Not yet. The reason I'm asking is because I know many people involved in sociolinguistics who are using the LPC/PSOLA for analysis/resynthesis of speech, specifically. I know from musical experience that the streaming f-sig analysis format implemented in CDP and Csound is far superior. I just need some resources to cite to prove this to these individuals. Simply producing sound for A/B comparison has been OK.. but it would be nice to have a more pedantic substantive basis for these claims of superiority. Then we might see a wider adoption of this technology beyond the scope of computer music circles. -David On Sat, Jun 21, 2008 at 9:46 AM, Richard Bowers wrote: > There has been no reply on the list to this. Did anyone reply to David > privately? I would be interested in the responses if there were any. > > --Richard. > > David Akbari wrote: >> >> Hi List and Dr. Dobson, >> >> In my recent work I have come across the paradigm of creating a >> continuum from endpoint stimuli in experimental procedures using >> synthetic sounds as the end points. >> >> I'm specifically wondering, what are the major differences in the >> abstract between the linear predictive coding analysis and >> pitch-synchronous-overlap-add resynthesis and the spectral streaming >> phase vocoder analysis/resynthesis as it is implemented today in >> Csound ? >> >> Many people are using the LPC/PSOLA but I know from musical experience >> that the PVS/PVX format sounds much better. I'm trying to get a better >> idea of why this is so... any scholarly papers, websites, or similar >> online resources would be greatly appreciated! >> >> >> Thank you for your time and consideration, >> >> David Akbari >>