I have been pursuing various projects in musical sound analysis/synthesis. Some of them are below. (If links don't work, try deleting the ~ in front of beaucham (if it exists) in the URL.)
1) Continued development of the C/Unix-based software packages SNDAN, for sound spectrum analysis, and Music 4C, for musical score synthesis.
Click here to download a PowerPoint talk on SNDAN. (Please let me know if the sounds don't play)
I discuss the theory of musical sound analysis/synthesis and describe the math behind SNDAN in my chapter in the book Analysis, Synthesis, and Perception of Musical Sounds: Sound of Music , Springer, 2007.
2) Experiments in perception of musical timbre. The procedure used most often is to test listeners's ability to discriminate between original acoustic musical sounds and modified synthetic versions. In
"Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters", Journal of the Acoustical Society of America (JASA), Vol. 105, No. 2, pp. 882-897 (Feb., 1999),
Stephen McAdams, Suzanne Meneguzzi, and I examined the perceptual effects of various simplifications of the time/frequency spectral representations of musical instrument sounds. From this research we found that spectral centroid variation and spectral envelope irregularity are very important parameters for timbral quality of musical sounds.
In 2006 Andrew Horner and Richard So (Hong Kong University of Science and Technology) and I tested metrics for predicting perceptual differences between original and randomly altered musical sounds. A relative spectral error measure gave the best correlation with the discrimination data. This was published in
A. B. Horner, J. W. Beauchamp, and R. H. Y. So (2006). "A search for best metrics to predict discrimination of original and spectrally altered musical instrument sounds", J. Audio Eng. Soc., Vol. 54, No. 3, pp. 140-156.
A followup paper is
A. B. Horner, J. W. Beauchamp, and R. H. Y. So (2011). "Evaluation of Mel-Band and MFCC-Based Error Metrics for Correspondence to Discrimination of Spectrally Altered Musical Instrument Sounds", J. Audio Eng. Soc., Vol. 59, No. 5, pp. 290-303.
Timbral correlates were also discussed in
J. Beauchamp, A. B. Horner, H.-F. Koehn, and M. Bay (2006). "Multidimensional scaling analysis of centroid- and attack/decay-normalized musical instrument sounds" (abstract), J. Acoust. Soc. Am., Vol. 120, No. 5, Pt. 2, p. 3276.
M. D. Hall, J. W. Beauchamp, A. B. Horner, and J. M. Roche (2010). "Importance of spectral detail in musical instrument timbre", Proc. 11th Int. Conf. on Music Perception and Cognition (ICMPC 11), pp. 69-74 (2010).
James W. Beauchamp, "Perceptually Correlated Parameters of Musical Instrument Tones", Archives of Acoustics, Vol. 36, No. 2, pp. 225-238 (2011).
3) In conjunction with former Music and ECE graduate student Tim Madden, development of Armadillo , a real-time/non-real-time musical sound spectrum analyzer, for PPC Macintosh computers. (Armadillo won the Bourges Computer Music Software Competition in the sound analysis catagory in 1998.)
4) Exploration of a method of multiple wavetable synthesis called "Spectral Dynamic Synthesis". The idea is to be able to emulate acoustic musical instruments and to control their loudness, pitch, brightness, attack, decay, and other parameters while retaining their naturalness. I have worked on this project in conjunction with Andrew Horner at Hong Kong University of Science and Technology (HKUST).
Here is a Spectral Dynamic Synthesis trumpet demonstration (wav file) (mp3 file).
5) With former ECE graduate students Zheng (Geoffrey) Hua (from Beijing, China) and Bowon Lee (from Korea), research on spectrum-based piano tone analysis and synthesis.
Here is a spectrum-based wavetable-synthesized piano demonstration (wav file) (mp3 file).
6) With former UIUC ECE doctoral student Mert Bay to develop software for polyphonic pitch detection and instrument voice separation. Files giving our first separation results are here . We are also working on pitch and separation processing of a woodwind quintet. As a first step in that direction, we have recorded the individual voices of a WWQ on separate channels .
7) Analysis of the trombone transfer function and comparison of it with the input impedance, including the effects of nonlinear propagation. I've given several talks on this topic. Three conference proceedings papers are here.
8) Seminar on analysis/synthesis and music signal processing. I occasionally offer this informal seminar, depending on interest, where students as well as the professor present their own work and discuss professional papers of interest.
9) Organizing special sessions at meetings of the Acoustical Society of America (ASA). Examples are:
"Musical Pitch Tracking and Sound Source Separation Leading to Automatic
Music Transcription", 154th ASA meeting, Nov.-Dec., 2007, New Orleans.
Click here to see materials from these sessions.
"Analysis, Synthesis, and Perception of Musical Sound", 160th ASA meeting, Oct., 2010, Cancun.
"Expressivity in Digital Music Synthesis", 162nd ASA meeting, Oct., 2011, San Diego.
"Musical Timbre: Perception and Analysis/Synthesis" (with Andrew Horner), 163rd ASA meeting (Acoustics 2012), May, 2012, Hong Kong.
"Measurements, Modeling, and Simulations of Brass Instruments" (with Wilfred Kausel and Thomas Moore), 165th Meeting of the Acoustical Society of America (in conjunction with the 21st International Congress on Acoustics and the 52nd Meeting of the Canadian Acoustical Association), June, 2013, Montreal.
Click here for List of Publications
Click here to go to the Computer Music Project home page.
My email: jwbeauch AT illinois DOT edu
Latest update: 12/29/2014.