Concatenative synthesis

December 13, 2015 — January 16, 2017

Figure 1

Transferring timbre from one sound to another; Synthesis by example. When you refer to “concatenative synthesis” or an “Audio mosaic”, you usually mean using a granular synthesis method. This being the epoch of neural networks, someone will probably get style transfer for audio functioning soon.

I’ve published in this area. See Mosaic Style Transfer using Sparse Autocorrelograms.

The most comprehensive overview of classic concatenative stuff IMO is contained in Graham Coleman’s doctoral dissertation, Coleman (2015), which frames it in terms of loss functions and descriptors.

There are a few classic implementations about.

Audio analogies

Related: analysis-resynthesis, learning gamelan.

1 References

Amatriain, Bonada, Loscos, et al. 2003. Content-Based Transformations.” Journal of New Music Research.
Aucouturier, and Pachet. 2006. Jamming with Plunderphonics: Interactive Concatenative Synthesis of Music.” Journal of New Music Research.
Blumensath, and Davies. 2004. On Shift-Invariant Sparse Coding.” In Independent Component Analysis and Blind Signal Separation.
———. 2006. Sparse and Shift-Invariant Representations of Music.” IEEE Transactions on Audio, Speech and Language Processing.
Coleman. 2015. Descriptor control of sound transformations and mosaicing synthesis.”
Collins. 2012. Even More Errant Sound Synthesis.” In.
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———. 2011. State of the Art in Sound Texture Synthesis.” In Proceedings of DAFx-11.
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———. 2011. Sparse Vector Distributions and Recovery from Compressed Sensing.”
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Tachibana, Ono, and Sagayama. 2014. Singing Voice Enhancement in Monaural Music Signals Based on Two-Stage Harmonic/Percussive Sound Separation on Multiple Resolution Spectrograms.” Audio, Speech, and Language Processing, IEEE/ACM Transactions on.