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Date: 1950-12-24
Description: Homer T. Cochrane, owner of the Club Royal at 112 E. Washington Avenue, is shown eying one of the empty cash registers in his tavern shortly after armed ba...
Date: 1950-12-29
Description: Mrs. Harriet Mead Haas is presented with a doll called "Red Feather Kid" and silver pin for her services to the Madison Community Chest. At left is Franci...
Date: 1934 ca.
Description: View from water of Devil's Island lighthouse located above sandstone caves and arches in the Apostle Islands of Lake Superior.
Date: 1956
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Date: 1957
Description: Aerial view of the Baraboo Wisconsin Dells airport.
Date: date unknown
Description: A view of a covered bridge from the road. Forests cover the hillside in the background.
Date: 1961-05-09
Description: Exterior view of the hen house on the Elizabeth McCoy Syene Road farm. It was converted into a gift shop for the annual Altrusa club annual country fair.
Date: 1961 ca.
Description: A dead Vietnamese man lays on the ground as a paratrooper prepares to fire bullets into the body.
Date: 1946-07-13
Description: Horse-drawn wagon in a United Public Workers Parade/Demonstration through downtown. The horse bears signs that read "1946 One Horse Pay!" and "1846 One Hor...
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Date: 1937 ca.
Description: The Dawn Manor, a small "gothic" house on the Dell View Hotel grounds. Also called the Abraham Vand House (later the W.J. Newman House) it was built ca. 18...
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Date: 1944
Description: View from road of the storefront of Truck & Tractor, Inc., an International Harvester dealership. An Olympic Transportation Co. truck is parked near the en...
Date: 1950-12-27
Description: Group portrait of 15 players and 2 managers of the undefeated Madison West High School basketball team.
Date: 1961-04-30
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Description: A touring car filled with tourists outside of a building lobby. Text on the photo reads "Seeing Kansas."
Date: 1923
Description: Destruction around the Imperial Hotel in Tokyo, following the 1923 Tokyo earthquake. The hotel was designed by architect Frank Lloyd Wright.
Date: 1949-01-31
Description: Group portrait of nine of the officials and managers of the Madison Industrial Baseball League. Front row (L to R) Eddie Corcoran, West Side Businessmen A...
Description: A man is positioned in crab-laden mud in which the Sea Swallows set up "the toughest ambush I've ever covered". Vietnam.
Date: 1935 ca.
Description: Aerial view of Madeline Island including the tennis courts, houses, and the Old Mission Inn.
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Proposed Natural Treatments for PCOS
1 Gerli S, Mignosa M, Di Renzo GC. Effects of inositol on ovarian function and metabolic factors in women with PCOS: a randomized double blind placebo-controlled trial. Eur Rev Med Pharmacol Sci. 2003;7:151-9.
2 Rizk AY, Bedaiwy MA, Al-Inany HG et al. N-acetyl-cysteine is a novel adjuvant to clomiphene citrate in clomiphene citrate-resistant patients with polycystic ovary syndrome. Fertil Steril. 2005;83:367-70
3 Lucidi RS, Thyer AC, Easton CA et al. Effect of chromium supplementation on insulin resistance and ovarian and menstrual cyclicity in women with polycystic ovary syndrome. Fertil Steril . 2005;84:1755-7.
4 Chan CC, Koo MW, Ng EH et al. Effects of Chinese green tea on weight, and hormonal and biochemical profiles in obese patients with polycystic ovary syndrome--a randomized placebo-controlled trial. J Soc Gynecol Investig . 2005;13:63-8.
5 Wang JG, Anderson RA, Chu MC, et al. The effect of cinnamon extract on insulin resistance parameters in polycystic ovary syndrome: a pilot study. Fertil Steril . 2007 Feb 9 [Epub ahead of print].
6 Schachter M, Raziel A, Strassburger D, et al. Prospective randomized trial of metformin and vitamins for the reduction of plasma homocysteine in insulin-resistant polycystic ovary syndrome. Fertil Steril . 2007 Mar 3 [Epub ahead of print].
7 Elnashar A, Fahmy M, Mansour A, et al. N-acetyl cysteine vs. metformin in treatment of clomiphene citrate-resistant polycystic ovary syndrome: a prospective randomized controlled study. Fertil Steril . 2007 Feb 28 [Epub ahead of print].
8 Gerli S, Papaleo E, Ferrari A, et al. Randomized, double blind placebo-controlled trial: effects of myo-inositol on ovarian function and metabolic factors in women with PCOS. Eur Rev Med Pharmacol Sci. 2007;11:347-354.
9 Grant P. Spearmint herbal tea has significant anti-androgen effects in polycystic ovarian syndrome. A randomized controlled trial. Phytother Res. 2010 Feb;24(2):186.

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|Why No LGW-GLA With EZY? posted Wed Nov 30 2005 12:38:30 by Timetable
|Why No Easygroup Products On EZY Flights? posted Sat May 7 2005 19:50:40 by Sevenair
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|Why No British Flag On EZY 319s? posted Sat Apr 24 2004 13:14:30 by A340600
|Why No Seats With Less Reclinability In Economy? posted Wed Mar 8 2006 16:53:20 by AMSSpotter
|Why No Help For People With Connecting Flights? posted Thu Mar 2 2006 16:49:37 by Works4boeing
|Why No 767-200/200ERs With BA? posted Mon Jan 30 2006 01:31:59 by AirCanada014
|Why No EZY In Brussels? posted Fri Jan 13 2006 20:43:24 by VinnieWinnie
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World Cup in Action Around the World – And Around the Web
Some call it football. Others call it soccer. No matter what you term the game, the effects of the 2010 FIFA World Cup, the most widely-viewed sporting event across the globe, can be seen all around the world – and around the Web – after the kickoff this past Friday.
The World Cup has been stimulating bars and restaurants, taking a toll on worker productivity, and even impacting Internet usage. But, it's also effecting your online security. Here's what a few of our industry counterparts have been reporting –
- Websense said this past Thursday that it began tracking 80,000 spam messages containing HTML attachments with embedded JavaScript.
- Symantec has warned of a sophisticated World Cup-related malware scam, aimed at corporations in Brazil, that operates under the guise of both a PDF attachment and malicious link.
- FSecure has reported that, when comparing the first three days from the last six months, spam related to the games has doubled in volume, and they've seen 74 times the number of hits on World Cup-related keywords from January to June.
How can you stay safe? The malware experts at Lavasoft have released tips for what to be on the lookout for, and how to prevent becoming the target or victim of an attack. Take a look at Lavasoft's list of the top five online risks surrounding the World Cup.


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|Publication number
|Publication type
|Application number
|Publication date
|5 May 1998
|Filing date
|15 Mar 1996
|Priority date
|15 Mar 1996
|Fee status
|Also published as
|Publication number
|Malcolm Slaney
|Original Assignee
|Interval Research Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (8), Non-Patent Citations (41), Referenced by (100), Classifications (19), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
The present invention is directed to the manipulation of sounds and other one-dimensional signals, and more particularly to the morphing of two audio signals to generate a new sound having characteristics between those of the original sounds.
The manipulation of a sound, to produce a different sound, has applicability to a number of different fields. For example, in musical applications the transformation of one audio signal into another audio signal can be used to produce new sounds with synthesizers and the like. In the movie industry, the transformation of one sound into another sound, such as changing a speaker's voice to sound like the voice of a different person, can be used to create special effects. In a similar fashion, a person's voice can be manipulated so that it is disguised, for security purposes.
Different types of sound manipulation are employed for these various purposes. A first type of sound modification involves the mixing of two or more sounds. This type of modification might be employed in a musical environment, for example, to provide equalization or reverberation. These effects are achieved by passing the sounds through simple filters whose operation is independent of the actual data being filtered.
A second type of sound modification is based upon data-dependent filtering. For example, the pitch of a sound can be increased or decreased by a predetermined percentage to disguise a person's voice.
A third type of manipulation, which is more heavily data-dependent, is known as voice transformation. In this type of manipulation, an acoustic feature of speech, such as its spectral profile or average pitch, is analyzed to represent it as a sequence of numbers, and then modified from the original speaker's voice, typically in accordance with the statistical properties of a target voice. For example, histogram mapping might be employed to transform the speaker's pitch to that of the target voice. Each time a particular sound is spoken, its formant frequencies are changed so they are similar to those of the target speaker. When the sound is resynthesized with the new acoustical parameters, the target voice results. Further information relating to this type of sound manipulation is described in U.S. Pat. No. 5,327,521, as well as in Savic et al, "Voice Personality Transformation", Digital Signal Processing 1, Academic Press, Inc., 1991, pp. 107-110; and Valbret et al, "Voice Transformation Using PSOLA Technique", Speech Communication 11, Elsevier Science Publishers, 1992, pp. 175-187.
A fourth type of audio manipulation, and the one to which the present invention is directed, is known as audio morphing. Audio morphing differs from sound filtering, from the standpoint that two or more sounds are used as inputs to create a single sound having characteristics of each of the original sounds. Audio morphing also differs from voice transformation by virtue of the fact that the resulting sound is a smooth warp and blend of two or more original sounds. The morphed sounds share some of the properties of the original sounds.
Generally speaking, morphing is the process of changing one physical sensation smoothly into another. Its most prevalent use today is in the visual domain. In this context, the two images are warped, and then cross fades are implemented so that one image blends smoothly into the other. Typically, the beginning and ending images are static, i.e., they do not change with time as the morphing process is carried out.
Audio morphing involves the process of generating sounds that lie between two source sounds. For example, in a series of steps the sound of a human scream might morph into the sound of a siren. Unlike images, sounds are not static. The amplitude of a sound at any given time, by itself, does not present meaningful information. Rather, it must be considered over a period of time. Thus, audio morphing is more complex, because it must take into consideration the time course of a sound during the morphed sequence.
In the past, audio morphing has been carried out by using a sinusoidal analysis of the sounds used to create the morph. See, for example, Tellman et al, "Timbre Morphing of Sounds with Unequal Numbers of Features", Jour. of Audio Eng. Soc., Vol. 43, No. 9, September 1995. In sinusoidal analysis, a sound is broken down into a number of discrete sinusoids. A morph is generated by changing the amplitude and frequency of the sinusoids. This technique only has applicability to harmonic sounds, such as those from musical instruments. It cannot be used to morph other types of sounds, such as noise or speech that includes fricatives, i.e. inharmonic sounds, as exemplified by the consonant "c" in the word "corner."
Another limitation associated with morphing based upon sinusoidal analysis is that it does not readily lend itself to automation to correctly label individual sinusoids in the two original sounds and match them to one another. Often, there is a significant amount of manual tuning that is required, to identify the discrete sinusoids that result in the best sound.
An important requirement, and the source of difficulty in any type of morph, is preserving the perception of objects. Except for fortuitous circumstances, simply cross-fading two pictures of faces will give an image that looks like two faces. The perception that one is looking at a single object is lost because features (such as ear lobes) are duplicated. Likewise in audio, a morph should preserve the perception that the result has the same number of auditory objects as the original. Many of the properties that cause sounds to be perceived as one object are described in Bregman, "Auditory Scene Analysis", MIT Press. An audio morph should preserve these properties.
It is desirable, therefore, to provide a technique for morphing any given sound into any other sound, which is not limited to specific types of sounds, such as harmonic sounds. It is further desirable to provide such a technique which readily lends itself to automation, and thereby reduces the manual effort required to produce a morphed sound.
In accordance with the present invention, these objectives are achieved by a sound morphing process that is based on the fact that the different dimensions of sounds can be separated and individually operated upon. A sound morphing process in accordance with the present invention is comprised of a series of basic steps. As a first step, each sound which forms the basis for the morph is converted into multiple representations that encode different features of the sound and quantitatively depict one or more salient features of the sounds. In a preferred embodiment of the invention, the multiple representations are independent of one another. After the representations have been obtained, the temporal axes of the two sounds are matched, so that similar components of the two sounds, such as onsets, harmonic regions and inharmonic regions, are aligned with one another. After the temporal matching, other relevant characteristics of the sounds, such as pitch, are also matched for each corresponding instant of time in the two sounds. Once the energy in each of the sounds has been accounted for and matched to that of the other sound, the two sounds can be warped and cross-faded, to produce a representation of the morphed sound, such as a new spectrogram. The interpolated representation is then inverted, to generate the morphed sound.
By using a spectrogram or other dense representation of a sound, the morphing process is not limited to harmonic sounds. Rather, any sound which is capable of being represented can form the basis for an audio morph. The particular representations that are chosen will be dependent upon the characteristics of the sound that are important. The primary criteria is that the representation be perceptually relevant, i.e. it relates to some dimension of the sound which is detectable to the human ear, and allows the sound to be smoothly interpolated along that dimension. Using such representations, any two or more sounds can be matched to one another to produce a morph.
Another advantage of the morphing process of the present invention is that it can be easily automated. For example, the temporal warping of two representations of a sound, to match them to one another, can be computed using known techniques, such as dynamic time warping that produces the lowest mean-squared-difference. Similarly, other components of the sound can be automatically matched with one another, for example, by applying dynamic time warping between two spectral frames.
Further features of the invention, and the advantages provided thereby, are explained in greater detail hereinafter with reference to exemplary embodiments illustrated in the accompanying drawings.
FIG. 1 is a block diagram illustrating the overall process for morphing two sounds in accordance with the present invention;
FIG. 2 is a more detailed block diagram of an embodiment of the invention for morphing speech;
FIG. 3 is an illustration of the audio correspondence between two sounds;
FIG. 4 is a diagram of the procedure to warp and interpolate two signals;
FIGS. 5A and 5B are illustrations of a continuous morph and a cyclostationary morph, respectively;
FIG. 6 is a spectrogram illustrating a morph in which the pitch of a spoken vowel changes; and
FIG. 7 is an illustration of a sequence of spectrograms in a cyclostationary morph.
Generally speaking, morphing is the process of generating a range of sensations that move smoothly from one arbitrary entity to another. For example, a video morph consists of a series of images which successively show one object smoothly changing its shape and texture until it becomes another object. The same objectives are desirable for an audio morph. A sound that is perceived as coming from one object should smoothly change into another sound, maintaining the shared properties of the starting and ending sounds while smoothly changing other properties.
In the following discussion of the invention, it is described with reference to its implementation in the morphing of two or more sounds. It will be appreciated, however, that the principles of the invention are not limited to sound signals. Rather, they are applicable to any type of one-dimensional waveform.
In the context of the present invention, two different types of audio morphing can be produced. One type of morph is temporally based. In this situation, a sound is considered as a point in a multi-dimensional space. The dimensions of this space can include the spectral shape, pitch, rhythm and other perceptually relevant auditory dimensions. A morph is obtained by defining a path between two sounds represented at two points in the space. This type of morph is analogous to image morphing. For example, a steady state clarinet tone might morph into the sound of an oboe or into a singer's voice.
In the second type of morph, a sequence of individual sounds are generated which smoothly change from one to another. For example, the spoken word "corner" can change into the word "morning" in a sequence of small steps. Each individual step represents a small difference from the previous word, and in the middle of the sequence the word sounds like a cross between "corner" and "morning." This type of morph is referred to as a cyclostationary morph. It is cyclic because a sound is played repetitively to transition from one word to the other. It is also stationary since each sound instance is a static example of one of the in-between sounds in the sequence.
Different variations of this second type of morph are possible. For example, rather than generating a sequence of sounds that transition from one word to another, the desired output may be just one of the intermediate sounds. Alternatively, a sound can be produced that is a mixture of different components of the original sounds. For example, the output sound might utilize the pitch from one word, the timing from a second word, and the spectral resonances from a third word.
The morphing of one sound into another, in accordance with one embodiment of the present invention, is schematically illustrated in the block diagram of FIG. 1. A brief description of the overall process is first presented, and followed by a more detailed discussion of individual aspects of the process. This particular embodiment relates to the morphing of speech. It will be appreciated, however, that this example is for illustrative purposes. The principles which underlie the invention are equally applicable to music and other types of sound as well.
Referring to FIG. 1, two input sounds provide the basis from which the morphed sound is produced. In practice, more than two sounds can be used to provide the original input data. For purposes of the present explanation, a two-sound example will be described. As a first step, various representations 10 of each sound are generated. For example, the representations might be two or more different kinds of spectrograms for each sound. Corresponding representations of the two sounds are then temporally matched, such as by means of a dynamic time warping process 12. In this step, similar components of each sound, such as the onset or attack portion, harmonic and inharmonic regions, and a decay region, are temporally aligned with one another. After the temporal alignment, other relevant features of the two sounds undergo a matching process 14. For example, if the sounds contain harmonic components, the pitches of the two sounds can be matched. The matching of the two sounds results in a dense mapping of corresponding elements of the sounds to one another, for each of the dimensions of interest.
After all of the relevant energy components in the two sound signals have been matched, the sounds undergo warping, interpolation and cross fading 16. For example, if a morph from Sound 1 to Sound 2 is to take place in five steps, the first interpolation of the sound in the sequence comprises 100% of Sound 1 and 0% of Sound 2. The second interpolated sound of the sequence is comprised of 75% of Sound 1's components and 25% of Sound 2's components. Successive interpolation steps comprise greater proportions of Sound 2, until the final step is comprised entirely of Sound 2. For each step in the sequence, the interpolation determines the appropriate percentage of each of the two components to combine with one another. These combined components form a new representation of the morphed sound, e.g., a new spectrogram. This representation can then be inverted, at 18, to generate the actual morphed sound for that step in the sequence. By successively reproducing each of the sounds in the sequence, a smooth transition from Sound 1 to Sound 2 can be heard.
The calculation of the representation 10 transforms the sound from a simple waveform into a multi-dimensional representation that can be warped, or modified, to produce a desired result. To be useful, the representation of the sound must be one that is invertible, i.e. after one or more of its parameters are modified, the result can be used to generate an audible sound. The particular representation that is employed should preserve all relevant dimensions of the sound. For example, in harmonic sounds pitch is an important characteristic. Thus, for the morphing of harmonic sounds, a representation which preserves the pitch information should be employed. Examples of suitable representations for harmonic sound include spectrograms, such as the short-term Fourier transform, as well as cochleagrams and correlograms.
Inharmonic sounds, such as noise and spoken fricatives, do not have a pitch component. Similarly, if a spoken word is whispered, its pitch is not significant. Consequently, other types of representation may be more appropriate for these types of sounds. For example, linear predictive coding (LPC) coefficients might be used to represent the broad spectral characteristics of an inharmonic sound.
Sinusoidal analysis is often accomplished by analysing a sound with a wide-band spectrogram. Individual sinusoids are displayed as peaks or lines in the spectrogram. A sinusoidal analysis of the sound uses the locations of the individual peaks or lines in the spectrum to model the entire sound. This approach uses a sparse representation of the sound since some sort of threshold is empoyed to pick the discrete sinusoids that are used. This enforces a model on the signal, whether it fits or not. In contrast, a spectrogram preserves the level of all components of the sound, the representation is dense and continuous as a function of frequency. In a dense representation, the entire spectrum is preserved, not just the peaks.
Preferably, a multi-dimensional dense representation of sounds is employed, where each dimension is independent and salient to the perceived result. In the case of speech, two relevant dimensions of a sound are its pitch and its broad spectral shape, i.e. its formant frequencies. These two dimensions roughly correspond to the rate at which the human glottis produces air pulses during speech (pitch) and the filtering of these pulses that is carried out by the mouth and nasal passages (formants). As discussed previously, another relevant dimension of sounds is their timing.
FIG. 2 illustrates one embodiment of the invention in which each of these three dimensions can be separately represented to generate a morph. At the outset, a conventional narrow-band spectrogram of a sound is obtained by processing it through a Fast Fourier Transform 20. The Fast Fourier Transform provides a quantitative analysis of the sound in terms of its frequency content. The spectrogram of the sound is then further analyzed to determine its mel-frequency cepstral coefficients (MFCC) 22. For a description of the procedure for calculating an MFCC representation, see Hunt et al., "Experiments in Syllable-based Recognition of Continuous Speech", Proceedings of the 1980 ICASSP, Denver, Colo., pp. 880-883, the disclosure of which is incorporated herein by reference. Briefly, the MFCC for a sound is computed by resampling the magnitude spectrum to match critical bands that are related to auditory perception. This is carried out by combining channels of the spectrogram to produce a filter bank which approximates the auditory characteristics of the human ear. The filter bank produces a number of output signals, e.g. forty signals, which are compressed using a logarithm and undergo a discrete cosine transform to rearrange the data values. A predetermined number of the lowest frequency components, e.g. the thirteen lowest filter coefficients, are then selected. These coefficients define a space where the Euclidean distance between vectors provides a good measure of how close two sounds are. Hence, they can be used to find a temporal match between two sounds, as described in detail hereinafter.
Since the MFCC is a low dimensional representation of the sound, it can be used to compute its broad spectral shape. To this end, the MFCC is inverted at 24 by applying the inverse of the cosine transform, to provide a smooth estimate of the filter bank output that was used to compute the MFCC. After undoing the logarithm, this smooth estimate is then reinterpolated, for example by means of an inverse Bark scale, to yield a new spectrogram. This spectrogram corresponds to the original spectrogram, without the high spatial-frequency variations due to pitch. In the context of the present invention, this spectrogram is referred to as a "smooth spectrogram", and provides a representation of the frequency formats in the original sound.
Other types of processing, such as homomorphic filtering or LPC, can be used to calculate a smooth spectrogram. However, MFCC processing is preferred for many speech recognizers and is easier to apply to different sounds such as music.
Furthermore, the smooth spectrogram can be used to obtain a representation of the pitch information in a sound. More particularly, a conventional spectrogram encodes all of the information in a sound signal, and the smooth spectrogram describes the sound's overall spectral shape. The conventional spectrogram is divided by the smooth spectrogram at 26, to produce a residual spectrogram that contains the pitch and voicing information in a sound. In the context of the present invention, the residual spectrogram is referred to as a "pitch spectrogram."
In the embodiment of FIG. 2, three representations are derived for each sound, namely the MFCC transform which is used for temporal matching, the smooth spectrogram which provides format information, and the pitch spectrogram which provides pitch and voicing information. In the illustration of FIG. 2, the individual steps for obtaining these representations are shown with respect to one sound. It will be appreciated that similar processing is carried out to provide representation for a second sound, which forms another component of the audio morph. The corresponding representations of the two sounds are then matched to one another at 28-32.
Temporal matching of sounds at 28 (FIG. 2) is desirable since, over the course of a morph, features which are common to both sounds should be matched and remain relatively fixed in time. Referring to FIG. 3, an example of the temporal correspondence between two sounds is illustrated. In the figure, a spectrogram for one sound, e.g. a beginning sound, is shown at the bottom of the figure, and the spectrogram for a ending sound is shown above and to the left of the spectrogram for the beginning sound. In the spectrogram for the beginning sound, time is represented along the horizontal axis, and frequency is depicted on the vertical axis. To illustrate the temporal matching of the two sounds, the spectrogram for the ending sound is rotated counter-clockwise 90� relative to the spectrogram for the beginning sound.
In the preferred embodiment of the invention, dynamic time warping is employed to find the best temporal match between two sounds, using the distance metric provided by the MFCC transforms of the sounds. For detailed information regarding dynamic time warping, reference is made to Deller et al, "Dynamic Time Warping", Discrete-time Processing of Speech Signals, New York, Macmillan Pub. Co., 1993, pp. 623-676, the disclosure of which is incorporated herein by reference. The result of the dynamic time warping process is to provide control points in time which identify the frames of one sound that line up with those of the other sound. The correspondence of the frames provides an indication of the amount by which each segment of a sound must be temporally compressed or expanded to match it to the corresponding features in the other sound.
Once the two sounds have been aligned temporally at 28, they can be matched at each corresponding time instant. For each pair of corresponding frames, the relevant acoustical features that are indicated by the representations of the two sounds need to be matched. For example, in the pitch spectrogram, the pitch information in the sound is visible as a series of peaks. The spacing of the peaks is proportional to the pitch. The matching of the pitch data for two sounds at 30 essentially involves expanding or compressing the pitch spectrograms to align the harmonic peaks. For any given instant in time, the pitch of one sound can be represented as p1, and the pitch of the other sound at the corresponding time is p2. For the best match, the frequency axis of the second sound's pitch spectrogram must be compressed by p1/p2. If p1 is larger than p2, the frequency axis of the pitch spectrogram for the second sound is actually stretched. When this process is carried out, the result is a dense match linking a frequency f1 in the first pitch spectrogram and a corresponding frequency f2 =p2 /p1 *f1 in the second pitch spectrogram.
Some sounds contain both harmonic and inharmonic components. For example, a spoken word may include both voiced and unvoiced sounds. An example of an unvoiced sound is the consonant "c" in the word "corner". The unvoiced components of the word do not contain pitch information. However, the voiced, or harmonic, components have a pitch, which should be matched to the pitch of another sound to form the morph. Another difficulty arises when parts of a sound are only partially voiced. To ensure that the pitch of the morphed sound is consistent and smoothly changing, an assumption is made during the matching process that a pitch exists throughout the duration of each of the sounds which forms the basis for the morph. Using this assumption, a smoothly varying curve is estimated for pitch throughout the entire sound, including the inharmonic regions where it is normally absent. In a preferred implementation of the invention, a dynamic programming technique can be used to calculate a smooth pitch function for the duration of a sound. An example of a suitable dynamic pitch programming technique is disclosed, for example, in Secrest et al, "An Integrated Pitch Tracking Algorithm for Speech Systems", Proceedings of 1983 ICASSP, Boston, Mass., vol. 3, pp. 1352-1355, 1983. In particular, one implementation combines a clipped autocorrelation, as described in Rabiner and Schafer, Digital Processing of Speech Signals, Prentice Hall, 1978, p. 154, with the energy minimization technique described in Amini et al, "Using Dynamic Programming for Solving Variational Problems in Vision," IEEE Transactions on Pattern Analysis and Machine Intelligence, Vol. 12, No. 9, September 1990, pp. 855-867. The pitch functions that are calculated for respective sounds with such a technique can then be matched to one another, as described previously.
Once all of the relevant energy in each sound has been accounted for and matched, the corresponding portions of the two sounds can be warped and cross-faded to produce a representation for a new sound. Warping in both the time and frequency dimensions lines up corresponding features in the two sounds. A morph includes some type of interpolation or cross-fading step. Scalar dimensions are easiest to morph. If one component of a sound description is loudness, then the loudness of the morph should change smoothly from the loudness of the first sound to the loudness of the second. The same holds true for a scalar quantity like pitch. However, acoustic information is not always scalar. Interpolations of temporal information, smooth spectrograms, and pitch spectrograms present a more complex problem, because they are based upon a dense match between pairs of one-dimensional curves.
Audio morphing is simpler than image morphing because each dimension can be considered independently. An important step in audio morphing is to warp and interpolate two one-dimensional signals. The one-dimensional signals might be cepstral coefficients over time as used to match the temporal aspects of a sound, or spectral amplitudes over frequency when morphing spectrogram slices. In each case, one-dimensional morphing involves a determination of a dense set of matches. For each point in the output signal, the best two points in the original waveforms are determined. These points are then warped and interpolated to give the value of the morphed signal. The process is the same whether the signal is scalar or a vector value.
With reference to FIG. 4, the data to be morphed is described as s1(t) and s2(t). These two curves might represent slices of smooth spectrograms, for example. The objective of the morph is to find a new curve s(lambda,t) such that the s function is a fraction, lambda, between the s1 and s2 curves. Since the matches between curves are monotonic, matching lines do not cross such that, for each point (lambda,t), there is only one line establishing correspondence. The interpolation problem simplifies to finding the times t1 and t2 that should be interpolated to generate the data at (lambda,t).
Given lines ending at t1 and t2, the intersection with a line at some fractional distance lambda between the two curves is at ##EQU1## Given the proper values for t1 and t2, the new data at (lambda,t) is generated by cross-fading the warped signals.
s(lambda,t)=(1-lambda) * s1(t1)+lambda * s2(t2)
When lambda is zero, the result will be identical to s1. When lambda is 1, the result is s2. In between, the morphing process smoothly cross-fades between the two functions.
The mappings between s1 and s2 are described as paths. Path1 warps s1 to look like s2. Thus, path1 is the path that produces the smallest difference between s1(path1(t)) and s2(t). Likewise, s2(path2(t)) is close to s1(t). Using these paths, the above equation can be simplified so that the intermediate t is given by
t*=lambda * (path2(t1)-t1)+t1
For each point t along the s(lambda,t) line, the objective is to interpolate using the best possible t1 and t2. A value t* can be calculated for all values of t1 using the expression above. The value for t1 that produces t* closest to t can be used for the first half of the s-interpolation equation above.
To calculate the appropriate t2, the procedure is repeated from the other side. It is preferable to obtain the respective values for t1 and t2 by going in both directions, since the path is usually quantized. This value for t2 is used to calculate the second term in the s-interpolation equation above. This warping technique can be applied to any function of one variable, i.e. cepstral coefficients as a function of time, spectral slices as a function of frequency, or even warping gestures.
With reference to FIG. 4, during a morph energy moves along the dashed lines which connect corresponding temporal or frequency values of the two sounds. For instance, at a point which is 25% through the morph, the generated sound has a value equal to 75% of that for Sound 1 and 25% of the corresponding, matched value for Sound 2. As the morph progresses, successively greater proportions of the values for Sound 2 are employed.
Matching the features of the smooth spectrograms for the two sounds, at 32, is less critical than matching of the pitch spectrograms, at least where speech is concerned. In one approach, the two smooth spectrograms can simply be cross-faded, without prior warping. In an alternative approach, dynamic warping can be applied to the smooth spectra, as a function of frequency, to match peaks in the two sounds before warping and cross-fading them to obtain the morphed sound.
The warping, interpolation and cross-fading are carried out independently at 34 for each of the relevant components of the sounds. For example, at the 50% point of a morph, a formant frequency and a pitch that are halfway between those for each of the two original sounds can be employed. In such a case, the resulting sound will be in between the two sounds. Alternatively, it is possible to keep one of the components fixed, while varying another component. Thus, for example, the broad spectral shape for the morph might remain fixed with the first sound, while the pitch is changed to match the second sound. Various other combinations of modifications will be readily apparent.
The result of performing the cross-fades of the matched components of the two signals is a new set of representations for a sound having characteristics of each of the original input sounds. These representations are then combined to form a complete spectrogram. The spectrogram is then inverted at 36, to generate the new sound. The fast spectrogram techniques described in U.S. Pat. No. 5,473,759 can be used to efficiently perform this inversion.
As discussed previously, there are two different types of audio morphing that can be attained with the present invention. One type of morph is continuous, as depicted in FIG. 5A, and the other type of morph is cyclostationary, as depicted in FIG. 5B. A continuous morph is obtained in the case of simple sounds. For example, a note played on an oboe can smoothly transform over a given time span into a vowel spoken by a person. In another example, one vowel might morph into a different vowel, or the same vowel might morph from one pitch to another. A spectrogram for this latter example, which was produced in accordance with the present invention, is illustrated in FIG. 6.
In contrast to a continuous morph, a cyclostationary morph is comprised of multiple sound instantiations that form a sequence in which each sound differs from the others. For example, the word "corner" can transform into the word "morning" over a sequence of six steps. The spectrograms for such a sequence are illustrated in FIG. 7. Thus, the first spectrogram relates to the pronunciation of the word "corner" and the last spectrogram pertains to the word "morning." The four spectrograms between them represent various weighted interpolations of the two words.
From the foregoing, it can be seen that the present invention provides a morphing procedure in which any given sound can morph into any other sound. Since it is not based upon sinusoidal analysis, it is not limited in the types of sounds that can be utilized. Rather, a variety of different types of sound representations can be employed, in accordance with the perceptually significant features of the particular sounds that are chosen.
Furthermore, by utilizing dense or spectrographic representations of sounds, the morphing process can be completely automated. The different steps of the process, including the temporal and feature-based matching steps, can be implemented in a computer which is suitably programmed to convert an input sounds into appropriate representations, analyze the representations to match them to one another as described above, and then select a point between matched components to produce a new sound. As such, the labor-intensive requirements of previous audio morphing approaches can be avoided.
It will appreciated by those of ordinary skill in the art that the present invention can be embodied in other specific forms without departing from the spirit or essential characteristics thereof. The foregoing discussion of an embodiment of the invention was particularly directed to speech. However, the principles of the invention are equally applicable to other types of sounds as well, such as music. Depending upon the particular sounds to be morphed, different types of representations might be employed which provide a distance metric of the sound's features that are considered to be perceptually relevant.
Although the invention has been described with reference to its implementation in the morphing of two or more sounds, it will be appreciated that the principles of the invention are not limited to sound signals. Rather, they are applicable to any type of one-dimensional waveform. The presently disclosed embodiments are therefore considered in all respects to be illustrative and not restrictive. The scope of the invention is indicated by the appended claims, rather than the foregoing description, and all changes that come within the meaning and range of equivalence thereof are intended to be embraced therein.
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Family Law
Family Law Questions? Ask a Family Lawyer Online.
Good info thank you.
Can I refuse discovery ... I signed I would give info ... without repercussions. Also, they are demanding I pay additional medical exp. Without getting into trivial detail I have overpaid for years, dealt with added exp of travel since she moved far away and she has had steady increases in income and I constant the same ... can any of this be used for my defense?
Great thx ... her income was more than doubled. Asfaras medical ... just small stuff ie ( dental appts, check ups bla, bla bla .... sorry about the bla) BTW I paid for anything dramatic and have receipts ..... but she wants me to satisfy addl amounts. Should I acquiesce to this ... or as I believe she is just digging ... side tracking me. BTW her income level is twice mine ... (bruised ego ) ....
ooops ... I have been unemployed since Sept 2012 .... bad market for my field. I have made steady payments til feb 2013 but cannot meet the child support payment ... 948.00 and my income is 70k ... one child ... do you see any other source of an argument ... that will be my last question.
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"I don't trust anybody, that's how you stay in the game."
At 66, Sylvester Stallone is reaching that age when most action movie stars contemplate retirement or transition into playing kindly grandfathers, grumpy old men, and butlers (no offense, Sir Michael), yet 'Sly' continues to make the kind of movies that made him famous when he was a young man. After surprising everyone but his hardcore fans with the success of his throwback action movies The Expendables 1 & 2, Stallone stumbled a bit with his solo movie Bullet to the Head, but he's got the support of great co-stars in his upcoming action movie The Tomb with Arnold Schwarzenegger and the boxing comedy Grudge Match with Robert De Niro, currently in production. The Expendables had a bigger opening weekend than any of Stallone's previous movies, but is it also his best movie? Does Barney Ross deserve a spot alongside John Rambo and Rocky Balboa? Help us choose Sly's best movies.
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Zooey Deschanel, you are such a cupcake and I love 'New Girl.' With that said, I am going to have to place your custom-made Prada dress in the "Worst Dressed" bin, because it does nothing for you. The hair looks great, though.


text:
Businessman shot and robbed in the city
Up to press time yesterday doctors at the Georgetown hospital were closely monitoring the condition of a businessman who was shot at around noon on D'urban Street in Wortmanville.
Reports are that 50 year-old Mark Thomas called 'Nasif Malik' was shot in the left arm and abdomen by a lone gunman. This publication was told that the man and a family member, who were in a car, had stopped to purchase food at a stand when the gunman struck. According to the man's wife, Stacy Thomas, she was at work when she got a call from her husband who related to her that he had been shot.
"He called and told me that he get shoot and that I should come down to the hospital…he told me a man came up to him when the car stopped, shot him and grabbed his bag."
Mrs. Thomas said after her husband was shot, his friend who was driving the car immediately left the location for the hospital where her husband was treated and subsequently admitted.
Meanwhile, eyewitnesses said that the incident occurred within a two-minute period, and from all indications, the man was being followed.
"All we see is this car stop and a man run up to the car and we hear like two gunshot and somebody holler somebody get shoot…and we see a man with a bag and a gun in he hand just run up de road jump in a car and drive away."
Mrs. Thomas related that she had spoken to her husband about an hour before the incident. They had made arrangements to meet a bit later. The woman added that her husband recently came down from the interior and left their home yesterday morning to transact business in the city.
Persons speculated that the businessman, who is a miner in Port Kaituma, was trailed since the gunman seemed to have had perfect timing.
There are reports that prior to the shooting; the man had visited the Guyana Geology and Mines Commission and the Lands and Survey office, before stopping to get something to eat. Reports are the gunman made off with some $1.4 million in cash and other documents which was in Thomas's bag.
When Kaieteur News arrived on the scene, there was one spent shell and a live round on the road not far from where the incident occurred.
Kaieteur News reserves the rights to moderate any comment deemed inappropriate and is not responsible for the views expressed.
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Logging into TEMSIS
TEMSIS Accounts:
Active TEMSIS accounts require:
1. An Active NH EMS Provider License; AND
2. Service affiliations in the State EMS licensing database.
Contact your Service's TEMSIS Administrator FIRST to have them reset your password. If you have more than one service affiliation your password can only be changed by your PRIMARY service's TEMSIS administrator. Your primary service is at the top of the list when you are choosing which service you need to document under.
NEW TEMSIS ACCOUNTS or service affiliations must be requested in writing by your service administrator through the State EMS licensing office at
A TEMSIS account or affiliation will be automatically created within 72 hours of a provider being entered into the EMS licensing database. First-time logins use your 5-digit NH provider number for the username and password
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This topic is archived and can not be replied to any more.
|AA Targets Female Customers With Own Website posted Tue Apr 10 2007 01:37:06 by Laxintl
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I'm trying to create an Object called a 'measurement'. This measurement object has only one method, calculate(). (Could be an interface or class - not sure which is best).
I have many different measurements (hundreds, possibly more), and the way I'm trying to implement them is to have a class that contains all these measurements as static methods.
So I'm essentially trying to load a static method from a class into a Measurement object, where I can call measurement.calculate().
The way I'm starting to implement it, and the only way I can think of, is to use the Method class in Reflection, where each Measurement is instantiated with a Method (the static measurement method in a different class). The Measurement class' calculate() method would then invoke the method the respective object was instantiated with.
What's the best way to implement this?
Thank you!


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Top 10 Quotes From Glee's 100th Episode: "She Taught Me to Shoplift Meat in My Vagina"
When it came to funny lines and witty quips, the newest episode of Glee did not disappoint. Here are our picks for the top 10 quotes from Season 5, Episode 12: "100."
10. Brittany [to Santana, about math monkeys]: "Wait, do those actually exist?"
It sounds like Brittany just found a friend for Lord Tubbington.
9. Jake [about choosing between Rachel and Mercedes]: "I'm torn. One is black and one is Jewish."
We think Jake may have missed the point of this exercise.
8. April Rhodes [to Unique]: "But don't worry, this Spumante is virgin, probably like you will be for a long time."
April doles out the tough love.
7. Santana [about Schue]: "You all cheer now, but just wait till he starts rapping."
Good point, Santana.
6. Brittany [to Santana]: "I just wish that I could have my old life back, where I wasn't a mathematical genius, and all I wanted to do was to scissor you and to talk to my cat."
Brittany has life all figured out.
5. April [to Biff]: "What did you think, Mr. Preppy McDimpleButt?"
We're going to start referring to Chace Crawford by this name from now.
4. Santana: "This is crazy because I could really give two poops about this place."
That's about as sentimental as Santana gets.
3. April: "It'll help dull the excruciating pain of your wedding night sodomy and the inevitable divorce that you're careening towards a couple months later."
April is always the optimist.
2. Tina [about April]: "She once taught me how to shoplift meat in my vagina."
See, finally kids are learning some practical information in school.
1. Santana [about Rachel]: "Someone in that apartment shaves their face and leaves their stubble in the sink, and we all know it ain't Kurt."
Beauty comes at a price, Santana.


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Bullied to His Grave by Gang of Feral Yobs; Coroner's Verdict on Heart Victim Tormented for Decades
Byline: James Tozer
A VULNERABLE man of 64 who collapsed and died after three decades of harassment by yobs was unlawfully killed, a coroner ruled yesterday.
David Askew, who had learning difficulties, had a fatal heart attack after confronting some of the local youths who had subjected him to years of mockery and vandalism.
No-one has ever been prosecuted over his death, but yesterday coroner John Pollard said he had no doubt Mr Askew had been unlawfully killed. He said the case showed how 'feral youths can bring misery to a decent and vulnerable family'.
Mr Pollard also criticised 'staggering inertia and complacency' at the local council.
Mr Askew had been bullied by three generations of youths on an estate in the Hattersley area of Greater Manchester. He was pestered for money and cigarettes and one occasion the yobs kicked in the family's front door. Mocked as Dopey Dave, he had eggs and stones thrown at him when he went out. Windows of the family home were smashed.
During one two-month period he went to the offices of Tameside Council every day to complain while his mother called police 88 times.
The inquest heard the council's neighbourhood manager Mark Tunstall, who was in charge of community safety, was 'out of his depth' and never visited the family, even though his office was just 400 yards away.
Neighbourhood police visited regularly, the inquest heard, but senior officers felt Mr Askew was 'part of the problem' for giving the youths ciga-rettes in the hope they would leave. Mr Askew died in March last year after confronting youths outside the house over an overturned wheelie bin and over tampering with his mother Rose's mobility scooter
In September last year Kial Cottingham, 19, who lived just doors away, pleaded guilty to harassing Mr Askew and was locked up for 16 months. …


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November 19, 2013 1:00 PM
Photo by Paula Burch-Celentano
First-year student Eli Goodman practices his juggling skills on the Tulane University uptown campus. Goodman, who is majoring in engineering physics, has juggled for two years and is a member of the Tulane juggling club.
Tulane University, New Orleans, LA 70118 504-865-5000 firstname.lastname@example.com


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Charlie Rae Young & Megan D'Orazio, Barefoot Birth
firstname.lastname@example.com /813-944-9120 & 813-841-7191
Barefoot Birth provides a wide variety of personalized services to meet a new mother's growing and ever-changing needs including pregnancy, birth, and postpartum doula support, massage therapy, professional family photography, and belly casting. We offer assistance and support for whichever decisions you make regarding birth and motherhood, and commit to nurturing you and your baby during this beautiful time. We are full spectrum doulas supporting ALL women regardless of their age, socioeconomic status, race, size, or sexual preference.


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Student Life
- Student Affairs
- Student Programming & Leadership
- Residence Life
- Center for Ministry & Service
- Center for Student Services
- Co-Curricular Learning
- Current Students
- First-Year Experience
- Graduate Affairs
- Health Services
- Life on Campus
- Social Media
Pack Your Bags
What to bring with you to Regis
Welcome to the Regis residential community. We are excited that you will be joining us this year! Packing for college can be a daunting task. You can use the list below as a guide to what to bring and what to leave at home. Students must comply with the following regulations regarding what is and is not permitted in the residence halls. If you have questions about an appliance or electrical equipment, please direct your inquiries to the Office of Residence Life & Housing.
What to Bring to Campus
- Alarm clock with battery back-up
- Area rug
- Bed risers (cinderblocks or other homemade loft apparatus to raise beds are not permitted)
- Computer/laptop
- Desk lamp
- Egg crate and/or mattress pad
- Fan (no larger than 12" in diameter)
- Light bulbs (cannot exceed 100 watts in an individual fixture)
- Masking tape and/or white posting putty
- Pillows, pillowcases, towels, blankets, and extra long twin sheets (electric blankets are not permitted)
- Curtains: window measurements: Single window- 32"x 54"; Whole window casing (two windows) 72" x 58"
- Plates, bowls, cups and utensils
- Refrigerator (up to: 4 cubic Feet)
- Safe for valuables
- Storage bins (under the bed)
- Surge protector
- Telephone
- Toiletries, shower caddy and shower shoes
- TV/DVD/Blu-ray
- Wastebasket
When packing, please keep in mind the following items are not permitted in the residence halls and please refrain from bringing
- Air conditioners
- Animals (flake eating fish are allowed)
- Blenders
- Candles and incense
- Cinderblocks
- Coffee pots
- Electric blankets
- Halogen lamps
- Hot plates
- Microwave ovens
- Plants exceeding 2½ feet tall
- Space heaters
- Toasters
- Lava lamps


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Evola & Associates
A financial advisory practice of Ameriprise Financial Services, Inc.
Investment Opportunities Amid Chaos
When it comes to the economy, there may be few people who are more optimistic than David Evola. When it comes to Michigan, he has shown he is loyal.
This respected financial advisor and Detroit native has held lucrative positions with major companies throughout the world. But Evola chose to come back home at a time when many others were fleeing—some voluntarily, others out of necessity—to share his insights with investors and companies that are striving to breathe new life into one of the hardest-hit regions of the country.
"A lot of people in Detroit are brilliant technicians and engineers, but perhaps they've never really had someone with global experience like I have," says Evola, managing director at Evola & Associates. "I have designed financial programs for major companies. When my clients in Detroit have to do business overseas, they like the fact that I am familiar with cross-border treaties and other cultures."
Evola spends as much time helping executives, entrepreneurs and investors connect with each other as he does managing their portfolios. He has been instrumental in closing millions of dollars' worth of business on behalf of his clients.
"We often network our clients together," he says. "For example, if I have a tool and die shop trying to get into a major car company, I might set up a social event just so they can meet."
Indeed, although Evola is not an investment banker, venture capitalists often seek his guidance in solving problems. Evola hosts a regular meeting he calls the Automotive Roundtable, which affords industry representatives an opportunity to network.
Still, financial management is Evola's primary service. He takes pride in building customized portfolios with carefully researched investments, with clear transparency. In each case, Evola gets to know the client, often pointing out potential weaknesses in their existing portfolio, or problems in other aspects of their financial life that require attention, and then offering his experienced advice.
As an affiliate of Ameriprise Financial®, Evola & Associates offers the resources of one of the world's strongest financial institutions. It's something of which Evola is very proud.
"I love helping people solve problems," Evola says. "A lot of firms have left investors out to dry. When clients come to see me, they are going to get the excellent service I can offer, whether they have a million dollars or 10 million."
46825 Garfield Rd. | Macomb, MI 48044 | 586.566.7644
Brokerage, investment and financial advisory services are made available through Ameriprise Financial Services, Inc. Member FINRA and SIPC.
Ameriprise Financial cannot guarantee future financial results.


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I love to crochet and I love my pets. I design pet blankets and cat toys from yarn. I have been crafting all my life. I have four rescue cats that test and approve all my designs. Happy crafting!
Take Craftsy with you!
Craftsy Apps for iOS and Android. Read more »


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« 16 & Pregnant's Ebony and Joshua Rendon Expecting Baby No. 2! | Home | Rachel Reilly Dishes On Her Crying Fits On The Amazing Race And Her Feuds With The Other Contestants »
Chris Daughtry Slapped With Lawsuit By Former Band Mates
April 09, 2012 12:00 PM by Lisa Princ
Chris Daughtry is one of the most successful singers to come out of FOX's American Idol, and his hit tune Home was used on the show in the past for the departing contestants. That very same song is now the center of a lawsuit that Chris Daughtry has been slapped with by some former band mates. What happened? Read on to find out!
According to legal paperwork filed in North Carolina recently, Chris Daughtry is being sued and accused of "constructive fraud, unfair trade practices, and other deceptive and wrongful conduct." Ryan Andrews, Scott Crawford, and Mark Perry were part of the band Absent Element, formed with Chris Daughtry in a church in Burlington, North Carolina before he ever hit the American Idol stage. The former band mates claim that they helped co-write Daughtry's hit Home, as well as a few other songs from Daughtry before the band broke up in 2006.
The three band mates claim that they and Chris Daughtry had an understanding about sharing revenues from their songwriting, and that Chris had: "conducted himself in a way that reflected that understanding," but they have not seen a dime of the money. Chris Daughtry, who has since gone on to become one of the best selling former Idol contestants (behind only Kelly Clarkson and Carrie Underwood), claims that the accusations are completely false. Chris Daughtry wrote on his website of the lawsuit: ""I am very hurt. The songs listed in this lawsuit were written solely by me and no one else and at this time, I have no further comment."
Could these former band mates simply be looking to cash in on Daughtry's success? What do you think? Comment and share your thoughts with us below!
Want more? Follow our tweets on Twitter and "like" us on Facebook! For other great American Idol news, please feel free to check out SirLinksALot: American Idol.
Visit our sister site SheKnows for more breaking news about celebrities and entertainment!
Photos courtesy: FOX
Topics: American Idol, FOX Reality TV Shows |
« 16 & Pregnant's Ebony and Joshua Rendon Expecting Baby No. 2! | Home | Rachel Reilly Dishes On Her Crying Fits On The Amazing Race And Her Feuds With The Other Contestants »
30 Responses to "Chris Daughtry Slapped With Lawsuit By Former Band Mates"
Jeff Says:
April 9th, 2012 at 2:58 pm
All they need to do is provide a tape or CD with the songs being performed by them as a band and that's the end of the story…
Bindiboi Says:
April 9th, 2012 at 3:06 pm
It's a shame too, Absent Element was a very good band. I am lucky enough to have that album, and although short was excellent. Much better than Daughtry.
Peter Barney Says:
April 9th, 2012 at 3:28 pm
He's music is shouting crap!
Karen Says:
April 9th, 2012 at 3:30 pm
I think that Chris needs to kiss the ground that Bon Jovi walks on, because without BJ in having Daughtry tour with them Chris would never have been so successful. Really since then Daughtry has really fallen off the scene, and this is the welcome back to the scene Chris.
kim clark Says:
April 9th, 2012 at 3:33 pm
get it in writing. Never believe anything you hear in the basement of a church.
Toni Says:
April 9th, 2012 at 3:44 pm
I HATE this guys (Daughtry's) voice! HATE it!
Paul Says:
April 9th, 2012 at 3:49 pm
His first CD was very good and successful but the 2nd just so, so and the 3rd sucked!!! His material has progressively good down the drain. Better settle with the band mates because you all make good music together. Chris has the pipes but he needs good songs. A singer is no good with terrible songs.
grimace Says:
April 9th, 2012 at 3:52 pm
chris daughtry is a fag!!!
Gem Says:
April 9th, 2012 at 4:43 pm
I think both parties should undergo a lie detector test. This way, we can tell which is telling the truth.
Greg Says:
April 9th, 2012 at 4:59 pm
Those 4 songs should have been copyrighted with the names of those 3 guys along with Chris Daughtry the instant the lyrics were completely written. It seems like a he said/he said hearsay case and the song lyrics were never copyrighted. That is the smart thing to do to avoid this legal mess.
Jimbo Miller Says:
April 9th, 2012 at 5:18 pm
Nothing will come of this, the truth will come out in the wash, it always does!! It's just a shame friends were lost over "MONEY"!! Keep Rockin' Daughtry!!
logan henderson Says:
April 9th, 2012 at 7:01 pm
sounds like crap to me. seems a little late to be accusing songs from so long ago.
Dianna Says:
April 9th, 2012 at 7:54 pm
Jennifer Says:
April 9th, 2012 at 8:26 pm
Let's see…they broke up in 2006. We are in 2012, and they are just now claiming they co-wrote the songs, and have yet to see a penny. Sounds to me like they want to cash in on his fame, and that is sad.
zara Says:
April 9th, 2012 at 8:55 pm
I fully support chris daughtry and I definitely think they're trying to cash in on his success!!!! Chris Daughtry has done nothing wrong!!!!
Leanne Says:
April 9th, 2012 at 9:41 pm
It sounds like his "former" band mates may be a little jealous that he has made it so big in the rock world and they were left with nothing.
Les G Says:
April 9th, 2012 at 9:59 pm
Of course, they are trying to cash in!
Kathy Says:
April 9th, 2012 at 11:00 pm
I think that this a shame. His bandmates could have went him, but they chose not to so now they want his fame/fortune. Jealously is a wicked trait to have.
Christi W Says:
April 9th, 2012 at 11:19 pm
How could anyone, outside of the people involved, know whether these former band members are trying to cash in on his success??!! None of us were there! So to ask such a question is just ridiculous! If Chris truly did make an agreement like this, then he needs to own up to it. He states that he did not. It's their word against his. Time will tell…..
Seaand so omus Says:
April 9th, 2012 at 11:30 pm
Lord knows it's happened before. Sheryl Crow did it to Kevin Gilbert and David Baerwald, Led Zeppelin did it a almost everyone at Chess Records, and so on. That said, I kind of doubt an American Idol contestant or his bandmates wrote any of their own music. More than likely they bought those songs from ghostwriters who are happy to go creditless for the right price.
Joe01880 Says:
April 10th, 2012 at 5:29 am
Its Daughtry's song and IMO Daughtry's money from iot and his to do what he wants with it. The suet should be dismissed or dropped but regardless, Chris Daughtry should also remember who he is and where he came from and take care of those who were close to him and or had a hand it maikng him what he is today.
breezy Says:
April 10th, 2012 at 6:24 am
These fools are just trying to cash in! No one realizes this happens every time a new artist gets big. someone trys to say they stole something from them. Its called jealous and as an artist who is up and coming, ive seen it happen. These people want money from you because they thought they were apart of something. PLAY THE GAME….WE ALL PUPPETS IN THIS INDUSTRY. You havn't made it because they dont want you to make it.
Keith Says:
April 10th, 2012 at 6:24 am
Yep…Let's wait 4 years before we decide to sue you? Sounds like these guys are on some hard times and didn't realize that Daughtry would end up as big as he did. Definitely trying to cash in.
Sure sounds like, to me, that if they would have written the song, they would have been all over it while the song was big. To do something about it three or four years later seems pretty obvious.
Shamus Says:
April 10th, 2012 at 6:31 am
It doesn't matter how they think he acted about their understanding, if they don't have it in writing they don't have a claim. If they don't have the some kind of proof (like a recording of them writing or performing the song with Chris) or something tangible, they have no claim. Artists always take bits of songs they hear and incorporate them into new songs, it's not deceptive. Just because they used the word "Home" doesn't mean they have any rights to the song.
Kelly Says:
April 10th, 2012 at 9:41 am
Uhmm… how long ago was the song Home on American Idol.. a long time ago…and they are just now suing.. really!?!?! sounds have used up all the fame they could from riding his coat tails and they are broke now and are just now needing to sue to get more money. I love Chris and i feel sorry for him that his former band is doing this to him!
Nick Says:
April 10th, 2012 at 9:55 am
Someone should sue him for sucking so much.
Pamela Koch Says:
April 10th, 2012 at 6:02 pm
Something sounds rotten here. I have followed Chris Daughtry's career, and he seems to be the most together, decent rock singer I have seen in a long time. Those former band memebers should spend their time finding jobs. I just don't believe this at all. Rock on CHRIS
coty Says:
April 12th, 2012 at 6:56 am
Those agreements were made in the basement of a church and they have all the info saying that they were the original owners to the songs that daughtry took. Ther only reason why they waited so long was because chris told them that he would keep his word to them and as his friends they wanted to believe chris. Funny how their was tapes before american idol of them performing those songs together in absent element and its all over the internet. Chris did not give them credit where credit was due to his original band and supposive friends.
C Stephens Says:
April 15th, 2012 at 6:15 pm
You people leaving these mean comments suck. If you are not a fan that is fine, but seriously? If Chris couldn't sing, or write, he wouldn't be the 3rd most successful Idol contestant ever!!! And the law suit is just sttupid. Chris has said from the very first time "Home" was made public that he wrote it at home on his couch. Why didn't these guys say something then. Six years ago!!! So stupid. They are just mad he made it with out them! So I think that says they former band mates suck, not Chris. And I just want to say as far as Daughtry goes, the other current members of the band are very nice, honest and hard working men. Having met them all, I say so because they are the same in person as they have been on tv for the past six years! Rock on Daughrty, let haters keep hatin'!
Cathy Says:
April 3rd, 2014 at 8:43 pm
All I have to say is he appeared from the beginning to be an arrogant man. My top three favorite realty show suprsed contestants were Cappy from season six of Big Brother when he found out he had NOT been voted back into the house by the America, Sarah's reaction to her conviction last night was priceless, and ofcourse Chris Daughtry's stunned reaction to his elemination during his American Idol Season. Arrogant people tend to believe the rules that apply to othere's do not apply to them. Based on that I guess you can figure out where I stand.


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The world's largest database Meetup! Formerly known as the NYC MySQL Group.
How to NoSQL with Scylla, the Cassandra-Successor with Extreme Performance
Avi Kivity, Chief Technical Officer, ScyllaDBFree beer & drinks, junk food, swag and more!A Database Month event http://www.DBMonth.com/database/scylla-cassandra In this... Learn more
- 777 Theater, 2nd Floor via elevator (no-entry via stairs)
- 777 8th Ave, New York, NY (map)
Hosted by: Eric David B. (Organizer)
Database Camp Conference @ United Nations (Free!)
Database Camp is a full-day completely-free conference at the UN in NYC, on Sunday, July 10, 2016. Register now for a (free) ticket at http://www.Database.Camp Speakers... Learn more
- United Nations (enter on 1st Ave by 45th St.)
- 405 East 42nd St., New York, NY (map)
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Anupam Sengupta, Co-Founder & CTO, GuardHat Free USB sticks, beer & drinks, junk food plus win a Kindle Fire HD6! A Database Month event http://www.DBMonth.com/database... Learn more
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Craig Vitter, Solutions Architect, Basho Free beer + drinks, candy, swag and more! A Database Month event http://www.DBMonth.com/database/riak-ts Handing Time Series... Learn more
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Jim Scott, Director of Enterprise Strategy & Architecture, MapR Free swag giveaways, beer/drinks, junk food and lots more! A Database Month event http://www.DBMonth.com... Learn more
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