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I wonder why they don't mention the problem of the audio quality of the output. As far as I know the best models work on magnitude spectrograms and have issues with recreating the phase information. Sub-par algorithms like Griffin-Lim are used instead


The review is about composition in the score domain, not synthesis in the audio domain.

Check Differential Digital Signal Processing for state-of-the-art data driven synthesis in th audio domain.


It's a very poor "score" domain with no timbral information at all.

See my comment elsewhere: https://news.ycombinator.com/item?id=28355582


I was talking about musical scores. They shouldn't have any timbral information.




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