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This thesis presents high-level strategies for controlling existing audio morphing algorithms. Prominent methods for spectrally representing audio data in the context of audio morphing are surveyed, and techniques involving manipulating and interpolating additive models are explored. Additionally, a combination of past audio-morphing approaches (sinusoidal morphing techniques as well as techniques taken from an MFCC approach) are employed in order to facilitate any type of sonic input. The system presented herein is meant to accommodate a wide range of inputs, and will adjust the impact of a high-level feature depending on the type and quality of the input.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation).

Thesis (M.A.). / Written for the Music Technology Area, Schulich School of Music. Title from title page of PDF (viewed 2008/05/12). Includes bibliographical references.

Thesis (PhD)--AUT University, 2009. / Includes bibliographical references. Also held in print (xv, 230 leaves : ill. ; 30 cm.) in the Archive at the City Campus (T 621.3893028566 ZHA)

Thesis (M.Sc.)--Acadia University, 2007. / Includes bibliographical references (leaves 72-75). Also available on the Internet via the World Wide Web.

Thesis (M.Eng.)--University of Louisville, 2006. / Title and description from thesis home page (viewed Jan. 11, 2007). Department of Computer Engineering and Computer Science. "July 2006." Includes bibliographical references (p. 67-68).

This thesis investigates the extent to which networking technology can be used to provide remote workstation access to a pool of shared music studio resources. A pilot system is described in which MIDI messages, studio control data, and audio signals flow between the workstations and a studio server. A booking and timing facility avoids contention and allows for accurate reports of studio usage. The operation of the system has been evaluated in terms of its ability to satislY three fundamental goals, namely the remote, shared and centralized access to studio resources. Three essential network configurations have been identified, incorporating a mix of star and bus topologies, and their relative potential for satisfYing the fundamental goals has been highlighted.

The wide range of options for experimentation with the synthesis of sound are usually expensive, difficult to obtain, or limit the experimenter. The work described in this thesis shows how the IBM PC and software can be combined to provide a suitable platform for experimentation with different synthesis techniques. This platform is based on the PC, the Musical Instrument Digital Interface (MIDI) and a musical instrument called a digital sampler. The fundamental concepts of sound are described, with reference to digital sound reproduction. A number of synthesis techniques are described. These are evaluated according to the criteria of generality, efficiency and control. The techniques discussed are additive synthesis, frequency modulation synthesis, subtractive synthesis, granular synthesis, resynthesis, wavetable synthesis, and sampling. Spiral synthesis, physical modelling, waveshaping and spectral interpolation are discussed briefly. The Musical Instrument Digital Interface is a standard method of connecting digital musical instruments together. It is the MIDI standard and equipment conforming to that standard that makes this implementation of synthesis techniques possible. As a demonstration of the PC platform, additive synthesis, frequency modulation synthesis, granular synthesis and spiral synthesis have been implemented in software. A PC equipped with a MIDI interface card is used to perform the synthesis. The MIDI protocol is used to transmit the resultant sound to a digital sampler. The INMOS transputer is used as an accelerator, as the calculation of a waveform using software is a computational intensive process. It is concluded that sound synthesis can be performed successfully using a PC and the appropriate software, and utilizing the facilities provided by a MIDI environment including a digital sampler.

The requirement for multi-channel surround sound in audio production applications is growing rapidly. Audio processing in these applications can be costly, particularly in multi-channel systems. A distributed approach is proposed for the development of a realtime spatialization system for surround sound music production, using Ambisonic surround sound methods. The latency in the system is analyzed, with a focus on the audio processing and network delays, in order to ascertain the feasibility of an enhanced, distributed real-time spatialization system.

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