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Voice morphing: An illusion or reality

Conference Paper · February 2018

DOI: 10.1109/ICACS.2018.8333282

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 VOICE MORPHING: AN ILLUSION OR
REALITY
Ijaz Ahmed
Department of Computer and Info Sciences Faculty of Information Technology
DWC, Higher College Technology, UAE Monash University, Australia
iahmed2@hct.ac.ae ayesha.sadiq@monash.edu
Mudasser Naseer
Department of Computer Sciences
COMSATS Institute of Information Technology, Pakistan
mnaseer@ciitlahore.edu.pk
Abstract—Voice morphing is an emerging technology that
gained popularity in industry, particularly in entertainment
industry to enhance the quality of voice, from the last few
decades. However, the voice morphing tools are also being used by
predators to deceive people. Therefore, it poses a great challenge
to public to determine whether a voice is morphed or not. Voice
morphing is a technique to algorithmically change one person’s
voice into another person’s voice. In this paper, we conducted a
case study that evaluates the hypothesis that do voice morphing
tools/techniques create a successful illusion in a listener mind?
To evaluate, our hypothesis we propose an elementary voice
morphing technique, based on a set of mask vectors; then we
implement the said technique as a voice morphing tool in a visual
language Pure Data; and finally we evaluate this technique by
designing a test bed. Our results indicate that voice morphing
technology may create an illusion in a listener mind, effectively.
Index Terms—Voice morphing, human computer interaction,
social aspect of digital computing.
I. I NTRODUCTION
Voice morphing also known as voice conversion is a tech-
nique to convert one person’s voice into another person’s voice
[2]. The original and the converted voices are designated as
source and target voices, respectively. In early era of comput-
ing, voice morphing technology was limited to dubbing studio
only, but now it has expanded its boundaries to a number
of other applications such as in CENET (Telecommunication
Company) , TTS (Text to Speech Synthesis), and SST (Speech
to Speech Translation) applications [12]. There exists a variety
of voice morphing tools that are being used to morph voice for
online games, to make voice parodies and to remix songs. Such
tools can also be used with internet and mobile phone call as
well . These tools can change a voice characteristics (age, sex
etc.) of the original voices [9]. The predators use these tools
to deceive a person that may cause emotional disturbance in
human societies. For example, fake voice changers can be used
to convert a male’s voice into female’s voice and vice versa,
and may help predators in concealing his/her gender.
On the contrary, voice recognition is a primitive phe-
nomenon among human beings; therefore, a listener identifies
Ayesha Sadiq Muhammad Atif
Department of Computer Sciences
University of Lahore, Pakistan
matifch@gmail.com
Muhammad Adnan
Department of Computer Sciences
University of Lahore, Pakistan
, muhammad.adnan@cs.uol.edu.pk
a speaker even from a single utterance, often. The heading
of a child towards his/her mother’s voice in an instant way
tells us how swiftly brain recognizes voices [5]? This swift
recognition of voice illustrates the fact that how challenging
is to create a successful illusion (morphing) of voice?
There are two types of voice morphing techniques, i.e.,
cross-speaker and intra-speaker morphing. In cross-speaker
technique, speakers speak two different accents or languages,
whereas in intra-speaker technique, speakers speak a native
language with same accent. The previous attempts to conduct
the cross-speaker technique have proven less successful as
compare to intra-speaker technique [8]. Moreover, a significant
number of voice morphing techniques been discussed in the
literature [11]. These techniques implement inter lingual and
intra lingual voice conversion, based on different models
such as voice based models, mixed voice models and signal
based models . Most commonly used techniques are Vector
Quantization [17], Dynamic Frequency Wrapping (DFW) [20],
and Joint Estimation Analysis Systhesis (JEAS) [14]. Different
objective and subjective evaluations such as global distance
and cepstral distortion measurements, MOS (Mean Opinion
Square) methods and ABX tests are used to check the quality
of the morphed voice.
The objective of this research is to to evaluate the hypothesis
i.e. Do the voice morphing techniques create a successful
illusion in a listener mind? We had two choices to accomplish
this objective: (1) perform a statistical analysis on the results
of existing developed techniques to evaluate our hypothesis
(2) propose our own technique, albeit a basic one, to evaluate
the hypothesis. We opted for the second option.
Our proposed technique is based on a set of mask vector.
The focus of our work is on intra-speaker voice morphing;
therefore we used the voices of two native English speakers.
The contributions of this paper are three folds: (1) pitch shift-
ing and an elementary voice morphing technique based on a
set of mask vectors. A mask vector is a ratio of the amplitudes
of target and source speakers; (2) the implementation of the
proposed technique; (3) and an experiment that evaluates the
proposed technique.
The rest of this paper is organized as follows: Section 2
describes related work. Section 3 introduces basics of sound
analysis. Section 4 describes proposed technique and the
architecture of the implemented tool. Section 5 discusses a
test bed and evaluates results. Section 6 concludes the paper
and discuses future work.
II. R ELATED W ORK
This section describes various existing voice morphing
techniques. The focus of study is on the experiments that
were designed to evaluate the efficacy of these morphing
techniques. In [19], the authors proposed a Subband technique
to morph voice. They used a pair of words such as (wonderful,
wonderful) and (wonderful, boring) to evaluate the proposed
Subband technique. The first pair used the same word, whereas
the second pair used different words. A pair of sound files
was generated where the first word of the pair was uttered
by a speaker, and the second word of the pair was uttered
by the same speaker or a different speaker. In case, if the
second word of the pair was uttered by a different speaker, then
the uttered voice was morphed into the first speaker’s voice.
Finally, the participants were asked to determine whether
voices of both words belong to the same speaker or different
speakers. The experiment used ten words uttered by different
speakers belonging to different age and sex. The used words
are phonetically rich and balanced. The voices of four male
and four female belonging to same geographical area, in
this case Turkey, were used to evaluate the technique. The
results produced mixed finding, in some case people judged
the morphed voice and in some case not.
In another experiment [18], the researchers suggested that
selection of source and target speakers influence the results of
voice morphing. The experiment concluded that a person A’s
voice can be morphed effectively into a person B’s voice, but
not into person C’s voice; though all speakers belong to same
geographical area and having same accent. The experiment
used a voice database of ten male and ten female speakers.
The experiment used regular sentences such as “there is a grey
carpet on the floor” to record voices. A subjective listening test
was conducted to evaluate the quality of morphing process.
Authors in [4] concluded that the temporal (accent) features
of source and target speakers play a vital role in voice mor-
phing. The temporal features include word-final stop closure
duration, voice onset time, average voice duration and average
word duration. The experiment further concluded that all
temporal features contribute to determine accent except voice
onset time. Additionally word-final stop closure duration is
considered the most significant temporal feature to determine
accent. It is also learned that mid-range frequency (1500-
2500 HZ) contributes more in pronunciation rather than accent
determination.
Rentoz in his work [16] used Mean Opinion Score (MOS)
to evaluate the similarity of a source voice into target voice.
The test focused on pitch features and formant transformation.
Five (05) words were selected for evaluating the formant
transformation between the source and target speaker. The
evaluator was asked to listen three utterances of words i.e. the
original, the transformed and the same word uttered by target.
The subject was asked to give a scale from 1 to 10, where
1 represents the least similarity and 10 ref;ects the highest
similarity between the transformed and original version. The
result of the experiments showed that on average, the words
resembled more like the target speakers (6.62) and less like
the source speakers (3.87) which shows that formants play an
important role in voice conversion and perception of a speaker.
Rao presented a flexible method to modify shape of local
track and prosody characteristics such as intonation patterns
and duration to perform voice morphing on inter-gender (male
to female and female to male) basis [15]. In his experiment, he
recorded ten Hindi sentences and computed different parame-
ters e.g. duration, pitch contour, average pitch, average frame
energy and energy contour (gain contour) for each utterance of
sentences by male and female. Based on the calculated values,
each of the utterance spoken by a female speaker is converted
to its corresponding male spoken utterance, and vice versa.
He tested his proposed method by performing listening tests
on twenty participants. MOS (Mean Opinion score) method
was used on a scale of 5 points to represent distortion level
and quality of speech where 5 stands for Excellent and 1 for
Unsatisfactory. The MOS scores indicated that there was no
perceivable distortion in the morphed voice and desired gender
voice was transformed successfully.
Toru et al proposed a voice conversion algorithm based
on probabilistic models called recurrent temporal restricted
Boltzmann machines (RTRBMs). An RTRBM is a non-linear
probabilistic model used to capture temporal dependencies in
a time-series data [13]. The proposed system systematically
captures the time-dependent unique information of the speaker
as well as deep latent relationship between the source and
target speaker spectral vectors in a single neural network. Toru
claimed that the results of his proposed technique are highly
satisfactory.
Xu proposed a residual prediction technique to transform
vocal tract parameters of a source speaker?s voice into a
target speaker [21]. The objective was to ensure the high
quality of the synthesized speech based on excitations. The
proposed strategy consists of two stages (a) the training stage
and (b) the transformation stage. The experimental evaluation
was performed on 250 parallel utterances of Mandarin Chinese
spoken by a male and a female respectively. The data was
sampled at 16 kHz and quantized for 16 bit per sample. The
experiment used 180 utterances for training purpose and the
rest for the testing purpose. ABX listening test was conducted,
where 5 listeners were asked to judge whether an utterance
X (the converted speech) sounds closer to utterance A (the
source speech) or B (the target speech) respectively. The
results indicate that the proposed approach is highly useful.
Like all these previous studies, we also morph a speaker
voice into a target voice; however we use a set of mask vectors
based on voice amplitude. Furthermore, instead of using a
single mask vector, we use a set of mask vectors that give
 Voice
Window DFT Log IDFT
Fig. 1. Basic steps of sound analysis
more freedom to our user (of tool) to select the best suitable
mask vector.
III. P RELIMINARIES
This section describes basics of sound, sound analysis and
pitch shifting.
A. Sound Types
labelAA Sound signals can be broadly categorized into
two major types, i.e., voiced and unvoiced signals [5]. The
sound generated by vowels such as /a/, /e/, /i/, /o/, /u/ is of
voiced-type, whereas sound generated by the consonants such
as /r/, /s/, /p/, /x/ is of unvoiced-type. Voiced signals have a
fundamental frequency f0, and the fundamental frequency is
a lowest frequency in a harmonic sequence. Additionally, the
fundamental frequency has two formant frequencies namely
f1 and f2, produced by the excitation signal. The position of
tongue in mouth determines formant frequencies. The lower
position of tongue in mouth produces formant frequency f1,
and the forward position of tongue produces formant frequency
f2. The unvoiced sounds have no fundamental frequency of
excitation signal, and this excitation is known as white noise.
However about some voices, it is difficult to say that either
they belong to voiced or unvoiced category [10]. Whispering
is considered a special kind of sound that also does not has
fundamental frequency of excitation signal.
B. Sound Analysis
Sound analysis is the first step in voice morphing. Sound
analysis calculates spectral envelop of a sound, i.e., to mea-
sure frequency, pitch and magnitude. DFT (Discrete Fourier
Transformation) is widely used in signal processing to measure
spectral envelope. Informally speaking, DFT works like a
prism. Likewise a prism divides a light into red, green and
blue components; similarly DFT divides voice into different
components such as fundamental frequency and amplitude.
The speech is first passed to a window function and then
the output of the window function is given to DFT as shown
in Figure 1. After that a logarithmic spectrum of data is
calculated, and then it is taken back into time domain by
performing IDFT (Inverse Discrete Fourier Transformation).
C. Pitch Shifting
Pitch shifting is a technique to change sound pitch without
altering its wavelength. Time stretching is the reverse tech-
nique of pitch shifting that does not change actual pitch rather
it changes its speed (tempo) only; thus it creates effects of
pitch shifting. Time stretching uses re-sampling technique for
pitch shifting. Re-sampling compresses or expands time scale
of a signal, i.e., in re-sampling, a sample of original voice
is stored in memory buffers and then buffers are read and
re-sampled at different rates. Mousa proposed PSOLA (Pitch
Voice
Fig. 2. Formant analysis of source and Target Voices
Synchronous Overlap) technique to alter pitch [1]. Flanagan
and Golden in 1966 introduce Phase VoCoder method to
implement pitch shifting and time stretching techniques [7].
Phase VoCoder uses the STFT (Short Time Fourier Transform)
to calculate frequency and amplitude relationship and then
process the phase by re-sampling it. Finally, inverse STFT
is used to generate the altered voice.
IV. PROPOSED TECHNIQUE AND TOOL
This section describes the details of proposed technique.
First, we present formant analysis of source and target voices,
secondly we introduce high level architecture of the morphing
tool, and finally the proposed morphing technique based on a
set of mask vectors.
A. Formant Frequency Analysis
Praat [6] tool is used to conduct formant frequencies of
source and target voices. Figure 2 shows formant analysis of
two voices belonging to two different persons. The speakers
utter the vowel, /a/, with a lengthy articulation of /aaaaaa/.
The green speckles shows person A’s voice and red speckles
represent person B’s voice. A repetitive experiment of formant
analysis shows that dominant frequency (magnitude) plays a
vital part in accent identification. Figure 2 shows that there is a
difference between the dominant frequencies of both speakers,
and particularly there is a clear difference above 3000 HZ
frequency at y-axis; this fact help us to infer that magnitude
of a voice has a vital role in accent identification.
B. The Architecture of the Tool
The architecture of the developed voice morphing tool is
shown in Figure IV-C. Voice bank stores samples of voices of
target speakers. Spectral analysis is performed on both source
and target speakers. The tool has two main modules, namely
calibration module and masking module. The calibration mod-
ule calculates a set of mask vectors, whereas the masking
module uses this set of mask vector to morph the signal as
 Voice Bank Masking

Source and Target

Target imaginary & real parts Calculate
Voice Magnitude

Spectral Analysis Compute

Mask Vector
Source Voice
imaginary & real parts Mask Vector

Morphed Morphed
Callibration Signals Synthesizer Voice
Source
Voice
Compute
Magnitude &
Phase
Perform
Source Voice Masking

Fig. 3. Architecture of proposed voice morphing tool

shown in Figure 4. The synthesizer module uses the morphed

(altered) signal to generate the morphed voice.
C. The Calibration Module
The calibration module calculates the mask vector which
is a key to voice morphing, as a poorly defined mask vector
results in poorly morphed voice. Formant Frequency Analysis
of Section (IV-A) indicates that the magnitude of a voice plays
a vital role in the accent determination, so we calculate the
magnitude of source and target voices by using Equation 1.
The FFT analysis of a voice produces a complex number that
can be represented as (a + b) Therefore, the magnitudes of
source and target voices can be calculated by using equation
(1), where subscript s represents source, and subscript t repre-
sents target voices respectively. In Equation 1, |S| represents
the magnitude of source, and |T | represents the magnitude of
target voices. Later on, we calculate the first mask vector M V0
by taking the ratio of the magnitudes of source and target voice
as shown in Equation 2. Similarly, we calculate other mask
vector by using Equation 3, 4, 5 and 6. Basically, Equations 3,
Fig. 4. The masking module
4, 5, and 6 are adding target’s voice characteristics into source
wise, incrementally. By following the pattern, one may add
more properties of target’s voice into source voice as reflected
source and target speakers. Both participants belonged to same
in Equation 7. Thus, the set of mask vector can be defined
region (United Kingdom) and are roughly belong to same age
as M V = {M V0 , M V1 , M V2 , M V3 , M V4 , M V5 , M Vn }. The
group (roughly 28 years of age). They were asked to record a
user of the tool can use any mask vector from the set to create
voice sample by uttering a vowel /a/ with a lengthy utterance
a successful illusion.
of /aaaaa/. The length of the recording voice was around 3
D. The Masking Module seconds. The voice produced by the utterance of vowels is of
The masking module needs three input (a) magnitude of voiced-type (as discussed in Section ??). A voiced-type voice
source voice |Ms | (b) a set of mask vectors M V (c) and bears high presence of fundamental frequency f0, therefore the
phase of source voice as shown in Figure 4. The phase of recorded sample is considered a good candidate to calculate
source voice is calculated by using the equation P hases = voice magnitude.
atan(bs /as ). The magnitude of source voice is multiplied with After that, both participants were asked to speak a fairly
the selected mask vector. Notice that, we do not change the common sentence echoed in the London Metro Trains, i.e.,
phase of the source in the whole morphing process to keep “Please mind the gap”. The recorded voices were then mor-
the naturalness of voice, intact. Finally, the masking module phed to each other by using the proposed technique (men-
performs IFT (Inverse Fourier Transformation). tioned in section IV) and traditional pitch shifting technique
(mentioned in section III-C) which yielded seven conditions
V. EVALUATION as reflected in Table I.
This section describes an experiment that we conducted A single sound file (in wav format) was created for each
to evaluate our hypothesis. We selected two male persons as condition that resulted into seven sound files. A Java appli-
 Conditions Description
Cond.1 A’s voice unmorphed and B’s voice unmorphed
Cond.2 A’s voice morphed to B’s voice and B‘s voice unmorphed K Cond. 1 C. 2 C. 3 C. 4 C. 5 C.6 C. 7
Cond.3 A’s voice unmorphed and B’s voice morphed to A’s voice 1 N Y N Y N N Y
Cond.4 A’s voice morphed to B’s voice and vice versa 2 N N Y Y Y N Y
Cond.5 A’s voice pitch shifted to B’s voice and B’s voice unmorphed 3 N Y Y N N N Y
Cond.6 A’s voice unmorphed and B’s voice pitch shifted to A’s voice 4 N Y Y N Y N N
Cond.7 A’s voice pitch shifted to B’s voice and vice versa 5 N N Y N N N N
6 N N Y N N N Y
TABLE I 7 N N N Y N N N
VOICE MORPHING CONDITIONS AND THEIR INTERPRETATIONS 8 N N Y Y N N Y
9 N N Y Y N N Y
10 N Y Y Y N N N
11 N N N Y N N N
cation was developed to randomly play these sound files. 12 N Y Y N N Y N
13 Y N Y Y N N N
Listening voices in a predetermined order can affect the 14 Y Y N Y N N N
recognition process; therefore we preferred to play sound files 15 N Y Y N N Y N
in an arbitrary order. We selected 35 listeners (both male and 16 N N Y N Y N Y
17 Y N N Y N N Y
female) to evaluate the quality of morphed voice. Roughly, 18 Y N N Y N N Y
half of the participants were native English speakers whereas 19 Y Y N N N N N
the other halves were Asian and African. The average age 20 Y Y N N N N N
of participants was around 25 years. This experiment was 21 N N Y Y N N Y
22 N Y N N Y N N
conducted in the premises of an international university, so 23 Y Y N Y N Y N
all participants were student. We provided a headphone to 24 N N Y Y N N N
participants so that they can listen the sound files clearly and 25 Y Y N Y Y N N
26 Y Y N N Y N Y
the surrounding noise may not affect their judgment. After
27 N N N Y Y Y Y
listening each pair of sound files, we asked a simple question 28 N N N Y N N Y
to the listener that whether the two voices belong to a single 29 N Y N Y N Y Y
person or not? The participants had an option to replay the 30 N N Y Y N N N
31 Y Y Y N Y N Y
sound file, if he/she had any confusion in his/her judgment. It 32 N N Y Y Y Y N
is observed that most of the participants provided answers in 33 N N Y Y N N Y
their first attempt for all seven files; however some participants 34 N N Y Y N N N
replayed the sound files for maximum three times before 35 N Y Y Y N Y N
giving his/her final judgment. The Java application stored the TABLE II
J UDGMENT RECORDED BY PARTICIPANTS AFTER LISTENING PAIR OF
participant’s judgment in a spreadsheet automatically as shown VOICES
in Table II. In Table II, the columns represent the conditions,
whereas the rows store the participants’s judgment. The value
”Y” means ”Yes” and value ”N” means ”No”.

A. Results Judg- C. 1 C. 2 C. 3 C. 4 C. 5 C. 6 C. 7
ment
This section discusses the result and statistically evaluates YES 10 16 19 23 9 7 16
the hypothesis. Table III (calculated from Table II) shows the (28.6%) (45.7%) (54.3%) (65.7%) (25.7%) (20.0%) (45.7%)
percentage value of the participants’ judgment. The data of NO 25 19 16 12 28 28 19
(71.4%) (54.3%) (45.7%) (34.3%) (74.3%) (80.0%) (54.3%)
the column (C.1) indicates that the two sampled voices are
significantly different to each other, and the listener can easily TABLE III
P ERCENTAGE OF PARTICIPANTS ’ JUDGMENT
identify the difference. Hence the sampled voices were a good
candidate to conduct this experiment.
We created four test cases, based on our collected data, to
evaluate our hypothesis. These test cases are given in Table IV
and the corresponding hypotheses are given in Table V. We Cases Description Conditions
use Chi-square method to test the significance of these test Case1 Unmorphed Vs. Pitch-Shifting C.1 Vs. C.5 and C.6
cases [3]. Case2 Unmorphed Vs. Both-Way Pitch- C.1 Vs. C.7
Shifting
Table VI shows the calculated values of p by using Chi- Case3 Unmorphed Vs. Morphed C.1 Vs. C.2 and C.3
square method. As for Case 1, the calculated value of p > Case4 Unmorphed Vs. Both-Way Mor- C.1 Vs. C.4
0.05, so we accept the hypothesis and conclude that the pitch phed
shifting technique failed to create a successful illusion for TABLE IV
listener. Similarly, for Case 2 the calculated value of p > 0.05, T EST CASES AND ASSOCIATED CONDITIONS
therefore we accept the hypothesis and conclude that the both-
way pitch shifting technique also failed to create a convincing
illusion for listener. However, the calculated value of p for
Case 3 is less than 0.05, therefore the stated hypothesis is
rejected and we conclude that the proposed morphing tech-
nique does create a successful illusion to listener. Similarly, the
calculated value of p for Case 4 is also less than 0.05. Therefor
we reject our hypothesis and conclude that the proposed
morphing technique creates a successful illusion. Moreover,
the much lower value of p for Case 4 indicates that a rich
mask vector (based on amplitude) can create a significant
confusion. Therefore, the results indicates that the proposed
voice morphing technique can create an effective illusion in a
listener’ mind.
Cases Hypotheses
Case1 One-way Picth-Shiftinng fails to create any
illusion in listener’s mind.
Case2 Both-Way Pitch-Shifting fails to create any
illusion in listener’s mind.
Case3 One-way Morphing fails to create any illu-
sion in listener’s mind.
Case4 Both-Way Morphing fails to create any il-
lusion in listener’s mind.
TABLE V
T EST CASES AND ASSOCIATED H YPOTHESES
Cases Chi-Sq df p Conclusion
Case1 0.406 1 0.522 Hypothesis Accepted
Case2 2.202 1 0.138 Hypothesis Accepted
Case3 4.375 1 0.036 Hypothesis Rejected
Case4 9.689 1 .002 Hypothesis Rejected
TABLE VI
R ESULTS BY USING C HI -S Q METHOD
VI. C ONCLUSION AND F UTURE W ORK
The presented work implements two approaches to morph
the voice, i.e., pitch shifting and the proposed morphing
technique based on a set of mask vectors. The statistical
analysis indicates that the former technique (pitch shifting)
failed to produce an illusion of morphed voice, whereas the
later produced an effective illusion in a listner’s mind. We
learn through experiments that the pitch shifting technique
introduces artificial or robotics effects in a voice. However,
pitch shifting technique is useful for cases where one wants
to convert voice from one gender to another. The results
of proposed voice morphing technique indicate that the pro-
posed technique creates a successful illusion for a listener.
Additionally, the technique produces more natural voices as
compared to pitch shifting technique as we do not alter the
phase of sound in our technique. The phase keeps naturalness
of sound intact, and we embed target voice properties into
source voice by applying the mask vector based on amplitude.
The amplitude proves a good physical property of a voice that
carries the formant information.
We conclude this study with the fact that voice morphing
techniques are significantly successful in creating an illusion.
This poses a great challenge to social and homeland security
View publication stats
so that a person cannot cheat another person by using a voice
morphing tool. Our future work is to develop a technique that
automatically determines whether a voice is morphed or not.
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