of Microprocessors

SOUND MODIFICATION METHODS
73
,"PWUDEi~~~!Q C(A)
\
PITCH
~:~~h~
~ 200
8 100
tl:O
L.L. 50 ..
FORMANT 1
lJ.J ----_.... ______
I
600
FIRST g ~ " 800
FREQUENCY ~ ~: ----L
':_-_-_-_-_-:::~
(8)
........
i 3'2001
SECOND ~ 1,600 I
(C)
~....._-- ~
FORMANT lJ.J ~
FREQUENCY ~ ::
i3,200!,
--L... ...... .,
(D)
FORMANT THIRD t 1,600 "
~ '-... , _
FREOUENCY ~ :~~ --''-- '--- ..
(E)
Fig. 2-11. Parameter variation of a typical natural sound. (A) Amplitude. (8)
Pitch. (C) First formant frequency. (0) Second formant frequency.
(E) Third formant frequency.
passage has been analyzed into amplitude, frequency) and rough spectrum
shape parameters. Let's further assume that the passage is a lively one indicative
of the performer's playing style. With resynthesis, these particular
parameters could control a tone that more resembled that of a clarinet. Since
the spectral analysis was very rough, the exact timbre of the trumpet would
not have been captured, but the general trend that reflects changes in the
overall tone would have been. The result would be that many of the characteristics
of the trumper playing style would have been transferred to the
clarinet sound. Nore that in a real situation it may not even be possible to
actually playa. clarinet in such a manner.
Besides, simple transferral of parameters, modification of the curves is
also possible. Since a parameter when converted to a varying voltage is just
another signal, many of the processing techniques that applied to sound