Mladen Maletić

Influence of Emotions to pitch harmonics parameters of vowel /a/

Peoples coding and decoding of nonlinguistic speech attributes is usually subconscious with an enhanced psychological element and it brings spontaneousness, more information and beauty of speech act into the speech communication. Therefore, these attributes are extremely important within the human-machine speech communication. Emotions are definitely one of the most important nonlinguistic speech attributes. Each speakers emotion forms vocal chords and vocal system that is acoustically shown through variations of the speech signal parameters. In this paper, the glottal speech during the pronouncing vowel /a/ has been analyzed. This is done by analyzing structure of pitch harmonics parameters for three emotional states: neutral, anger and speech under stress. The difference between structure pitch harmonics parameters of glottal speech is very informative about speakers emotional state.

Determination and evaluation pitch harmonics parameters with emotions classification

Peoples coding and decoding of nonlinguistic speech attributes is usually subconscious with an enhanced psychological element and it brings spontaneousness, more information and beauty of speech act into the speech communication. Therefore, these attributes are extremely important within the human-machine speech communication. Emotions are definitely one of the most important nonlinguistic speech attributes. Each speakers emotion forms vocal chords and vocal system that is acoustically shown through variations of the speech signal parameters. In this paper, the glottal speech during the pronouncing vowel /a/ are analyzed. This is done by determination and evaluation of structure of pitch harmonics parameters for three emotional states: neutral, anger and speech under stress. The difference between structure pitch harmonics parameters of glottal speech is very informative about speakers emotional state. Implemented pitch harmonics normed indexes articulately and easily describe harmonics structure of glottal speech and they can be significant element in a classification of emotions.

Frequency response measurement with composed audio test signal

The composed audio test signal (CATS) is formed by mixing three mutually independent composed saw signals (CSSs). The CSS sequences are a special type of pseudorandom signal. The CATS closely follows the characteristics of natural signals, and its behavior is controlled by the well‐defined and configurable parameters. The amplitude probability density function of the CATS follows Gaussian distribution. Furthermore, second and third CSS sequences are generated using the perturbated parameters of the first one. Pseudorandom noise can have a spectrum and amplitude distribution similar to that of white noise. The CATS methods employ efficient cross correlation between input and output to recover the periodic impulse response (PIR) of the system being measured. The PIR can be considered as the impulse response only if the CATSs period equals or exceeds the duration of the system impulse response. The frequency response can then be found by taking the discrete Fourier transform of the impulse response. The CATS...

Integrating digital video into broadband networks

Two technologies will drive broadband multimedia: ATM networking and MPEG-2 digital video compression. This text provides a basic look at MPEG-2 and ATM, the key enablers for digital video, showing how to integrate them into an efficient delivery system for next-generation digital video services. An example of the real TV network is shown and described with all its elements.

Digital audio measurements for broadcasting

Transmitting and storing audio signals in the digital domain is well-established in the broadcast industry. Analog audio has given way to the AES3 and Sony/Phillips digital interface format (SPDIF). AES3 datastreams are also embedded in SDI television signals. The first part of the paper is describing the digital audio signal itself to get a better understanding of the related problems. The problem issues and solutions are presented next. A brief look on additional measurements is given.

Space‐induced distortion of starting transient of musical sound

Musical sound can be defined as complex sound that begins with a starting transient followed by a (more or less) steady sound and ends with a decaying sound. After that, continuous movement from one frequency to the another follows. The rate of change of loudness for partial tones that are greater than a certain threshold and their relative starting times are different for miscellaneous musical instruments. Recognition of a particular musical instrument depends upon short starting and ending transients. Relative starting time of the starting transient’s partial is limited by the rate of change of loudness that is greater than 600 dB/s. The envelope of all rates of change defines the maximum rate of change for loudness levels and partials that dominates in a certain time interval. The beginning transient is the complex phenomena, assessed with early sound and rate and synchronized with the rise of loudness and dominant partial tone in the observed time interval. The just‐noticeable threshold of rates of lo...