Overview of the analysis and synthesis process. Darker colors correspond to diagrams for Experiment 1 and lighter colors for Experiment 2. [A1] Original waveform, here for a low [F♯3] and high [F♯5] note of a clarinet. Waveforms are only shifted along the time axis for visualization purposes. [A2] Long-term spectra from a fast Fourier transform [FFT] with a frequency resolution of 1 Hz; with (dark) and without (light) manipulation. [A3] ERB-magnitude spectra (RMS-normalized) for manipulated (dark) and original (light) spectra. [A4] ERB-frequency cepstral coefficients (EFCCs) 1 to 13 from a discrete cosine transform (DCT, type II). The lower graph corresponds to the original spectra and the upper to the manipulated spectra. CC1 [manipulated) was left out in the subsequent analysis as indicated by the dashed vertical line in the upper graph. [A5] Two-dimensional latent space from principal component analysis (PCA) on CCs 2 to 13. Smaller gray dots correspond to all analyzed notes across the data set. Experiment 2: [S32] Adjusted EFCCs from true envelope computation. [S22] Spectral envelopes from an inverse discrete cosine transform (IDCT); dotted lines correspond to the original EFCCs from A4 compared to the true envelope as solid lines. [S12] Synthesized waveforms from additive synthesis of harmonics underneath the spectral envelopes. Experiment 1: [S31] Reconstructed EFCCs after dimensionality reduction from the two-dimensional latent space. [S21] Spectral envelopes from an IDCT; dotted lines correspond to the EFCCs of the manipulated spectra in A4 compared to the approximated spectral envelopes from the latent space as solid lines. [S11] Synthesized waveforms from additive synthesis of harmonics underneath the spectral envelopes.