[PD] suggestions for spectral "weight" anaylsis

João Pais jmmmpais at googlemail.com
Sun Jan 19 20:07:03 CET 2014

> There are separate versions of each analysis object: one for real time,  
> and one for NRT reading straight out of tables. You'll see separate help  
> files for >[barkSpec~] and [barkSpec], for instance. So an [until] loop  
> scanning your pre-recorded audio will be the fastest way for you to work  
> on this. That's >what's used in the 06/order.pd example. Just look in  
> the [pd analysis] sub patch and you can change the feature from barkSpec  
> to whatever you like (or >whatever combination of features, weighted  
> however).
> I'd recommend putting your audio into the timbre-space patch and  
> plotting by different features there. That way, you can see how the  
> vowels/>consonants fall on different axes when using certain features.  
> That'll give you some intuition on picking the best feature or combo of  
> features.
> Last - ordering by timbre is always going to be fuzzy unless you can  
> find a one-dimensional feature that reflects the timbre aspect you're  
> after. Ordering >by multi-dimensional features, you might make a big  
> jump along one dimension for one step in your ordering, and then a big  
> jump along a different >dimension for the next step. You never know how  
> much one particular feature is contributing the choice of the next step  
> in the ordering. In terms of >keeping it relatively intuitive to work  
> with, fewer dimensions is better. For speech, I'd recommend trying  
> [specBrightness] only, with a boundary >frequency of about 2.5kHz.  
> That'll separate the high-frequency consonants from the more formanty  
> low-mid vowels. You should get a decent continuum >with just that one  
> feature.


I don't have much time to be working on this, so I ended up adapting your  
timbre-space patch, and using the Brigthness (with 2.5KHz) in both x and y  
dimensions. This plots a straight line from vowels to sibilants, although  
the result isn't 100% straight. E.g. some sounds (or silence) that belong  
to an already existing group appear later inside other groups. But in  
general it works.
A provisory result can be heard in  
https://soundcloud.com/experimental-music/i-am-splitting-in-a-room-v2 -  
it's part of Nicollas Collins' seminar on experimental music here in  
As soon as I can I'll try to finish my analysis of your timbre-space  
patch, and improve the results. Or, if possible, even redo the patch  

Another detail, do you have any suggestion on how to use your granulator  
and not get the typical phasing effects? I changed the envelope to a  
vline~ with a [0 0 0, 1 50 0, 1 50 50, 0 50 100( message. It helps, but  
just because there aren't almost any continuous sounds.


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