Digital Sound Synthesis by Physical Modeling Using the by Lutz Trautmann

By Lutz Trautmann

This e-book considers sign processing and actual modeling meth­ ods for sound synthesis. Such equipment are necessary for instance in mu­ sic synthesizers, computing device sound playing cards, and laptop video games. actual modeling synthesis has been commercialized for the 1st time approximately 10 years in the past. lately, it's been the most energetic study issues in musical acoustics and computing device tune. The authors of this booklet, Dr. Lutz Trautmann and Dr. Rudolf Rabenstein, are energetic researchers and inventors within the box of sound synthesis. jointly they've got constructed a brand new synthesis process, known as the sensible transformation strategy, which are used for professional­ ducing musical sound in actual time. earlier than this booklet, they've got released over 20 papers at the subject in journals and convention complaints. during this first-class textbook, the implications are mixed in one quantity. i think that this may be thought of an immense leap forward for the entire community.

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DIGITAL SOUND SYNTHESIS USING THE FTM 10 In conclusion, granular synthesis uses for the sound production short sound grains that are limited in their frequency distributions. Asynchronous granular synthesis distribute these grains statistically whereas the pitch-synchronous granular synthesis choose the grains by analyzing existing sounds. With the asynchronous method it is possible to generate new sounds and the pitch-synchronous method reproduces and modifies recorded, nearly harmonic sounds.

Additive synthesis or granular synthesis. In multiple wavetable synthesis different wavetables are used for the production of one sound. It is distinguished between wavetable crossfading and wavetable stacking. Wavetable cross-fading exchanges the used wavetables over time. , 1998a). Thus wavetable cross-fading can be interpreted as a mixture between wavetable synthesis and granular synthesis. Wavetable stacking uses different wavetables at the same time and sums them up after applying different amplitude envelopes.

9. 1) are estimated by applying a peak-picking algorithm to the STFT of the sampled signal. The estimated parameters are tracked to the sequencing STFT frames and it is also possible that a new component appears or that a component disappears (concept of 'birth' and 'death', (Kahrs and Brandenburg, 1998)). After the sound analyzation it can be modified, similar to the modifications explained in the pitch-synchronous granular synthesis. The sound can be varied over time without affecting the spectral properties and the spectral properties can be varied without changing the temporal properties.

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