- L. Feugère, C. d’Alessandro (2015)
Cantor Digitalis: Evaluation of Performative Singing Synthesis
LIMSI, CNRS, Internal report, 2015
Show abstractAbstract: The aim of this work is to assess the sound quality of Cantor Digitalis (CD), a performative singing synthesizer. CD is composed of two main parts, a chironomic control interface and a parametric voice synthesizer. The control interface is based on a pen/touch graphic tablet, equipped with a template representing vowel and melodic spaces. The synthesis engine is based on a parametric synthesizer. The two songs provided by the Singing Synthesis Challenge ”Fill-in the gap” serve as a basis for the experiments. In the first experiment, the songs are sung on the vowel /a/, comparing five conditions: the Yamaha CP4 keyboard, ”voice” sound, the CD played on the same keyboard, the CD played with the tablet, the CD played using MIDI, and natural voice. The second experiment combines vowels and melody, with four conditions: CD-keyboard, CD-tablet, CD-MIDI, and natural voice. Mean Opinion Scores are obtained using an Absolute Category Rating test. These experiments indicate that: 1/ the tablet interface is better than the keyboard interface for synthetic vocal music; 2/ for vowels, the CD overall quality is comparable or slightly better than the best stage synthesizer choir synthesis, but of course much more flexible.
Analyse de productions vocales sur des documents sonores ethnomusicologiques : caractérisation de catégories vocales intermédiaires basée sur la distribution des notes selon leur durée et développement d’outils
LAM-d’Alembert, Rapport de fin de contrat, projet DIADEMS, July, 2015.
- L. Feugère, C. D’Alesandro (2014)
Gesture analysis of voice synthesis chironomy
LIMSI, CNRS, Internal report
Show abstractAbstract: Chorus Digitalis is a 3-years-old musical ensemble of synthe- sized voices, each controlled by a musician using one or two graphic tablets. This paper aims at studying the use of these instruments, how the musicians have developed their own playing to perform the repertoire of the ensemble. First, after having described the gestures of these instruments in the DMI typology, the analysis has focused on the musician strategies to perform some particular musical tasks like por- tamento, vibrato or note attack. Some particular strategies specific to the control of pitch on a surface are discussed. Then, we qualitatively characterize the differences in terms of personal styles using the gesture recording of a baroque choral performance using a 3D representation.
L. Feugère, S. Lebeux, C. d’Alessandro
OrJo : développement d’instruments virtuels sur la synthèse vocale (LIMSI-CNRS)
Rapport de fin du projet, 2012.