Okay, let's show an example of that.

This is the sax phrase that we are also we have heard before.

Let's listen to that again.

[SOUND] Okay, and then we have the analysis of it.

Where we have analyzed the harmonics and

the stochastic component and then we can change that.

In this particular case, we have done time scaling, so we have changed the timing and

now with the residual approximating residual stochastic,

it's very easy to do time scaling of the stochastic and the harmonics.

And that's it,

we have just focused on the timescaling transformation in this particular example.

Let's listen to that, a very simple timescaling operation.

[SOUND] So, basically the only thing we have done is we

have compress the first part of the signal by quite a bit.

In fact, it's like half of the duration and

the second half has been extended by twice as much.

So in fact, the overall duration of the sound remains the same and

of course as you can imagine, this is very flexible and

we can do a lot of envelopes that we can play around with.

Okay, now, let's talk about the morphing using this harmonic plus stochastic model.

Okay, here we have simplified the block diagram.

We have two sounds, x1 and x2.

Now they're basically at the same level and basically,

what we're going to do is interpolate the two representations.

So from x1, we obtain the frequencies and amplitudes of

the harmonics and the stochastic approximation of the residual.

And of sound two we do the same thing and then,

what we are doing is interpolating these two sets of functions.

We are interpolating the frequencies, the magnitude of the harmonics and

we are interpolating the stochastic envelopes of the residual.

And then of course, we can synthesize back the output sound by

generating the stochastic component and the sinusoidal component.