The digital waveguide mesh has been shown to be capable of reproducing the acoustic impulse response of cylindrical vocal tract analogs. This study extends the same methodology to three-dimensional simulation of the acoustic response of graphical models of the vocal tract obtained from magnetic resonance imaging for a group of trained subjects. By such simulation of the vocal tract transfer function and convolution with an appropriate source waveform, basic phonemes are resynthesized and compared with benchmark audio recordings. The technologies and techniques used for simulation are described, alongside the protocol for image capture and the process for collection of benchmark audio. The results of simulation and acoustic recording are then evaluated and compared. The value of three-dimensional simulation in comparison to existing lower-dimensionality equivalents is assessed. It is found that while three-dimensional simulation provides a strong representation of the low frequency vocal tract transfer function, at higher frequencies its performance becomes geometry-dependent. MRI imaging and benchmark audio is provided for future studies and to permit comparison with comparable means of acoustic simulation.

3D time-domain acoustic modeling techniques have the potential to produce more accurate simulation of the vocal tract than previously implemented 1D or 2D solutions, although the variability of human voice renders it a problematic benchmark for validation of its resynthesis. This study uses acoustic measurement of acrylic cylindrical vocal tract models derived from X-Ray data to assess the validity of comparable 3D digital waveguide mesh simulations. It is found that for more simple structures the 3D digital waveguide mesh is able to reproduce the acoustic behavior up to 10 kHz with only slight errors in resonant frequencies. As the simulated structures become more geometrically complex, this shifting becomes more severe.

Abstract In recent years research in the three‐dimensional sound generation field has been primarily focussed upon new applications of spatialized sound. In the computer graphics community the use of such techniques is most commonly found being applied to virtual, immersive environments. However, the field is more varied and diverse than this and other research tackles the problem in a more complete, and computationally expensive manner. Furthermore, the simulation of light and sound wave propagation is still unachievable at a physically accurate spatio‐temporal quality in real time. Although the Human Visual System (HVS) and the Human Auditory System (HAS) are exceptionally sophisticated, they also contain certain perceptional and attentional limitations. Researchers, in fields such as psychology, have been investigating these limitations for several years and have come up with findings which may be exploited in other fields. This paper provides a comprehensive overview of the major techniques for generating spatialized sound and, in addition, discusses perceptual and cross‐modal influences to consider. We also describe current limitations and provide an in‐depth look at the emerging topics in the field.

Both digital waveguide and finite difference techniques are numerical methods that have been demonstrated as appropriate for acoustic modelling applications. Whilst the application of the digital waveguide mesh to vocal tract modelling has been the subject of previous work, the application of comparable finite difference techniques is as yet untested. This study explores the characteristics of such a finite-difference approach to two-dimensional vocal tract modelling. Initial results suggest that finite difference techniques alone are not ideal, due to the limitation of non-dynamic behaviour and poor representation of admittance discontinuities in the approximation of threedimensional geometries. They do however introduce robust boundary formulations, and have a valid and useful application in modelling non-vital static volumes, particularly the nasal tract.

Time domain articulatory vocal tract modeling in one-dimensional (1-D) is well established. Previous studies into two-dimensional (2-D) simulation of wave propagation in the vocal tract have shown it to present accurate static vowel synthesis. However, little has been done to demonstrate how such a model might accommodate the dynamic tract shape changes necessary in modeling speech. Two methods of applying the area function to the 2-D digital waveguide mesh vocal tract model are presented here. First, a method based on mapping the cross-sectional area onto the number of waveguides across the mesh, termed a widthwise mapping approach is detailed. Discontinuity problems associated with the dynamic manipulation of the model are highlighted. Second, a new method is examined that uses a static-shaped rectangular mesh with the area function translated into an impedance map which is then applied to each waveguide. Two approaches for constructing such a map are demonstrated; one using a linear impedance increase to model a constriction to the tract and another using a raised cosine function. Recommendations are made towards the use of the cosine method as it allows for a wider central propagational channel. It is also shown that this impedance mapping approach allows for stable dynamic shape changes and also permits a reduction in sampling frequency leading to real-time interaction with the model

A two-dimensional physical model of the human vocal tract is described. Such a system promises increased realism and control in the synthesis of both speech and singing. However, the parameters describing the shape of the vocal tract while in use are not easily obtained, even using medical imaging techniques, so instead a genetic algorithm (GA) is applied to the model to find an appropriate configuration. Realistic sounds are produced by this method. Analysis of these, and the reliability of the technique (convergence properties) is provided.

Digital waveguide physical modeling is often used as an efficient representation of acoustical resonators such as the human vocal tract. Building on the basic one-dimensional (1-D) Kelly-Lochbaum tract model, various speech synthesis techniques demonstrate improvements to the wave scattering mechanisms in order to better approximate wave propagation in the complex vocal system. Some of these techniques are discussed in this paper, with particular reference to an alternative approach in the form of a two-dimensional waveguide mesh model. Emphasis is placed on its ability to produce vowel spectra similar to that which would be present in natural speech, and how it improves upon the 1-D model. Tract area function is accommodated as model width, rather than translated into acoustic impedance, and as such offers extra control as an additional bounding limit to the model. Results show that the two-dimensional (2-D) model introduces approximately linear control over formant bandwidths leading to attainable realistic values across a range of vowels. Similarly, the 2-D model allows for application of theoretical reflection values within the tract, which when applied to the 1-D model result in small formant bandwidths, and, hence, unnatural sounding synthesized vowels.

Room acoustic simulation using digital waveguide modeling requires three-dimensional waveguide meshes in order to represent fully the acoustic properties of the space. This paper presents a systematic analysis of four mesh topologies suggested in the literature: rectilinear, tetrahedral, cubic close-packed and octahedral. These mesh structures are compared from the standpoint of computational efficiency, bearing in mind specific issues that are important for room acoustic simulation. Each mesh topology offers a different compromise between spatial resolution, bandwidth, dispersion characteristics (including suitability for the application of dispersion-compensation techniques), computation time, memory requirements and implementation complexity.

Voiced excitation in the parallel formant speech synthesizer reported here uses a fixed waveform varying in fundamental period. Highly natural synthetic speech output has been achieved using time-intensive hand-copying techniques in which any dynamic changes due in natural speech to the voice source have been implemented as formant amplitude changes. Two methods of incorporating varying degrees of a dynamically varying voice source are investigated. Reliable, high-quality formant control parameters are obtained using automatic amplitude mapping and transform synthesis.>