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Figure 7 – uploaded by Sylvain Le Groux

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Fig. 7. The ADSR time envelope allows for direct control over the LAT each time a note is triggered.

Figure 7 The ADSR time envelope allows for direct control over the LAT each time a note is triggered.

Related Figures (9)

Fig. 1. Within the modal paradigm, a vibrating structure is decomposed into a sum of simple modes.
Fig. 1. Within the modal paradigm, a vibrating structure is decomposed into a sum of simple modes.
Fig. 2. The sounds are produced by an impulse that injects energy in a bank of exponentially-decaying resonant filters, modulated by a time envelope.
Fig. 2. The sounds are produced by an impulse that injects energy in a bank of exponentially-decaying resonant filters, modulated by a time envelope.
The tristimulus analysis of timbre proposes to quantify timbre in terms of three coordinates (x, y, z) associated with band-loudness values. Inspired from the tristimulus theory of colour perception, it associates high values of x to dom- inant high-frequencies, high values of y to dominant mid-frequency components and high values of z to dominant fundamental frequency. The coordinates are normalized so thatx +y+z2z= 1. Fig. 3. An intuitive 2D representation of the tristimulus timbre space is a triangle. The arrow represents a specific time-varying trajectory of a sound in the tristimulus timbre space [24].
The tristimulus analysis of timbre proposes to quantify timbre in terms of three coordinates (x, y, z) associated with band-loudness values. Inspired from the tristimulus theory of colour perception, it associates high values of x to dom- inant high-frequencies, high values of y to dominant mid-frequency components and high values of z to dominant fundamental frequency. The coordinates are normalized so thatx +y+z2z= 1. Fig. 3. An intuitive 2D representation of the tristimulus timbre space is a triangle. The arrow represents a specific time-varying trajectory of a sound in the tristimulus timbre space [24].
Fig. 4. The synthesizer GUI allows for graphical control over the tristimulus values (left). It automatically updates and displays the amplitudes of the corresponding par- tials (right). The relative intensities in the three bands can be visualized on a tristimulus triangular diagram where each corner represents a specific frequency band. We use this representation as an intuitive spatial interface for timbral control of the synthesized sounds (Figure 4). The inharmonicity of the sound was set by scaling the values of partials following a piano-like law proposed by[2] f, = kfov\/1 + Bk?.
Fig. 4. The synthesizer GUI allows for graphical control over the tristimulus values (left). It automatically updates and displays the amplitudes of the corresponding par- tials (right). The relative intensities in the three bands can be visualized on a tristimulus triangular diagram where each corner represents a specific frequency band. We use this representation as an intuitive spatial interface for timbral control of the synthesized sounds (Figure 4). The inharmonicity of the sound was set by scaling the values of partials following a piano-like law proposed by[2] f, = kfov\/1 + Bk?.
Fig. 5. The synthesizer GUI allows for graphical control of the damping parameters Qg and a,
Fig. 5. The synthesizer GUI allows for graphical control of the damping parameters Qg and a,
[22]. Here, we control the log-attack time manually using our synthesizer’s in- terface (Figure 6). Each time the synthesizer receives a MIDI note-on message, an Attack-Decay-Sustain-Release (ADSR) time envelope corresponding to the desired LAT parameter is triggered (Figure 7). Fig. 6. The synthesizer GUI allows for graphical control over log-attack time parameter via the Attack Decay Sustain Release envelope.
[22]. Here, we control the log-attack time manually using our synthesizer’s in- terface (Figure 6). Each time the synthesizer receives a MIDI note-on message, an Attack-Decay-Sustain-Release (ADSR) time envelope corresponding to the desired LAT parameter is triggered (Figure 7). Fig. 6. The synthesizer GUI allows for graphical control over log-attack time parameter via the Attack Decay Sustain Release envelope.
Fig. 8. The presentation software S-Blast programmed in Max/MSP uses SAM scales (Dominance, Arousal and Valence)[14] to measure emotional responses to sound stimuli from the subjects. .2 Methods
Fig. 8. The presentation software S-Blast programmed in Max/MSP uses SAM scales (Dominance, Arousal and Valence)[14] to measure emotional responses to sound stimuli from the subjects. .2 Methods
Fig. 9. Boxplot of the different conditions on the arousal scale (from 0 to 5 with 0 maximum arousal). Notation: a 3 character string codes for condition (Attack, Centroid and Flux in that order) and levels (High, Low). For example, HHL corresponds to High Attack-time, High Spectral Centroid and Low Spectral flux .
Fig. 9. Boxplot of the different conditions on the arousal scale (from 0 to 5 with 0 maximum arousal). Notation: a 3 character string codes for condition (Attack, Centroid and Flux in that order) and levels (High, Low). For example, HHL corresponds to High Attack-time, High Spectral Centroid and Low Spectral flux .
Fig. 10. Interaction graph between log-attack time and spectral flux on the dominance scale (from 0 to 5 where 5 represents highest dominance). Estimated Marginal Means are obtained by taking the average of the means for a given condition.
Fig. 10. Interaction graph between log-attack time and spectral flux on the dominance scale (from 0 to 5 where 5 represents highest dominance). Estimated Marginal Means are obtained by taking the average of the means for a given condition.
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