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.
Hi,
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
Berlin.
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
myself.
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.
Best,
João