77:, there would be a mathematical model of how striking the drumhead injects energy into a two-dimensional membrane. Incorporating this, a larger model would simulate the properties of the membrane (mass density, stiffness, etc.), its coupling with the resonance of the cylindrical body of the drum, and the conditions at its boundaries (a rigid termination to the drum's body), describing its movement over time and thus its generation of sound.
84:, though the energy excitation in this case is provided by the slip-stick behavior of the bow against the string, the width of the bow, the resonance and damping behavior of the strings, the transfer of string vibrations through the bridge, and finally, the resonance of the soundboard in response to those vibrations.
146:
While the efficiency of digital waveguide synthesis made physical modelling feasible on common DSP hardware and native processors, the convincing emulation of physical instruments often requires the introduction of non-linear elements, scattering junctions, etc. In these cases, digital waveguides are
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Modelling attempts to replicate laws of physics that govern sound production, and will typically have several parameters, some of which are constants that describe the physical materials and dimensions of the instrument, while others are time-dependent functions describing the player's interaction
370:
508:
251:
Cadoz, C.; Luciani A; Florens JL (1993). "CORDIS-ANIMA : a
Modeling and Simulation System for Sound and Image Synthesis: The General Formalism".
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Englert, Marina; Madazio, Glaucya; Gielow, Ingrid; Lucero, Jorge; Behlau, Mara (2017). "Perceptual Error
Analysis of Human and Synthesized Voices".
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in 1989 to jointly develop digital waveguide synthesis; subsequently, most patents related to the technology are owned by
Stanford or Yamaha.
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The first commercially available physical modelling synthesizer made using waveguide synthesis was the Yamaha VL1 in 1994.
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Hiller, L.; Ruiz, P. (1971). "Synthesizing
Musical Sounds by Solving the Wave Equation for Vibrating Objects".
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C. Webb and S. Bilbao, "On the limits of real-time physical modelling synthesis with a modular environment"
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oscillation and associated laryngeal airflow, and the consequent acoustic wave propagation along the
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to control the vocal tract shape in terms of the position of the lips, tongue and other organs.
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of the wave equation by Hiller and Ruiz in 1971, it was not until the development of the
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Karplus, K.; Strong, A. (1983). "Digital synthesis of plucked string and drum timbres".
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sounds. In this case, the synthesizer includes mathematical models of the
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power in the late 1980s that commercial implementations became feasible.
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with the instrument, such as plucking a string, or covering toneholes.
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Similar stages to be modelled can be found in instruments such as a
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Music synthesis approaches sound quality of real instruments
259:(1). Computer Music Journal, MIT Press 1993, Vol. 17, No. 1.
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In addition, the same concept has been applied to simulate
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http://www.harmony-central.com/Computer/synth-history.html
443:. No. 32. Future Publishing. June 1995. p. 80.
27:
Methods used to generate sound waveforms using a computer
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by Julius O. Smith III and others, and the increase in
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Although physical modelling was not a new concept in
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Objective Test
Methods for Waveguide Audio Synthesis
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215:(2). Computer Music Journal, Vol. 7, No. 2: 43–55.
57:to simulate a physical source of sound, usually a
155:Technologies associated with physical modelling
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366:. Masters Thesis - Brigham Young University,
114:and synthesis, having been implemented using
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482:— Stanford University's 1994 news release
160:Examples of physical modelling synthesis:
198:Journal of the Audio Engineering Society
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238:Julius O. Smith III (December 2010).
73:For example, to model the sound of a
7:
45:to be generated is computed using a
103:. Further, it may also contain an
25:
241:Physical Audio Signal Processing
116:finite difference approximations
437:"The next generation, part 1".
166:Karplus-Strong string synthesis
422:http://www.physicalaudio.co.uk
410:http://www.ness.music.ed.ac.uk
1:
292:10.1016/j.jvoice.2016.12.015
31:Physical modelling synthesis
394:. July 1994. Archived from
315:"ASTRA Project on the Grid"
171:Digital waveguide synthesis
124:digital waveguide synthesis
18:Physical modeling synthesis
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525:
175:Mass-interaction networks
120:Karplus-Strong algorithm
471:Julius. O Smith III's
313:Vicinanza , D (2007).
253:Computer Music Journal
209:Computer Music Journal
184:Articulatory synthesis
712:Sound synthesis types
635:Karplus–Strong string
286:(4): 516.e5–516.e18.
37:methods in which the
686:Software synthesizer
530:Frequency modulation
147:often combined with
707:Japanese inventions
668:Digital synthesizer
138:Stanford University
65:General methodology
645:Analog synthesizer
607:Physical modelling
373:2011-06-11 at the
349:2012-04-18 at the
340:Wave of the Future
105:articulatory model
59:musical instrument
47:mathematical model
694:
693:
681:Scanned synthesis
620:Digital waveguide
535:Linear arithmetic
408:The NESS project
179:Formant synthesis
16:(Redirected from
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615:Banded waveguide
540:Phase distortion
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317:. Archived from
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280:Journal of Voice
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136:contracted with
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431:Further reading
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398:on 8 June 2015.
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351:Wayback Machine
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35:sound synthesis
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570:Sample-based
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440:Future Music
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396:the original
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388:"Yamaha VL1"
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323:. Retrieved
319:the original
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550:Subtractive
362:Wood, S G:
101:vocal tract
49:, a set of
701:Categories
560:Distortion
457:1032779031
325:2013-10-23
190:References
97:vocal fold
55:algorithms
33:refers to
582:Wavetable
449:0967-0378
265:Footnotes
112:acoustics
51:equations
587:Granular
555:Additive
371:Archived
347:Archived
300:28089485
39:waveform
658:Modular
630:Formant
574:Sampler
545:Scanned
377:, 2007.
353:, 1993.
229:3680062
41:of the
592:Vector
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298:
227:
134:Yamaha
93:speech
82:violin
520:types
225:JSTOR
89:voice
43:sound
453:OCLC
445:ISSN
296:PMID
257:17/1
149:FDTD
91:and
75:drum
53:and
572:or
288:doi
217:doi
128:DSP
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284:31
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.