ADD file is created 21 Diphone Studio Manual 1 6 Stepping through the analysis We saw previously that the three phases could be dissociated This working mode is mainly designed so the fundamental extraction can be performed first and separately and corrected so that the extraction of partials can be optimal As well as manipulating the Addan programme it is a good idea to have a good knowledge and preliminary analytical listening of the sound to be analysed 1 7 Process of altering the fundamental The estimation of the fundamental can sometimes produce jumps in frequency often situated at an octave or a random interval These jumps can be a problem for the following steps of the additive analysis It is sometimes helpful to eliminate them In order to alter the fundamental in an acceptable way the first operation has to be the extraction of the fundamental and only that so that corrections can then be made by hand to improve the extraction of partials operation In the main window of Addan after having loaded the sound to be analysed tick the Extract fundamental option only and start the analysis After this operation a file with the extension F0O file is created You must now run Diphone fig 26 Activate Diphone Figure 26 Once Diphone is opened choose the Open option in the File menu fig 27 New Text New Console New Bpf
62. es linked to it At the bottom More Settings enables the user to access the analysis parameters and to run the analysis if this part is masked you may open it by clicking on the small triangle to the right of the More Settings indication 10 Diphone Studio Manual O Untitled Analysis 2 H Organisation Sound Input _ Extract Fundamental gt ee Extract Partials A w More Settings General LJ Processing Interval Start sec End sec Delete intermediates files Figure 9 The first line of the organisation zone Sound Input enables you to choose a sound to be analysed This sound may be in the AIFF AIFC or sd2 formats It has to be monophonic By clicking on the folder icon fig 10 a sub menu appears on the left hand side fig 11 Figure 10 11 Diphone Studio Manual Choose File Choose Directory Open Ext rieur_Guillaume Diphone 2 7 3 Clrcam ImpExport Sound alt aiff Untitled Sequence aiff Figure 11 Choose File enables you to fetch the required sound where you want in the folders on you hard disk The default folder ImpExport Sound is suggested unless you have chosen another folder using the Choose Session option see previous section 1 3 Choose Directory enables you to specify the default folder which is opened by the Choose File option Once you have selected the input sound the speaker icon becomes active and you can listen t
63. he creation of a new dictionary and a new sequence both empty It also enables you to open the Inspector window and the preferences window The working principal in Diphone is the construction of sequences formed by segments that are ordered in instruments that make up the dictionaries These three elements form the basis of the objects that the user Can manipulate A 4 element the Container collects the data that constitutes the dictionaries The Containers are saved onto the hard disk in the ImpExport Container folder These are locked files since they contain reference information for the segments such as the fundamental frequencies FO and the analyses of the partials ADD 25 Diphone Studio Manual 2 1 Elementary notions on the structure of the segment A segment or basic segment is a temporal fragment from the group of parameters from the analysis It is defined by a certain number of key points chosen in the sound The segment is represented graphically by a tile shape fig 34 that can be partially fitted into other tiles that precede or follow it in time center ci lt length t 0 beg end Figure 34 The beginning time beg and the end time end mark the limits of the segment The zones that fit into each other are called InterpBeg for the beginning and InterpEnd for the end It is in these zones that the interpolations from segment to segment will be done One part of the segment is important to d
64. hen occupies the whole surface of the window fig 117 lt S l gt Fundamental Figure 117 To go back to a less narrow visualisation click in the window with the magnifying glass while holding the option key down The magnifying glass appears with the minus sign in its centre 72 Diphone Studio Manual The case of multi Bpfs Multi Bpfs ar made up of not one but several curves In certain cases there can be a large number of them frequency or amplitude of the partials for example In the sequence window their name is followed by an icon representing a hard disk Click on this icon first to load the Bpf data into memory You will be able to get this space back later by choosing the Remove External Parameters option fig 118 Parameters Remove External Parameters 3136 Ko R Create Default Segment Create Seqment From Sequence Figure 118 As for a simple Bof first open its representation in the sequence window then double click it to make the multi Bpf appear in the edition window fig 119 Figure 119 73 Diphone Studio Manual Often due to the number of curves it is essential to immediately choose an appropriate scale of visualisation as explained earlier fig 120 lt S1 gt ae Ie of Partials p EH J eat fl AP l Mii 9 cast at t e T alll 300C CHAZ I Kew E Ths oar hai tan 2 SHAT er sre r aie A 5 e L a
65. ictionary and scripts information on errors etc New Bpf displays a new empty Bpf window You can draw a new curve in it and copy paste it into a parameter of your choice New Dictionary enables the creation of a new dictionary empty Instruments can be created in it and instruments from other dictionaries can be installed in it New Sequence displays an empty sequence window From the dictionaries you can drag segments that will make up a sequence Name you sequence after having selected Save as from the File menu A sequence window is made up of two regions The upper region corresponds to a graphical visualisation of the segments the lower region offers an access table of the parameters of the Bpfs and the multi Bpfs Open opens a dictionary a sequence or a Bpf Open Movie amp Sound enables you to open the Sound folder and listen to aiff files generated by synthesis If QuickTime is not installed this command is the Play Sound Close closes the active window situated in the foreground be it a dictionary or a sequence Save Save as enables you to save sequences and to given then a new name Revert enables you to revert back to the original state of a sequence or a dictionary eliminating the modifications made after its second save Page Setup enables you to define the standard modification options for the print format of the document Print runs the printing of the console Activate Addan Activate Resan loads
66. igh quality synthesis Play Last Synthesis plays the last synthesis to date synthesised in high quality 4 1 7 Bpf This menu appears in the tool bar only when a Bpf window is open Show Points displays the points of a curve View opens a sub display menu for the curves of a multi Bpf One Curve displays one curve only of a multi Bpf You can choose this curve either with the mouse or with the Current Curve option see below Back Curves Choose and edit a curve within a multi Bpf All Curves displays all the curves of a multi Bpf and disables any editing Current Curve choose the curve to be edited in a multi Bof Current Curve For All Editors sets the default curve for editing when any Bpf window is opened 118 Diphone Studio Manual Apply Constant Value specify a constant value for all the points of a Bpf Scale modify the scaling ratio between the points of a Bpf curve Translate translates all points of a Bpf curve Fill gaps Re calculates the missing points in a Bpf curve Crop on Curve enables you to delete curves in a multi Bof Apply Constant Note specify a constant value in the form of the name of a note or an octave number Note Transpose specify the translation of a Bpf curve with a musical interval 4 1 8 Window Show Inspector Show Toolbar These two commands show or hide the Inspector and Toolbar windows Anchor Toolbar If selected the toolbar will be anchored to the left to hand side of
67. ives you another mode of access to the same settings as those talked about in the previous section You will no doubt have noticed that the modifications that you make with the mouse on the graphical representations are immediately updated in the Inspector window You will also notice the presence of new parameters that you can access Generally you will only need to click on the value to be modified A black rectangle surrounds it and you can then enter the new value fig 74 Inspector Basic Segment Name s1 Original Length 0 5 Length Center 0 35 Next Center 0 0 Interpolation Begin 0 175 Interpolation End 0 05 Scaler 0 0 Clip Begin 0 0 Clip End 0 0 Dilatation 1 0 Bpf Mode Elastic Figure 73 You can of course not modify Original Length It is used as a reference in case you want to go back to the original length of the segment The Clip Begin Clip End and Dilatation parameters which are still being developed are not recognised in this version of Diphone Changing the name of a segment You can change the name of a segment in order to avoid confusion in identity In the Segment box type in the new segment name The new name is immediately displayed in the graphical representation of the segment The Next Ctr value This value represents the distance between the centres of two segments which follow each other If you modify it you then move the position of the following segment without changing the position of
68. l Start sec End sec IM Delete intermediates files Figure 13 When you have clicked once the Validate button turns into a Run button fig 13 The names of the different files produced by the analysis appear in their respective fields If a name is underlined it means that the file already exists and that it will be re written if the box stays ticked You may now click on the Run button to start the procedure The desk window fig 14 appears and displays the progress of the calculations that take more or less time depending on the size of the starting file and the analysis parameters chosen By clicking on the small triangle on the top left hand side you may visualise or mask the details of the progression of the procedure It is finished when the Calcul took xmxs message appears fig 14 14 Diphone Studio Manual AddAn 1 6b Untitled Analysis 1 Figure 14 Once the analysis is finished the speaker icon in the Synthesis Checking field becomes active and you may listen to the result If it doesn t suit you you then need to enter more detailed analysis parameters 1 5 Analysis parameters If it isn t already present the menu witht the different settings appears by clicking on the triangle situated under the More Settings indication fig 15 i More Settings Bs Figure 15 The General menu is displayed by default 1 5 1 General Processing Interval enables you to analyse a fragme
69. l only display one curve Don t however confuse these with simple Bpfs In the edition window don t forget to change into Back Curves mode to access the modifications The first examples of manipulating Fof that will follow use a bank of only one Fof This does of course not give particularly rich sound results but gives better clarity in the explanations of how to handle the traces of the Bpf and to best approach the parameters and their effect on the sound obtained It is important to understand straight away the respective roles of the Fundamental and of Fof frequency e Fundamental corresponds to the number of excitations per second e Fof frequency represents the Fof s own pitch To better understand the consequences try the following things Set the fundamental to one value only 110 Hz for example 96 Diphone Studio Manual Now open the Fof frequency parameter In the Bpf window draw a path with the pencil keep the option key pressed down to draw straight lines from 200 to 900 Hz approximately Immediately listen to the sound result by hitting space bar You then hear a sound whose fundamental frequency doesn t vary but whose spectrum slowly shifts upwards This may evoke a band pass filter that moves or the beginnings of a throat voice changing into a nasal voice Now make the opposite experiment In a Bpf window draw the path of a fundamental with the pencil at about 100 to 900 Hz Set Fof frequency to about 200 Hz
70. ll Attack sec Bandwidth For Sieve Release sec Output Sdif lt Figure 21 You have the option to choose the number of partials you want e Either all the partials by putting a tick in the All box e Either a specified number of partials by leaving the All box unchecked The first 40 partials are sug gested which is usually sufficient for realistic re synthesis Reducing the number of partials makes the calculations faster and reduces the size of the analysis file which is of course detrimental to the wealth of information from the analyses and the quality of the future re synthesis The Attack and Release settings of the window are used to get rid of step shaped jumps in amplitude which could be created when the amplitude varies round zero within a time that is smaller than the threshold of the step size of the analysis windows The Attack setting corresponds to the length of the smoothing slope that is added before an abrupt jump in amplitude The Release setting corresponds to the length of the smoothing slope that is added after an abrupt jump in amplitude The Output sub menu has the same function as for the extraction of the fundamental frequency Setting the Bandwidth for Sieve The value of the Bandwidth for Sieve corresponds to a riddle or a research quantification around the exact value of a supposed harmonic The value 0 5 that is given by default makes searching for the right harmonic partials easier
71. lt Diphone Prefs gt Ca Figure 186 Preferences for Chant Setting the parameters for Chant is similar to doing it for Additive You will however notice in the right hand side real time listening that the values are set to maximum quality You can also specify here a default sound file which will be suggested to you if you use patches with sound files 125 Diphone Studio Manual Preferences Direct Signal Preferences H General Environment Additive Synthesis Default Preview Sampling Rate 144100 0 s Sampling Rate 116000 0 s Delete intermediates files Current lt Diphone Prefs gt Coa Figure 187 Preferences for Direct Signal Setting the parameters for Direct Signal enables you to set two values only quality of the synthesis quality of intermediate listening 126 Diphone Studio Manual 5 2 Preferences for Addan and Resan Preferences oo eee z Environment Enable Tool Tip New Doc at Startup T Confirm Quit Default Sound Format Current lt AddaAn Prefs gt Coa Figure 188 General preferences Here you will find similar options to those on the same preferences page for Diphone New Doc at Startup opens an analysis window when an application is loaded 127 Diphone Studio Manual Preferences H General DEF AULT WD HardDisk Diphone 2 7 1 Clrcam PWD HardDisk Diphone 2 7 1 lrcarm ADDIDIR USERHOME ImpExport Partial
72. m the attenuation time of the excitation Fof Phase Gives access to controlling the phase of the Fof The window of the Bpf Fof Phase is graduated in radians By default the value of Bpf is constant and equal to zero A curve enables you to define an effect of phase rotation Scaler Controls the relative level between segments The access table of the Bpfs doesn t allow you to modify this data from the creation of a segment To change the value of Scaler do it directly on the representation of the segment in the sequence Scaler modifies amplitudes like in Additive When a bank of Fof has several Fof two parameters can be added to the list in the Bpf table These are Frequency Warping and Fof Out Gain Frequency warping enables the group transposition of all the Fof which belong to a selected segment The Bpf window of this parameter is measured in semitones Fof Out Gain is the output Gain of the Fof Its value is measured linearly 99 Diphone Studio Manual 2 10 3 The available Chant dictionaries In the Dico amp Seq folder you have a group of folders whose names start with Chant fig 164 E Chant Base Filters dico E Chant Base dico Chant Filters Instruments dico Chant Fofs Instruments dico E Chant Hybrides dico E Chant Yoyelles dico Figure 164 These files are dictionaries of banks of Fof and of filters which are for you In the previous section we have already exploited some of the resources of Chant
73. made up of a group of curves like the values of the different partials You will note that the multi Bpfs because of their size must be loaded into memory by clicking on the icon of the hard disk situated to their right fig 101 gt Frequency of Partials gt Amplitude of Partials gt Phase of Partials Figure 101 The waveforms of each Bpf use units relative to the type of each parameter Here are those of the Additive model fig 102 a a Fundamental S Herz Gain Scaler i Frequency of partials n B Amplitude of paras nT Phase of partials nu without unit Original Fundamental a non modifiable Fundamental Transposition Energy Gain Frequency of partials Amplitude of partials Phase of partials Scaler Original Fundamental Figure 102 Evolution of the fundamental frequency with time From the default value of O zero it enables the transposition by a semitone or less of all the values of the pitches of the segment General intensity curve with time Absolute level of the segments All the partials from the analysis of the segments Amplitude of the partials from the analysis of the segments Phase of the partials from the analysis of the segments Relative level of the segments Original path of the fundamental This parameter is not modifiable but it can be used for example to restore the original path after modifications of the fundamental that are not wanted see 2 7 Transfer and replacement of
74. matically scaled itself in time for al of the graphical representations of the segments 41 Diphone Studio Manual 2 5 3 Controlling the display of the sequence window The chronometric bar at the bottom of the window is extensible or can be reduced To do this move the cursor to chronometric bar it will change into a double arrow Press the mouse button drag in an extension direction the markers stretch following your movement like a zoom fig 63 gt Parameters Figure 63 For this same type of manipulation you may also use the magnifying glass tool which you can select in the tolls to the top left hand side of the sequence window On the segment representation select the zone you would like to magnify keeping the mouse button pressed down fig 64 gt Parameters 1 olsec Figure 64 Now let go of the mouse button to operate the function The magnifying glass tool used with the option key on your keyboard enables you to invert the function and to shrink the time scale A small minus sign appears in the center of the magnifying glass 42 Diphone Studio Manual 2 5 4 Manipulation of the segments in their graphical representation You may transform all the characteristics of the segment To do this two operational modes are available Intervention with the mouse on the graphical representation and or writing the values directly using the Inspector window Certain parameters however are adjus
75. n Diphone communicates with the analysis and synthesis programmes Addan and Resan and uses their data to create interpolations This complex physical data become accessible in the form of graphical representations Bpf curves slotted tiles The user manipulates these elements as he wishes to finally obtain a musical sequence that is saved onto the hard disk of the computer This manual corresponds to versions e 2 8 of the Diphone application e 1 8 of the Addan application e 1 0 of the Resan application first public delivery of this application It is laid out in the following way e Analysis using the additive model the Addan programme e Presentation of the Diphone program Creation of scripts dictionnaries and sequences The Direct Signal model The Chant model e The Resan program e Menus and preferences In Diphone whichever the model used the vast majority of manipulations remain similar for the user In this manual a detailed review of the functions of the programme is made for the Additive model Points specific to the Direct Signal and Chant models are exposed and cross references are given for the general manipulations 2 Diphone Studio Manual Getting started first synthesis example To get started using Diphone you can at this stage create a first sound from a segment even if you haven t made any analyses Run Diphone 2 7 3 An empty sequence window appears Untitled Sequence
76. n 120 Choose Session 9 Clear 120 Clear File Names 120 Close 116 120 Collapse All 117 Composite 53 Composite segment 52 53 Composite segments 26 Concat 118 Container 31 Convolution 93 Copy 120 Create composite segment 11 7 Create Default Segment 117 Create Dictionary From Script 31 117 Create Diphone Script 24 121 Create instrument 117 Create Script From Markers 28 117 Create Segment From Selection 52 Create Segment From Sequence 51 117 Crop on Curve 119 ctr 27 Current Curve 118 Current Curve For All Editors 118 Cut 120 DEFAULTWD 123 Depalle Ph 1 Dico amp Seq 34 100 Dictionary 31 36 37 Diphone preferences 122 Direct Signal 2 91 preferences 126 Edit 49 Elastic 48 92 Elastic Reverse 48 end 27 Energy 64 Environment preferences 123 Expand All 117 Export 124 Export For Synthesis 118 Export for Synthesis 102 Extract fundamental 17 Extract Noise 12 129 Diphone Studio Manual index FO 17 FFT size 16 Fill gaps 119 Filtering 105 Flow chart 6 Fof 93 94 Fof Amplitude 99 Fof Attenuation Duration 99 Fof Attenuation Start 99 Fof Bandwidth 99 Fof Excitation Duration 99 Fof frequency 96 97 Fof Phase 99 Formant 93 Frequency of partials 64 From 82 From Maximum 82 From Middle 81 From minimum 80 From Value 82 From zero 80 Fund max 17 Fund min 17 Fundamental 22 64 G Gain 64 92 General 15 Generic Name 114 Glue Selection 45 118 H Hard 48 Hard Revers
77. ne SuperVP ModRes Sdif et Pm are trademarks of Ircam First edition of the fourth version of the manual November 1999 Ircam 1 place Igor Stravinsky F 75004 Paris Tel 01 44 78 49 62 Fax 01 44 78 15 40 E mail ircam doc ircam fr IRCAM Users group The use of this software and its documentation is restricted to members of the Ircam software users group For any supplementary information contact D partement de la Valorisation Ircam Place Stravinsky F 75004 Paris Tel OI 44 78 49 62 Fax 0I 44 78 I5 40 E mail bousac ircam fr Send comments or suggestions to the editor E mail bam ircam fr Mail Marc Battier Ircam D partement de la Valorisation Place Stravinsky F 75004 Paris http www ircam fr forumnet Contenu TRS COMGCEOU OF DIDONE cise geet es pesensoraedarweceeesecandansstoetecgneneessesanietsadeserecvedensovansanwedecdecseedenenee 1 introduc tON 5 cicada do nccayecd a cnaunasunncenoesaonamanacaneanadaumanawaaxaewaosndatecssuentysnsanondes deeeasdapedassastenewacee 2 Getting started first synthesis example sssssssnnnsnnsnnnnnnnnnnnnnnnnnnunnnnnnnnnnnnnnnnnnnnnnnnnnnn nnn 3 Flow chait OF Diph ne SWUNG sodas cccecccncscasseteestecetetecususdecseaventaxwouwasdeicetsexcessetasesneseeyisersianss 6 1 th Adda an program canctcosascareweracs ae nanyeccieceonsneunt de edd seusctneecesesasets Ea iaeiaiai 7 1 1 Using Addan for the first tiMe scceexcccrscccasanederoaescleesanssiniesancnsivanadesupayend
78. neralized diphone control and synthesis sounds are carefully analyzed and it is the analysis data which is spliced or fad ed together by interpolating the values between neighboring segments of analysis data The resulting in terpolated analysis can then be resynthesized providing a much cleaner and more natural result than could be obtained through simple tape splicing or cross fading Diphone was first implemented on UNIX workstations in 1988 by Xavier Rodet and Philippe Depalle us ing source filter synthesis and later additive synthesis There was only a very rudimentary graphical user interface which allowed analysis data segments to be placed in a consecutive manner on the screen The first Macintosh version of Diphone completed in 1996 was and continues to be programmed by Adrien Lefevre 1 Diphone Studio Manual Introduction Diphone Studio is a group of several applications Its main function is to provide a powerful control of sound synthesis Several analysis synthesis models are accessible They are integrated into Diphone Studio in the form of external programmes called models or plugins This is the list of them e The analysis and additive synthesis model called Additive e The resonance model used for analysis and synthesis using formantic wave functions FOF This model is called Chant e A last model used for easier processing of external sound files called Direct Signal The central applicatio
79. ninadaunedbanetrecaandsweawdencacecugeaveweagedeveianess 7 1 2 Presentation of the three phases of the analysis ccccceccecceeeeceeceeceeceeceeceeeeeeeceeseeseeeuegeeeeeeeseesesaees 9 1 3 Reconfiguring the working environment Choose Session option s ssssessssrsersrrrrsrerrrrerrrrrrrrrererrrrenne 9 1 4 Making a first analysis icciceicicnver seesenscivncwsaisaane dasmosemes deacedadecinddnaachaasasncvesassesseaissseldnentarsadaunedavanaancdstest 10 1 5 Analysis parameters aie i acsneredat ve diecue tatvetarertdinrtiestirakadreueiradeimescucesaieitovaruiehinin EEA EEEEEE ESEESE EE EEEE EEEn neern 15 IESE ATIC e E E E E TE ET PE E EEI AT T E E E E 15 15 2 Analysis SONGS seiersen riae reas eck tesa Ee r E aeeaiei iaeei ei 16 1 5 3 Extract VUNG AIST 2 atnccesadcecinadacnensdenasseodysleanpdemsincodenesdats wicaccsuaatanesaiemonscesntaseatedenssccaat ime seessocneedensses 17 MESE Ae CL A gt ANU lS EE EE PEA N EEE E E EA E EA ET E TET 19 TaS yE SIS CASC KING esea E A E E E E ETS 21 1 6 Stepping through the analysis secccc che tewcutetececacecedsceaes Net essete racdeeeetrdiaasteddededesdetendensdiedded mas sadeeed deii iaiai dini 22 1 7 PROCESS Of altering the TUNG AIMS IA sesiis ora enh Rp rE ne ries aieo ia daio dapes nic Ed intei 22 1 8 A first DID MONG SCROT i scccccccesccussanciadcnencddaesshecasebaacbsacnbsexenieaheccdebans dacissacmisaadeadecaasdssdaaadsigadsaradaasaaaacesanes 24 2 THE Diphon Program sssivsiecvestecstetenre
80. nt of the sound only You define in seconds the starting point and the ending point The Delete intermediates files box is ticked by default It shows that the intermediate files generated by the analysis calculations are automatically deleted as soon as they become useless You should in principle not need to change this option w More Settings is a General i Processing Interval srt End sec IM Delete intermediates files Figure 16 15 Diphone Studio Manual 1 5 2 Analysis settings w More Settings _ Analysis Settings lt Wind size sec FFT size smp 2o48 8 Anl step sec Anl ty pe Figure 17 The size of the window Wind size of the signal should be chosen as a function of the pitch of the sound to be analysed In general the lower the sound the bigger the analysis window The window should be about 4 times the period of the fundamental period 1 f Example if the fundamental frequency varies from 200 Hz to 500 Hz the longest period is 1 200 s point where the fundamental is at its lowest which is 0 005 s so the size of the signal window should be at least 0 02 s 0 005 4 The risk however of making the window bigger is that certain fast changes in frequency will not be detected for sounds which are complex and very perturbed sounds like consonants of the voice The size of the FFT window FFT size expressed in number of samples is automatically adjusted compare
81. o the sound to be analysed The information icon I displays different data on the chosen sound file sampling frequency format length Now tick the different analysis steps you would like to follow It is indeed possible to execute the three phases separately This option is mostly used to first extract the fundamental frequency only in order to apply a few corrections before extracting the partials See section 1 7 If you have ticked the Extract Noise option a sound file is created with the extension noise aiff which contains the extraction of the non analysed noise This file may be listened to in this form Once these choices have been made click for a first time on the validation tool at the bottom of the analysis window fig 12 or choose the Validate option in the Analysis menu 12 Diphone Studio Manual O untitled Analysis H olej Organisation Extract Fundamental 0 fA Extract Partas gt Jg Synthesis Checking gt _ NT RT BA Extract Noise ST RI w More Settings E Processing Interval Start sec End sec Delete intermediates files WS validate Figure 12 13 Diphone Studio Manual SS Untitled Analysis 1 H Organisation IM Extract Fundamental voxHro O p i Extract Partials voix ao A oo IM Synthesis Checking rr A Extract Noise w More Settings General E Processing Interva
82. omatic functions to a Bpf They are accessible by clicking on the different tools situated at the top of the Bpf window or through the Bpf menu Only a few functions are available from the Bpf menu 77 Diphone Studio Manual Applying a constant value Figure 128 This function applies a constant value to a Bpf over its whole duration The adjustment window enables you to specify the value to be applied The unit Hertz dB etc is automatically fixed depending on the parameter represented by the Bpf Hertz in this example fig 129 Bpf Apply Cst Value Yalue Hz Treat Curve iM ATT Figure 129 If you are working on a multi Bpf the Treat Curve bow allows you to choose the number of curves the constant value is applied to In the Value box enter the value you want Click Apply and the trace of the Bpf becomes a line with a constant value Scaling Scale Figure 130 With this function you can modify the spacing between the points of the curve on the vertical axis The adjustment window presents several options Zero Minimum Middle Maximum and the Value box so that you can define the value from which the scaling factor is applied fig 131 78 Diphone Studio Manual Bpf Scale Scale Ratio From Zero On Cee O mide Sete 2 Maximum Q value Treat Curve L Alp Figure 131 In the following examples we will take different factors Scale Ratios and observe the res
83. on to date Cut cuts and removes a field in the analysis window and puts it on the clipboard so it can be copied elsewhere Copy copies the contents or part of in a selected field so you can paste it elsewhere Unlike cut the copied field is not removed Paste pastes the copied or cut data into the selected field Clear permanently clears and removes the selected field s Select All selects the whole contents of a field present in the analysis window Preferences gives the general configuration of Addan 4 2 3 Analysis Choose Selection enables you to choose or to create a folder which will contain all the files from the analysis You can first insert the sound to be analysed Clear File Names deletes all the names of the files in the fields of the analysis window except the name of the sound to be analysed 120 Diphone Studio Manual Validate Run These two operations come one after the other Validate places the default names in the files FO ADD Synth and Noise Once this is done then Run option appears and enables you to run the analysis Create Diphone Script creates a Diphone script containing an instrument and a segment 4 2 4 Window Show Toolbar These two commands make the Inspector window and the toolbar appear or disappear from the screen Anchor Toolbar If selected the toolbar will be anchored to the left to hand side of the screen beneath the menu bar Unanchor Toolbar If selected the t
84. oolbar can be moved freely and can be closed or masked using the usual boxes of its title bar The windows present on the desk are listed in the lower part of the menu The name of the active window is ticked You can select the name of an inactive and hidden window and make it active and appear in the foreground 121 Diphone Studio Manual 5 Setting the preferences 5 1 Diphone preferences Preferences Environment Additive Chant DirectSignal Enable Tool Tip Live Zoom New Sequence at Startup L Confirm Quit Default Sound Format Plugins Folder Current lt Diphone Prefs gt Coa Figure 183 general preferences Here you can set the following e The use of the help balloons under the command buttons e Real time Display of the zooms e Display of an empty sequence window at startup e Confirmation with an alert window that you are quitting Diphone e Format of audio file generated with synthesis e Name of the Plugins folder in the general folder of Diphone 122 Diphone Studio Manual Environment preferences General DEF AULT WD PWD ADDIDIR CHANTDIR CONT AINER DICOSEQ FODIR Preferences So HB Additive Chant DirectSignal Hard_Disk Diphone 2 7 1 Clrcam Hard_Disk Diphone 2 7 1 lrcarm USERHOME ImpExport Partial USERHOME ImpExport Chant USERHOME Container USERHOME Dico amp Seq USERHOME ImpExport Fundamental Po isk cess Path Remove
85. ossibility to create an empty dictionary This set up can be useful if you want to collect in one dictionary the elements from several other dictionaries The transfer process is done by simple copy and paste or drag and drop of the elements Choose the New Dictionary option in the File menu fig 49 or access this same function directly from the toolbar New Text New Console New Bpf New Dictionary New Sequence FR Figure 49 A dictionary window appears fig 50 O untitled Dictionary 1 Model Additive Figure 50 2 3 2 Creation of a segment with default parameters This option creates a new segment that is not empty It contains basic parameter data depending on the model For the Additive model the segment is made up of a user defined number of harmonics and a fundamental without any temporal variation This enables you for example to create simple waveforms for electronic sounds We will see later that this option will mostly be useful with the Chant model see 2 10 Using Chant with Diphone on page 95 In the Parameters menu choose the Create Default Segment option fig 51 Parameters Remove External Parameters 0 Ko R Create Default Segment Create Segment From Sequence Figure 51 35 Diphone Studio Manual A segment definition window appears fig 52 Create Default Seqment Model Additive Number of Curves Duration sec
86. phone This section will enable you to manipulate and to synthesise sequences from predefined segments and by using Fof or filters On many pints the manipulations are similar to those of the Additive or Direct Signal models A big difference however is the introduction of patches Chant in Diphone Studio offers a list of combinations of objects configured into patches The patches will be seen in detail in the following section For the first examples we will only use patch 0 Using a bank of Fof Patch 0 is present by default during the Export for Synthesis operation In this first context Diphone works in real time You just need to press the space bar to hear the sound result The Export to Synthesis action is necessary in the following cases Keeping a sound on the hard disk Certain parameters that are very demanding in processor time Using other patches than patch 0 2 10 1 A sequence with Formantic Waveforms patch 0 For a first approach use the dictionary of predefined segments supplied with the Diphone Studio kit Menu File Open This folder is found in Dico amp Seq and is called Chant Base dico fig 158 Chant Base Filters dico Chant Base dico Chant Filters Instruments dico Chant Fofs Instruments dico E Chant Hybrides dico Chant Yoyelles dico Figure 158 By opening Chant Base Dico and Empty Segments you see a list of 16 segments containing 1 to 16 formants You can also create a
87. place three markers only to create an instrument with one segment They will be interpreted in the following way e marker 1 time of the beginning of the segment e marker 2 time of the centre of the segment e marker 3 time of the end of the segment If you use more than one segment the following interpretation will be used e marker 1 time of the beginning of segment 1 e marker 2 time of the centre of segment 1 e marker 3 time of the centre of segment 2 e marker 4 time of the centre of segment 3 e marker 5 time of the centre of segment 4 last marker time of the end of the last segment Using the Export Markers option save the co ordinates of the markers in the ImpExport Markers folder 2 2 2 Creating a script from the markers Go back to Diphone In the Plugins menu select Create Script From Markers fig 35 wUtiiinm Parameters Dictionary Create Script From Markers CX ate Dictionary From Script Set Plugin Model gt Figure 37 The Script From Markers window appears A list of Marker File Name containing six boxes is available for entering the co ordinates of the markers fig 36 28 Diphone Studio Manual Script From Markers List of Marker File Name mark_ voix ol Ser ipt f C Figure 38 In the first box load the Marker file folder icon that you have just defined in AudioSculpt and in the Script box write the name of the script file to be created If yo
88. presentation of a composite segment The segments that make it up appear immediately You can then make all the modifications you want following the procedures described earlier In order to conform it once more as a composite segment click on the dedicated tool Out Composite Segment to the top right hand side of the sequence window fig 88 55 Diphone Studio Manual MaN cam ee Bl l w Parameters Figure 88 2 5 9 Help constructing a sequence placing it on a temporal grid The sequence can be organised following the markers of a temporal grid whose metric can be parameterised To make the grid appear select the Show Grid option in the Sequence menu fig 89 Sequence Show Parameters Show Separation Marks Out Composite Seqment Show Grid Figure 89 The temporal grid appears in the sequence fig 90 gt Parameters gt bd gt gt bd gt gt bd gt gt gt gt gt gt 7 g S g s g H S gt gt gt gt gt gt bd gt l 1 2 3 4 5 6 7 8 sec 1 Figure 90 The grid is positioned by default on the first synchronous pulse on the centre of the first segment You can then place the segments on the temporal grid by arranging the position of the segments To change the metric of the temporal grid select the Set Grid Step in
89. rder to fully understand the role of each parameter you should keep the following diagram of an Fof in mind gt Fundamental gt Fof Frequency gt Fof Amplitude gt Fof Bandwidth gt Fof Excitation Duration gt Fof Attenuation Start gt Fof Attenuation Duration gt Fof Phase gt Scaler Figure 163 List of parameters In the previous section we explored the role of the first two parameters Fundamental and Fof frequency Fof Amplitude This amplitude scale won t accept negative values these are interpreted as being equal to zero The resulting signal is normalised so that the maximum amplitude fits into 16 bits Fof Bandwidth The bandwidth of Fof acts like that of a filter The narrower it is the more selective it is and sensitive to excitations which fall in its bandwidth Fof Excitation Duration The duration of the excitation should be understood as the duration that each excitation impulse is maintained for To hear the effect of this parameter properly set the fundamental to a low value In the Bpf Fof Excitation Duration window trace a curve varying from zero to a value less than the period of the fundamental that is the inverse of the frequency of the fundamental 1 f Fof Attenuation Start Gives access to the choice of the time of the beginning of the attenuation of the impulse for each excitation Fof Attenuation Duration Access to the attenuation time which sets the attenuation slope defined fro
90. rst time the working environment looks like this A window entitled New Analysis appears All the fields that should contain file names are empty This window will be explained in detail in section 1 4 In order to navigate easily in Addan display the Toolbar window from the Window menu fig 1 Window Show Toolbar Anchor Toolbar Untitled Analysis 1 31 Figure 1 The Toolbar window that then appears offers three tools fig 2 Figure 2 By moving the mouse cursor onto each one of the icons without clicking the function of each bow appears on the left at the bottom of the window fig 3 4 5 7 Diphone Studio Manual Show Preferences Figure 5 The role of each tool will be explained further in each of the following sections as they become needed Each one of the functions of these tools can be found in the different application menus 8 Diphone Studio Manual 1 2 Presentation of the three phases of the analysis Additive analysis takes place in three phases Search for a fundamental frequency Search for partials Re synthesis of sound using the data of the analysis The process makes three files that are distributed in the following default locations on your hard disk Starting with a named sound sound aiff for example the following files will be created Extraction of the fundamental sounf FO F naught in the folder ImpExport Fundamental Extra
91. rtials i Fes g Le Figure 124 By clicking you select the highlighted curve It appears again in dark blue this is not very easy to see if the curves are very close together If you now choose One Curve in the View sub menu the trace of the curve appears on its own in the Bpf window fig 125 75 Diphone Studio Manual lt 1 gt Frequency of Partials Figure 125 Ifyou use the pencil to correct the trace of a curve in the multi Bpfs One Curve mode is selected automatically from the Back Curves mode 76 Diphone Studio Manual 2 6 4 Modifying the Bpf and multi Bpf curves The pencil and the rubber The simplest procedure for modifying the Bpf is to use the pencil and rubber tools Display a curve in the Bpf window and choose whether to visualise the points on the Bpf fig 126 lt 52 Fundamental Figure 126 Now draw directly on the curve The new values are taken into account immediately If you would like to draw a straight line horizontal or oblique use the pencil in combination with the option key on you keyboard A small line appears next to the pencil fig 127 lt 2 gt Fundamental HH N a rs 500 Figure 127 All actions on the Bpf can be cancelled using the Undo option in the Edit menu To go back to the initial state of the saved sequence use Revert in the File menu The series of manipulations that we will talk about now enable you to apply aut
92. s at the bottom or to the right of the window The arrow changes into a standard symbol for changing the size of the window double arrow Change the scale by keeping the mouse button pressed down and by dragging fig 112 113 Let go of the mouse button when you have reached the desired format lt S1l gt Fundamental lt S b Fundamental pHK N Figure 113 It is sometimes necessary to visualise the Bpf after the expansion of the vertical scale to crop the image by using the scroll bar to the right of the picture 70 Diphone Studio Manual To go back to the initial representation of the traces of the Bpf in a scale horizontal or vertical take the arrow tool and double click the scaling axis to be initialised To make a zone bigger following one dimension only vertical or horizontal move the cursor to the scale to be changed press on the shift key click on the scale bar and select the area to be made bigger fig 114 lt S1 gt Fundamental Figure 114 Using the magnifying glass To make the representation of the curves bigger in a Bpf window select the magnifying glass button from the tools of the Bpf window fig 115 Figure 115 From a corner of the zone that you choose drag the magnifying glass to obtain the boundaries of the zone you want to make bigger fig 116 71 Diphone Studio Manual lt S l gt Fundamental Figure 116 The selected zone t
93. s correspond to the same operations as when applying a constant value to a curve or its translation The difference is that it is not applied only to the Bpf showing pitch values The units are now either the name of the note and an octave number for Apply Constant Note fig 140 or semitones for Note Transpose fig 141 Apply Constant Note Note Octave 48 1 2ton 440 i _ Cancel _J Figure 140 83 Diphone Studio Manual Open the sub menu Note to choose a note Note Transpose Transposition 1 2ton Treat Curve AID afe l Figure 141 These options are inaccessible if you are visualising a Bpf which doesn t have anything to do with pitch Filling in the blanks in a Bpf This option is only accessible from the Bpf menu fig 142 Show Points View p Current Curve 1 Current Curve For All Editors Apply Constant Value Scale Translate Fill Gaps Crop On Curves Figure 142 This function enables you to fill in automatically any blanks in a Bpf You specify the minimum interval of time for the calculation of the missing points fig 143 Bpf Fill Gaps Minimum Duration Treat Curve _ AID rm Figure 143 After having clicked on Apply the curve is immediately displayed in the Bpf window This function is mainly used for curves from multi Bfp of a frequency of partials that are very often discontinuous after an analysis 84 Diphon
94. s is made to resonate by the signal from the bank of Fof Edit the sequence by drag and drop of the chosen segment to the chosen Fof Open the Chant Base Filters dico dictionary and select the parameters of the chosen bank of filters which you will find when you open the segment folder of your choice Drag the parameters and drop then on the segment icon that you have created fig 173 174 Chant Base Filters dico E B PTET Ee SEFEEEEEE RHEE TERETE EEE ESTEE ERT R TREES loise AtmoelHtude dr 2 Filters dr 3Filters dr 4Filters Figure 173 Source the parameters of a filter 107 Diphone Studio Manual gt Parameters 0 E E Recerca ts RN e OAR 1 5 220 sec 5 geaseceg seccecoccoecoasscseceeceeceeccesescecscors 5 Peepers Pi Figure 174 destination bank of Fof segment In the sequence window the list of parameters of the filter a re added to that of the bank of Fof fig 175 108 Diphone Studio Manual w Parameters gt Fundamental gt Frequency Warping gt Noise Amplitude gt Fof Frequency gt Fof Amplitude gt Fof Bandwidth gt Fof Excitation Duration gt Fof Attenuation Start gt Fof Attenuation Duration b gt Fof Phase gt Filter Frequency gt Filter Amplitude gt Filter Bandwidth b gt Filter Correction gt Filter Out Gain gt Scaler 5 2 0 secl2 5 Figure 175 Run the synthesis procedure by choosing patch 6 Chant Filters
95. table only in the Inspector window We suggest you always keep this window open when manipulating segments even if you are working mostly in graphical mode After each manipulation the Inspector window is updated It enables you to understand correctly the consequences of each operation 1 Length of the segment To modify the length of a segment you only need to move you cursor near to the extremity of the segment to be modified a double arrow appears By keeping the mouse button pressed you just need to move the cursor forwards or backwards to expand or reduce the length of the segment fig 65 po 0 05 0 10 0 15 0 20 o sec Figure 65 To the bottom left of the toolbar a chronometric marker informs you of the position of the extremity of the segment and of its position while it is moved This value corresponds to the time axis the beginning of the sequence being instant 0 The modification of the length is made simultaneously on the whole length of the segment and for each limit proportionally to its distances to the middle of the segment 2 Manipulation zones outside interpolation Move the cursor towards one of the edges of the zone outside interpolation after InteroBeg and before InterpEnd By holding the mouse button pressed down if you move the mouse forward or backwards you move the limits of the hard zone the one whose parameter values are not interpolated fig 66 67 43 Diphone Studio Manual
96. the centre itself 47 Diphone Studio Manual Types of modifications of the temporal parameters Bpf Mode At the bottom of the Inspector window the Bpf key gives you the possibility to choose several modes of transformation of the temporal parameters It is pre set to Elastic by default fig 74 Elastic Elastic Hard Bpf Mode Elastic Reverse Hard Reverse Figure 74 Elastic This modification expands or compresses all the temporal parameters proportionally to the modification of the length of the segment in an elastic way For example if the sound of the segment includes a vibrato the period of the vibrato will vary proportionally to the expansion or the compression of the length of the segment Hard keeps the original parameters despite the modification in the length of the segment The stretching and compression take place for the interpolation periods Unlike the Elastic mode therefore the period of the vibrato does not vary when the length of the segment is modified You may try making some tests on a speech sound so you can understand the difference between Elastic and Hard Elastic Reverse and Hard Reverse make the same type of modifications as Elastic and Hard but with an inversion of the time axis You may also access the temporal parameter modification modes by selecting the Select Mode To option in the Sequence menu 48 Diphone Studio Manual 2 5 6 Articulations Articulations are th
97. the sequence Window cccsecceeecceeeceeceeeceeecueeecseenseeceeesseeeaeesneneses 42 2 5 4 Manipulation of the segments in their graphical representation ccccccsseeeeceeeeeeeceeeeeeeeseeeeeeens 43 2 5 5 Modifying the segments with the Inspector WINKOW cccccceeeeeeeeceeeeseeeeeeeeaaaaeeeeeeeeaaeseeeeesaaaaeeeees 47 296 FAMICOM sextet sersteeneainceat o aa EESE O A E EE e On AEEA DAAE NAKE 49 2 5 7 Creating a segment from a sequence ve cacisesainesscsssttceatnecsd tavedes esis tawaninese Moeucewssinensawend be bndeasee taencees 51 2 5 8 Comp site Segment gncansnzerateonanaeeaseensnedpateapal ernir pate ecateesatoaiand dye qoaaetyinacosvandaepesavaieaveecanescniaent 53 2 5 9 Help constructing a sequence placing it ON a temporal grid ssssssssssesersssrrssrrsrsrrrsrrresrrenrrrerreen 56 2 5 10 Listening test of an additive sequence Preview ssssssssssssrrerrerrrsrrsrrsrrsrrsrrrrrrrrrrrrsrrsrrerenne 58 2 5 11 Synthesising a sequence and listening to it 0 cece cece eeeceeeecee ceca eecae nese eesaeeesaeeesaeeesaeeeees 60 US PC ONS Ol WAG Te OE cacao aceasta E cases carats antes eosin se ynetceaee se sue ee seus E RS 63 LC Type Ol BDP cece ctsse ceiessre caret E E gate sh ett eee te seta esa EEEE 64 2 6 2 VISUANSANOMNOR BPI POINTS astencescunacayeosesnbenehosencscestoreneteeawesenesnecntecnctandactsonaasakeusdessecaesenaceeeeeeseecre 67 2 6 3 Zoom format and selection in the Bpf WINdOW
98. u replace the other boxes with other marker files a new instrument will be created for each instrument for the same dictionary Click on OK The conversion of the script file is finished a warning informs you that the transfer was made correctly fig 39 Script voix script created More Information OK Figure 39 A window with the name of the script appears fig 40 You will see how the different segment points have been positioned 29 Diphone Studio Manual oO voix script Dictionary voix script cont Instrument markuvoix Segment 1 beg 0 000000 end 0 800000 ctr 0 500000 interpBeg 0 000000 interpEnd 0 150000 Segment 2 beg 0 650000 end 1 396667 ctr 0 950000 interpBeg 0 150000 interpEnd 0 223333 Segment 3 beg 1 173333 end 1 920000 ctr 1 620000 interpBeg 0 223333 interpEnd QO 150000 Segment 4 beg 1 770000 end 2 643333 ctr 2 070000 interpBeg 0 150000 interpEnd 0 286667 Segment S beg 2 35666 end 3 303334 ctr 2 930000 interpBeg 0 286667 interpEnd O 186667 Segment 6 beg 3 116667 end 3 703333 ctr 3 490000 interpBeg 0 186667 interpEnd 0 106667 Segment beg 3 59666 end 4 396667 ctr 3 810000 interpBeg 0 106667 interpEnd 0 293333 Segment 8 beg 4 103333 end 5 210000 ctr 4 690000 internBeg 0 293333 interpEnd 0 000000 Figure 40 2 2 3 Writing the Markers file directly It is possible that you may prefer to place your markers using an audio editor Sound Designer Peak Using the editor of
99. ults obtained with a Bpf with three different frequency zones 100 Hz 110 Hz and 125 Hz Figure 132 shows the starting curve 125 Inz 133 113 105 100 Figure 132 starting curve 79 Diphone Studio Manual From zero the factor will be applied to all the points on the Bpf For a factor of 2 the values of the trace become 200 Hz 220 Hz 250 Hz fig 133 240 230 210 200 Figure 133 From zero scale ration 2 From minimum The factor is applied to the points of the Bpf from the lowest point Figure 134 From Minimum Scale Ration 1 The values 100 Hz 110 Hz and 125 Hz become respectively 100 Hz 90 Hz and 75 Hz e 100 Hz the minimum remains unchanged e The points at 110 Hz gt 100 110 100 90 Hz e The points at 125 Hz gt 100 125 100 75 Hz 80 Diphone Studio Manual From Middle The factor applies to the points of the Bpf round the average value between the highest point and the lowest point fig 135 130 140 120 110 100 20 Figure 135 From Middle Scale Ratio 2 The middle is now considered as an axis for the calculation We obtain the following middle points of the Bpf 125 100 2 112 50 Hz e The points at 100 Hz gt 112 5 112 5 100 2 87 50 Hz e The points at 110 Hz gt 112 5 112 5 110 2 107 50 Hz e The points at 125 Hz gt 112 5 125 112 5 2 137 50 Hz The middle being 11
100. window by choosing the Show Inspector option in the Window menu fig 46 or by accessing the same function directly from the toolbar adnunk Ae Anchor Toolbar Figure 46 Inspector is a window that enables you to visualise the different parameters of the Diphone objects and to modify certain of them If for example you click on the graphical representation of segment 1 fig 45 the Inspector window will show you the different key points of the segment fig 47 32 Diphone Studio Manual EEE EEE HED CEES CEES Basic Segment Name 1 Original Length 0 5 Length 0 5 Center 0 35 Next Center 0 0 Interpolation Begin 0 175 Interpolation End 0 05 Scaler 0 0 Clip Begin 0 0 Clip End 0 0 Dilatation 1 0 Bpf Mode Elastic Figure 47 By clicking now on the triangle to the left of the segment icon all of its parameters appear fig 48 They will be useful for the following step creating sequences The parameters displayed in bold cannot be modified 33 Diphone Studio Manual Model Additive vy yoixH K dP si Fundamental Transposition Energy Gain Frequency of Partials Amplitude of Partials Phase of Partials Original Fundamental Original Energy ky by ky ky hy hay ky ky ky ky Scaler Figure 48 By default the dictionary is created in the Dico amp Seq folder 34 Diphone Studio Manual 2 3 1 Creating and empty dictionary You have the p

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