diff man/man1/genspl.1 @ 0:5242703e91d3 tip

Initial checkin for AIM92 aimR8.2 (last updated May 1997).

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+++ b/man/man1/genspl.1	Fri May 20 15:19:45 2011 +0100
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+.TH GENSPL 1 "8 September 1993"
+.LP
+.SH NAME
+.LP
+genspl \- spiral auditory image of a pulse train
+.LP
+.SH SYNOPSIS/SYNTAX
+.LP
+genspl [ option=value  |  -option ]  filename
+.LP
+.SH DESCRIPTION
+.LP
+Since the spiral auditory image is just a different view of the 
+auditory image, it includes all of the flags associated 
+previously with the gensai command.  In the ASP software, the 
+spiral auditory image is presented in cartoon form, similar to 
+the presentation of the linear auditory image. The spiral view 
+of the auditory image is a global view of the sound that 
+emphasises pitch and de-emphasises timbre.  It is a distant 
+perspective taken in order to view the longer term correlations 
+that arise in periodic sounds.  It is difficult to represent the 
+functions of the SAI visually in a spiral form; the fine detail 
+of the functions wouldbe lost in the spiral perspective.  
+Accordingly, in the spiral perspective each of the separate SAI 
+pulses is replaced by a dot positioned at the time of the peak 
+of the pulse.  Previously, this representation was referred to 
+as a pulse ribbon (Patterson, 1987a).
+.LP
+Conceptually, the spiral auditory image is a set of concentric 
+spirals one for each channel of the auditory image.  The highest 
+frequency channel is on the inside with the smallest radius; the 
+lowest frequency channel is on the outside with the largest 
+radius.  The spirals lines are omitted for clarity, leaving just 
+the dots.  The presence of bars shows that the same period exists 
+in a range of filter channels.  Note, however, that this 
+information about correlation across channels appears on the same 
+spoke as the information indicating that the pattern repeats on 
+the auditory image in time.  Thus the multi-channel spiral maps 
+both spectral and temporal information concerning the 
+periodicity of the sound onto a single spatial vector -- a spoke 
+of the spiral.  It is this property that enables the spiral 
+representation to explain octave perception (Patterson, 1990).  
+.LP
+.SS "A pitch glide in the spiral auditory image "
+.PP
+The spiral auditory image, like its linear counterpart, is not 
+limited to periodic sounds.  When the pitch of a sound glides 
+smoothly from one note to another the pattern on the spiral 
+auditory image rotates smoothly from one position to another, and 
+when the pitch changes abruptly from one note to another, the 
+spiral pattern dissolves at the end of the first note and forms 
+again in a different orientation at the start of the second note.  
+.LP
+The spiral spokes grow from the centre outwards as the 
+correlation across cycles grows.  For the note C3, four spokes 
+form:  the vertical spoke contains information about periods 
+separated by 1, 2, 4 and 8 cycles; the spoke at 25 minutes past 
+the hour contains information about periods separated by 3 and 6 
+cycles; the remaining two spokes at 40 and 10 minutes past the 
+hour contain information about periods separated by 5 and 7 
+cycles, respectively.  
+.LP
+	As the pitch of the note changes from C3 to E3, the pattern 
+rotates 20 minutes, and the spoke that was previously at 40 
+minutes moves into the vertical position.  Then, as the pitch 
+glides from E3 to G3, the spoke which was at  25 minutes in C3, 
+moves into the vertical position. As the pitch glides on up from 
+G3 to C4 the longest spoke of the pattern returns to the vertical 
+position completing one revolution as the pitch rises an octave.  
+Note, however, that each of the spokes has been extended by one 
+circuit towards the centre of the spiral.  Thus, in the ASP model, 
+octaves are perceived to be similar because they produce spoke 
+patterns with the same orientation on the spiral auditory image 
+and the notes of the major triad are those with a spoke that 
+coincides with the main spoke of the tonic.  A theory of musical 
+consonance based on the coincidence of spokes in spiral auditory 
+images is presented in Patterson (1986).
+.LP
+.LP
+.SH OPTIONS
+.LP
+.SS "Display options for the spiral auditory image "
+.PP
+The options that control the position of the spiral image window 
+on the screen are the same as for all previous windows.  
+Furthermore, since the spiral auditory image is a cartoon just 
+like the linear auditory image, it may be generated, stored, 
+animated, and reviewed in the same way as the linear auditory 
+image.  In addition, there are six new display options for the 
+spiral view of the auditory image.
+.LP
+.TP 11
+spiral
+Switch to spiral auditory image 
+.RS
+Switch: Default, off. 
+.RE
+.RS
+When spiral is set to "on" the time dimension of the auditory image is plotted as a spiral and the SAI function is replaced with dots positioned at the peaks of the pulses in the SAI function. 
+.RE
+.TP 13
+form_spl
+The form of the spiral time line 
+.RS
+Switch: Default, archimedian. 
+.RE
+.RS
+The software offers two visual representations of the underlying logarithmic spiral, both of which have the base 2. 
+.RE
+Both representations gather doublings in time onto a specific 
+spoke of the spiral, and so both have the general property that 
+.LP
+	q = log2(t/T) 	(6.1)
+.LP
+q is the angle between the horizontal axis and the radius drawn 
+to point on the spiral.  T is the period of the sampling rate and 
+t is "auditory image time", both in seconds.  Every time t doubles 
+q increases by 1, and so the integer part of q (the characteristic 
+of the logarithm) specifies the circuit of the spiral.  The 
+fractional part of the logarithm (the mantissa) specifies the 
+angle within the circuit, and in this case, the angle is measured 
+in revolutions, or circuits.
+.LP
+The archimedian spiral is like a coil of rope; that is, the radius 
+increases by the thickness of the rope on each successive 
+circuit.  The form of the archimedian spiral is 
+.LP
+	r = aq = a log2(t/T)	(6.2)
+.LP
+where r is the radius from the centre of the spiral to a point 
+on the spiral.  The logarithmic spiral has the form 
+.LP
+	r = 2q = 2log2(t/T) = t/T	(6.3)
+.LP
+The logarithmic version of the spiral has the advantage that 
+image time is linear along the path of the spiral.  However, it 
+has the disadvantage that it expands rapidly, and so the current 
+default is archimedian.  
+.LP
+.LP
+.TP 16
+dotsize_spl
+The size of the dots on the spiral 
+.RS
+Default units, pixels: Default value, 2 pixels. 
+.RE
+.RS
+The dots plotted on the spiral are actually small squares and the value dotsize_spl determines the number of pixels along the side of the square. 
+.RE
+.TP 13
+axis_spl
+Spiral axis, or time line 
+.RS
+Switch: Default, off 
+.RE
+.RS
+When the axis_spl switch is set to "on", a spiral axis, or time line is plotted. It is presented on the outside of the circuit, one channel below the lowest filter channel, just as in the linear image. The default value for axis_spl is "off" because the spiral axis contains a large number of points and it is slow to calculate and plot. 
+.RE
+Note:  The length of spiral displayed in the window is determined 
+by duration_sai.  This is the same duration_sai as for the linear 
+image.  The size of the spiral display is scaled so that the 
+radius associated with duration_sai fits inside the rectangle 
+specified for the window.  The spiral does not have to be 
+presented in a square window and in some instances rectangular 
+windows are quite effective for giving a sense of depth.
+.LP
+.TP 13
+zero_spl
+Spiral start point and spiral orientation 
+.RS
+Default units: revolutions. Default value 4.072 revolutions. 
+.RE
+.RS
+This parameter determines the minimum "auditory image time" that appears on the spiral, and thus it determines the zero point on the spiral. 
+.RE
+The parameter zero_spl has two primary uses:  Firstly, it enables 
+the user to determine the orientation of the main spoke of the 
+spiral for a given combination of sampling rate and stimulus 
+period.  Without the parameter zero_spl, the orientation of the 
+spiral would be fixed by the sampling rate and period of the 
+sound.  Periods that are an exact power-of-2 times the base 
+period, 1/T, would appear on the spoke preceding horizontally 
+from the centre of the spiral towards the right.  By removing a 
+portion of a circuit the orientation of the spiral can be set to 
+suit the user.  A reduction in zero_spl of 0.25 will rotate the 
+main spoke from horizontal to vertical. 
+.LP
+The second purpose of zero_spl is to enable the user to adjust 
+the image to the period being displayed; that is, to focus on the 
+octave of the current sound.  For example, when the sound has a 
+long period, like 8 ms, the activity produced by the sound falls 
+in the outer circuits of the spiral.  If zero_spl is set to a 
+small value (<2) the centre of the display will be largely blank.  
+The short circuits associated with higher octaves can be removed 
+by setting zero_spl to a larger value, say 4, in which case a 
+sound with an 8 ms period will fill the display.  
+.LP
+The one parameter zero_spl can be used to both scale and rotate 
+the spiral simultaneously; integer changes in the parameter cause 
+a scaling without rotation.  The default value, 4.072, assigns a 
+vertical spoke to a period of 8 ms (and its base-2 relatives) 
+when the sampling rate is 20 kHz (or a base-2 relative).
+.LP
+.TP 18
+dotthresh_spl
+Threshold value for the production of a spiral dot 
+.RS
+Unit: SAI strength. Default value, 50 SAI units. 
+.RE
+.RS
+This threshold specifies the value that a pulse in the SAI must reach, or exceeds in order for it to be presented as a dot in the spiral image. 
+.RE
+.LP
+.SH EXAMPLES
+.LP
+In order to understand the spiral mapping, look at the auditory 
+image of C3 and imagine the pulse ribbon that would be formed by 
+replacing each SAI pulse with a dot and extending the duration 
+of the image to 70 ms so that it will accommodate eight cycles 
+of the note.  The spiral view is produced by compressing the pulse 
+ribbon vertically, stretching it horizontally, and then wrapping 
+it counterclockwise into a spiral, with the right-hand edge at 
+the centre of the spiral and the left-hand edge at the end of the 
+outer circuit.  The dots from vertical columns of pulses in the 
+linear auditory image, merge into short bars in the spiral view 
+because of the vertical compression; the bars fall along  spokes 
+radiating from the centre of the spiral.  The dots from the arches 
+of pulses on either side of the vertical column in the linear 
+auditory image appear in a stretched form like "wings" in the 
+spiral auditory image.
+.LP
+In the case of C3 four of the bars are aligned on one spoke of 
+the spiral (the vertical spoke); they represent the strong 
+correlations that  occur in the auditory image for cycles of the 
+original sound separated by 1, 2, 4, and 8 cycles.  In this way, 
+much of the information that is distributed across the temporal 
+dimension of the linear auditory image is gathered together into 
+a single spatial vector.
+.LP
+.LP
+The wave cegc provides an example of how the spiral auditory 
+image follows pitch glides from one note to another.  One 
+reasonable version of the spiral pitch glide is provided by the 
+command
+.LP
+.LP
+genspl width=600 height=550 duration_sai=70 zero_spl=5.072 cegc
+.LP
+.LP
+.SS "The separation of pitch and timbre in the auditory image. "
+.PP
+The file vowgld contains a synthetic speech waveform that 
+combines both formant motion and pitch motion; the formant motion 
+is a rapid tour around the vowel triangle as in aiua, and the 
+pitch motion is C3, E3, G3 and C4.  A linear auditory image of 
+vowgld can be generated with the command 
+.LP
+.LP
+gensai width=420 height=420 mag=12 segment=40 duration_sai=20 
+spiral=off vowgld
+.LP
+.LP
+The motion in the linear auditory image is similar to that 
+observed with aiua in Chapter 5.  That is, the formants move 
+vertically as the vowels change from one to the next.  In this 
+example, however, there is pitch motion and the period decreases 
+by a factor of 2 as the example proceeds.  The pitch change is 
+observed primarily as horizontal motion that is largely 
+independent of the formant motion.  In point of fact, the 
+resolved harmonics in the lower half of the auditory image are 
+rising in frequency as the example proceeds but this does not 
+seem to interfere with the perception of either the vertical 
+motion of the formants or the horizontal   shrinking of the 
+period.
+.LP
+Although the rise in pitch can be observed in the linear auditory 
+image it is not the dominant perception; rather, it is the 
+formant motion that dominates in this microscopic view of the 
+auditory image.  A spiral auditory image of vowgld can be 
+generated with the command
+.LP
+.LP
+gensai width=420 height=420 segment=40 duration_sai=70 spiral=on 
+zero_spl=5.072 vowgld
+.LP
+.LP
+The motion in the spiral auditory image is dominated by the 
+rotation of the spokes, that is, the pitch motion.  The motion 
+of the formants is represented in the spiral image in the sense 
+that there is more sparkle in the information that is not on the 
+main spoke pattern.  This sparkle is caused by the formant energy 
+changing channels as the formants move from channel to channel 
+within one circuit of the spiral.  But the fact that the motion 
+in successive circuits is coordinated is not apparent in this 
+macro view of the auditory image.
+.LP
+A more dramatic example of the enhancement pitch and the 
+repression of timbre can be produced by generating a spiral 
+auditory image for aiua  in which the pitch is fixed and the 
+vowels range around the vowel triangle.  The formant information 
+on the spokes changes as the vowel tour proceeds but the position 
+of the spokes remains fixed.  The vowel information of the spokes 
+rushes around in three discrete transitions but there is no 
+particular pattern to the motion. 
+.LP
+Thus, in the ASP model, pitch and timbre are just two views of 
+the same auditory image; pitch effects are observed when we stand 
+back and take a macroscopic view of the auditory image; timbre 
+details are observed when we move in close and take a microscopic 
+view of the auditory image. 
+.LP
+.LP
+The review program has the capacity to present two auditory 
+images simultaneously.  If linear and spiral auditory images of 
+vowgld are generated and stored using image=on, they can be 
+replayed simultaneously and compared using the command 
+.LP
+review vowgld_l vowgld_s
+.LP
+Caution: this requires the user to produce separate image files 
+(vowgld_l.img, vowgld_s.img) either by producing the images from 
+copies of vowgld with different names, or by renaming the 
+auditory images as they are produced.  If two different auditory 
+images are produced from the same file, the second will overwrite 
+the first even though one has a linear format and one a spiral 
+format.  
+.LP
+.SS "Multiple pitches in the spiral auditory image "
+.PP
+It is generally assumed that when two people are speaking at the 
+same time, the listener uses the differences in the pitches of 
+the two voices to assist in separating the speakers.  The final 
+example in this chapter shows that the pitches of the /a/ and the 
+/o/ in dblvow appear separately in the spiral auditory image, and 
+that it would be reasonable to use the spiral to separate the 
+channels associated with the two vowels and thereby assist 
+speaker tracking.  The spiral auditory image can be generated by 
+the command
+.LP
+.LP
+gensai width=600 height=550 samplerate=10000 spiral=on 
+duration=90 dblvow
+.LP
+.LP
+The main spokes of the /a/ and the /i/ appear at angles of 40 and 
+0 minutes past the hour, respectively, corresponding to periods 
+of 10 and 8 ms.  Over the course of the example, the main spoke 
+of the /i/ fades considerably while the main spoke of the /a/ 
+increases somewhat.
+.LP
+The second spoke of the /a/ and /i/ patterns appear at 5 and 25 
+minutes, respectively, and their strength  changes predictably 
+as the example proceeds.  If either vowel were presented on its 
+own there would be more than two spokes in the pattern of each 
+vowel.  The presence of the second vowel represses spokes beyond 
+the second in the patterns of both vowels.
+.LP
+.LP
+.SH BUGS
+.LP
+Note:  the current vrsion of the software (release 3, June 1990) 
+incorrectly adds linear axes to hardcopy figures.  Apologies.
+.LP
+.SH COPYRIGHT
+.LP
+Copyright (c) Applied Psychology Unit, Medical Research Council, 1995
+.LP
+Permission to use, copy, modify, and distribute this software without fee 
+is hereby granted for research purposes, provided that this copyright 
+notice appears in all copies and in all supporting documentation, and that 
+the software is not redistributed for any fee (except for a nominal 
+shipping charge). Anyone wanting to incorporate all or part of this 
+software in a commercial product must obtain a license from the Medical 
+Research Council.
+.LP
+The MRC makes no representations about the suitability of this 
+software for any purpose.  It is provided "as is" without express or 
+implied warranty.
+.LP
+THE MRC DISCLAIMS ALL WARRANTIES WITH REGARD TO THIS SOFTWARE, INCLUDING 
+ALL IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS, IN NO EVENT SHALL 
+THE A.P.U. BE LIABLE FOR ANY SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES 
+OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, 
+WHETHER IN AN ACTION OF CONTRACT, NEGLIGENCE OR OTHER TORTIOUS ACTION, 
+ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS 
+SOFTWARE.
+.LP
+.SH ACKNOWLEDGEMENTS
+.LP
+The AIM software was developed for Unix workstations by John
+Holdsworth and Mike Allerhand of the MRC APU, under the direction of
+Roy Patterson. The physiological version of AIM was developed by
+Christian Giguere. The options handler is by Paul Manson. The revised
+SAI module is by Jay Datta. Michael Akeroyd extended the postscript
+facilites and developed the xreview routine for auditory image
+cartoons.
+.LP
+The project was supported by the MRC and grants from the U.K. Defense
+Research Agency, Farnborough (Research Contract 2239); the EEC Esprit
+BR Porgramme, Project ACTS (3207); and the U.K. Hearing Research Trust.
+