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Topic: Digital waveguide synthesis

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	Digital waveguide synthesis - Wikipedia, the free encyclopedia
		Digital waveguide synthesis is the synthesis of audio using a digital waveguide.
		Digital waveguide models are therefore comprised of delay lines to represent the geometry of the waveguide, digital filters to represent the frequency-dependent losses and dispersion in the medium, and often include non-linear elements.
		Digital waveguide synthesis was developed by Julius O. Smith III and represents an extension of the Karplus-Strong algorithm.
	en.wikipedia.org /wiki/Digital_waveguide_synthesis (396 words)

	Waveguide - Wikipedia, the free encyclopedia
		Waveguides are used in physics and microwave telecomunications to propagate electromagnetic waves or radio frequencies in hollow metallic tubes.
		In digital computing, the term waveguide can also be used for data buffers used as delay lines that simulate physical waveguide behavior, such as in digital waveguide synthesis.
		A dielectric waveguide is a waveguide that consists of a dielectric material surrounded by another dielectric material, such as air, glass, or plastic, with a lower refractive index.
	en.wikipedia.org /wiki/Waveguide (407 words)

	Karplus-Strong string synthesis - Wikipedia, the free encyclopedia
		Karplus-Strong string synthesis is a method of physical modelling synthesis that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some types of percussion.
		This is a subtractive synthesis technique based on a feedback loop similar to that of a comb filter.
		Generalization of the algorithm lead to digital waveguide synthesis, which could also be used to model acoustic waves in tubes and on drum membranes.
	en.wikipedia.org /wiki/Karplus-Strong_string_synthesis (454 words)

	SYNTHESIZER ADVERTISING, MARKETING AND INFORMATION (Site not responding. Last check: 2007-10-09)
		FM synthesis is fundamentally a type of additive synthesis and the filters used in subtractive synthesizers were typically not used in FM synthesizers until the mid-1990s.
		Physical_modelling synthesis is the synthesis of sound by using a set of equations and algorithms to simulate a physical source of sound.
		Although physical modelling was not a new concept in acoustics and synthesis, it wasn't until the development of the Karplus-Strong_algorithm, the subsequent refinement and generalization of the algorithm into digital_waveguide_synthesis by Julius O. Smith III and others, and the increase in DSP power in the late 1980s that commercial implementations became feasible.
	adscontractors.com /synthesizer (3204 words)

	Princeton Computer Science :: Technical Reports
		Digital waveguide synthesis is efficient and realistic and captures the complete dynamics of the underlying physics but is restricted to instruments that are well-described by the one-dimensional string equation.
		Banded waveguides offer efficient simulations for cases for which modal synthesis is appropriate but traditional digital waveguide synthesis is not applicable.
		The key realization is that the dynamic behavior of traveling waves, which is being used in waveguide synthesis, can be applied to individual modes and that the efficient computational structure can be utilized to achieve an approximate dynamical description in the neighborhood of modes.
	www.cs.princeton.edu /research/techreps/TR-659-02 (254 words)

	SmithModeling.html
		Digital Waveguide Filters (DWF) have proven useful for building computational models of acoustic systems which are both physically meaningful and efficient for applications such as digital synthesis.
		The wave impedance is the square root of the "massiness'' times the "stiffness'' of the medium; that is, it is the geometric mean of the two sources of resistance to motion: the inertial resistance of the medium due to its mass, and the spring-force on the displaced medium due to its elasticity.
		Digital waveguide filters are obtained (conceptually) by sampling the unidirectional traveling waves which occur in a system of ideal, lossless waveguides.
	o-art.org /history/Computer/CCRMA/SmithModeling.html (636 words)

	Music synthesis approaches sound quality of real instruments
		Now, just as the FM synthesis patent has expired, a new and improved synthesis technique developed by his colleague Julius O. Smith III is providing the basis for a new generation of sophisticated electronic synthesizers.
		This method, called digital waveguide synthesis, not only reproduces instrumental sounds with greater fidelity but also allows synthesizer players to add performance nuances such as vibrato or variations in bow pressure and speed.
		The digital waveguide approach is not limited to stringed instruments.
	www.stanford.edu /dept/news/pr/94/940607Arc4222.html (1856 words)

	Waveguide biography .ms (Site not responding. Last check: 2007-10-09)
		In physics, optics, and telecommunication, a waveguide is a material medium that confines and guides a propagating electromagnetic wave.
		In the microwave region of the electromagnetic spectrum, a waveguide normally consists of a hollow metallic conductor, usually rectangular, elliptical, or circular in cross section.
		In the optical region, a waveguide used as a long transmission line consists of a solid dielectric filament (optical fiber), usually circular in cross section.
	waveguide.biography.ms (267 words)

	An Improved DIgital Waveguide Model of a Flute - Implementation Issues (Site not responding. Last check: 2007-10-09)
		Digital waveguide modeling of musical instruments is one of the most popular sound synthesis techniques at present.
		Digital waveguide modeling is well suited to synthesis of wind and string instruments, although the same principles have recently been applied to the piano and percussion instruments as well.
		Digital waveguide synthesis of the flute has been a target of active research during the recent years.
	www.tml.tkk.fi /Research/DIVA/past/publications/ICMC96/rjh/paper.htm (2124 words)

	ipedia.com: Frequency modulation synthesis Article (Site not responding. Last check: 2007-10-09)
		Frequency modulation synthesis (or FM synthesis) is a form of audio synthesis where the timbre of a simple waveform is changed by frequency modulating it with a modulating frequency that is also in the audio range, resulting in a more complex waveform and a different-sounding tone.
		As a result, FM synthesis was the basis of some of the early generations of digital synthesizers from Yamaha, with Yamaha's flagship DX-7 synthesizer being ubiquitous throughout the 1980s.
		With the expiration of the Stanford University FM patent in 1995, FM synthesis is now part of the synthesis repertoire of most modern synthesizers, usually in conjunction with additive, subtractive and sometimes sampling techniques.
	www.ipedia.com /frequency_modulation_synthesis.html (419 words)

	Sound Synthesis of the Harpsichord
		A modification of the commuted waveguide synthesis approach is used, where each tone is generated with a parallel combination of a string model and a resonator that are excited with a common excitation signal.
		This synthesis technique has been shown to be a simplified version of the waveguide string model that is extensively used for synthesis of stringed instruments and that we use in this work.
		In the synthesis model, the response of the soundboard is imitated with a reverberation algorithm, which is similar to those used for simulating room reverberation.
	www.acoustics.hut.fi /publications/papers/jasp-harpsy (676 words)

	S M A C 0 3
		By coupling this hammer to a digital waveguide model, we simulate both the non-linear and hysteretic behavior of the hammer felt and the dissipation and dispersion phenomena involved in string wave propagation.
		One dimensional digital waveguides are a synthesis technique widely used in the computer music community to efficiently model waves propagating along different media, such as strings and tubes.
		A physical model of the bird's vocal tract was developed using waveguide synthesis techniques for the bronchi and trachea tubes and finite difference methods for the nonlinear vibrating syringeal membranes.
	www.speech.kth.se /music/smac03/abs08_link.html (2947 words)

	Music Technology Project Descriptions
		Karen's thesis comprises of the audio synthesis and manipulation layer, including additive and subtractive synthesis, ring, amplitude and frequency modulation, filters and delays.
		Having studied composition as the main focus in her degree, the composer was introduced to various techniques of composing, adding contemporary elements to an already traditionally based motivation.
		Previous research carried out in the fields of chaos, digital synthesis, waveguide mesh algorithms and HRTFs is applied to create a type of holophonic sound synthesis.
	www.csis.ul.ie /imedia/dawn/mtprjdes.htm (1353 words)

	Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom Hardware
		Additive synthesis is a signal modeling approach and therefor inherits a rich history of signal processing techniques including methods to automatically analyze sounds in terms of sinusoidal partials and noise [Garcia 1992, McAulay and Quatieri 1986, Serra 1986].
		Another important aspect of additive synthesis is the simplicity of the mapping of frequency and amplitude parameters into the human perceptual space.
		Then, at the synthesis stage, it is easy to compute the frequency of a partial, retaining control of the amount of inharmonicity in the resulting sound.
	www.cnmat.berkeley.edu /~adrian/FFT-1/FFT-1_ICSPAT.html (3611 words)

	A Virtual Stringed Instrument With Haptic Feedback - Project Results
		I used a digital waveguide model to simulate a plucked string.
		Smith's idea was that, since we only care about the height at a few fixed points on the string over time, and since the wave components behave predictably between these points, we should only evaluate the wave at these fixed points and use filters to describe what happens to the waves between these points.
		He models the system as a digital signal processing circuit, using digital delay lines (a queue-like structure used to model a fixed-delay component) and frequency-based decay filters.
	www.cs.unc.edu /~feasel/classes/259/final/results.html (3228 words)

	Articles - Synthesizer (Site not responding. Last check: 2007-10-09)
		Although physical modelling synthesis, synthesis wherein the sound is generated according to the physics of the instrument, has superseded subtractive synthesis for accurately reproducing natural instrument timbres, the subtractive synthesis paradigm is still ubiquitous in synthesizers with most modern designs still offering low-order lowpass or bandpass filters following the oscillator stage.
		Although physical modelling was not a new concept in acoustics and synthesis, it wasn't until the development of the Karplus-Strong algorithm, the subsequent refinement and generalization of the algorithm into digital waveguide synthesis by Julius O. Smith III and others, and the increase in DSP power in the late 1980s that commercial implementations became feasible.
		The earliest digital synthesis was performed by software synthesizers on mainframe computers using methods exactly like those described in digital synthesis, above.
	www.zforever.com /articles/Synthesizer (3376 words)

	Articles - Frequency modulation synthesis (Site not responding. Last check: 2007-10-09)
		Complex (and proper) FM synthesis using analog oscillators is not generally feasible due to their inherent pitch instability, but FM synthesis (using the frequency stable phase modulation variant) is easy to implement digitally.
		As a result, FM synthesis was the basis of some of the early generations of digital synthesizers from Yamaha, with Yamaha's flagship DX7 synthesizer being ubiquitous throughout the 1980s.
		FM synthesis is a form of "distortion synthesis" or "nonlinear synthesis".
	www.noist.com /articles/FM_synthesis (747 words)

	Computer Music Journal - Theory of Banded Waveguides - The MIT Press
		It belongs to the synthesis algorithms known as physical models, and in particular, it is a departure from waveguide synthesis.
		Digital waveguide models provide discretetime models of distributed media such as vibrating strings, bores, horns, and plates.
		We begin by outlining related synthesis methods with emphasis on traditional waveguide synthesis, which motivated the creation of this new structure.
	mitpress.mit.edu /catalog/item?sid=DC623E92-288B-4345-A431-D57A78C318DB&ttype=6&tid=13553 (184 words)

	AES Preprints: AES 109th Convention (Site not responding. Last check: 2007-10-09)
		The integration of the analysis and synthesis parts is illustrated with examples where two-voice acoustic guitar signals are analyzed into an object-based representation and resynthesized using sound source models.
		The second approach employs a wide-band waveguide design, where the acoustic output of the compression driver is equalized, and nonlinear distortion is corrected by a cost-efficient implementation of a Volterra filter.
		Using digital signal processing, the directivity of the array is controlled to generate a noisy signal in which the speech signal is suppressed.
	www.aes.org /publications/preprints/lists/109.cfm (11645 words)

	C.C.R.M.A..html
		Digital signal processing is possible on the NeXT computers, both via built-in Motorola 56001 DSP hardware and on three Ariel Quint Processor boards which contribute five additional 56001 processors each.
		Digital audio processors include a Studer-Editech Dyaxis II system which can convert all popular digital audio formats as well as store and edit audio digitally, a Sony PCM-1610 3/4" video PCM system for mastering Compact Disks, several Singular Solutions analog and digital audio input systems for the NeXTs, and several Panasonic and Sony DAT recorders.
		History of digital synthesis techniques (additive, subtractive, nonlinear, wavetable, and physical-modeling); digital effects algorithms (phasing, flanging, chorus, pitch-shifting, and vocoding); and techniques for digital reverberation.
	o-art.org /history/Computer/CCRMA/C.C.R.M.A..html (1403 words)

	EE107b \| Physical Modeling Synthesis (Site not responding. Last check: 2007-10-09)
		This method is distinct from other types of synthesis, because a modeling synthesis algorithm attempts to embody the characteristics of 'real' instruments, using a model motivated by a physical analysis of the system.
		In contrast to modeling synthesis, most other methods of synthesis can be thought of as 'descriptive' sound synthesis, because they use waveform generators and filters in an attempt to emulate the timbre of a real instrument.
		We can loosely think of modeling synthesis as a 'predictive' sound synthesis method, because the sound is generated in a way that refers to the actual physical response of the system.
	www.cs.caltech.edu /~ashman/ee107b/project107b.html (475 words)

	Mark Haas & Associates (Site not responding. Last check: 2007-10-09)
		Waveguide synthesis uses physical modeling of an actual instrument -- a simulation of sorts -- that can be dynamically manipulated in real time just like a musician would a real instrument.
		With a piano, for example, waveguide synthesis models how the hammers strike the strings, the influence of the wooden sound board and enclosure, and the dynamics of the strings, including the individual stiffness and thickness of each string.
		Wavetable synthesis, on the other hand, uses a static digital recording of an instrument to produce sounds that have very limited variability.
	www.haas.com /doc/mpactfea.htm (2321 words)

	Physical Modeling Synthesis
		In waveguide synthesis, mathematical models of waveguides and oscillators are used, but their behavior is consistent with their real-world counter-parts.
		Cheap in terms of computation time, that is. Despite advances in DSP performance, waveguide synthesis is only occasionally capable of real-time performance, with more complex models requiring anywhere from 2 to 10 minutes of computation to produce 1 minute of music.
		Each waveguide's diameter is changed to create the basic vowel sounds, while a moveable noise source creates sibilance and consonants.
	www.trubitt.com /physical_mod.html (1178 words)

	An Improved Digital Waveguide Model of a Flute with Fractional Delay Filters (ResearchIndex) (Site not responding. Last check: 2007-10-09)
		Abstract: this paper we concentrate on digital waveguide synthesis of the flute, which has been a target of active research during the recent years.
		The first version of a real-time digital waveguide flute model was introduced by Karjalainen et al.
		An Improved Digital Waveguide Model of a Flute -..
	citeseer.ist.psu.edu /124906.html (448 words)

	Physical Models of Sound (Site not responding. Last check: 2007-10-09)
		A large body of research in the last few years has given rise to efficient sound synthesis techniques that are based on physical models of sound generating systems, [3].
		When implemented using techniques from Digital Signal Processing, the numeric values contained at each of the defined nodes in the system are exactly equivalent to the spatially sampled numeric solution to the wave equation.
		The waveguide technique of solving the equations is efficient thus allowing real-time implementation on a microcomputer workstation.
	xenia.media.mit.edu /~mkc/mitpress/node8.html (197 words)

	Physical Modeling Synthesis (Site not responding. Last check: 2007-10-09)
		Due to the limited computing power (whether it be analog or digital) most of the acoustic-mathematical desciptions invented remained in some dusty drawer.
		Additive or substractive synthesis, wave mixing/filtering or FM are just a few examples.
		Wavetable synthesis is still the best way to go (without tons of money) for all percussion or piano-like instruments.
	www.esat.kuleuven.ac.be /~nackaert/iwsa.html (1124 words)

	Professor Julius O. Smith, III (Site not responding. Last check: 2007-10-09)
		This is one class of algoritms for music synthesis based on acoustic modeling.
		As an example, synthesis of strings, winds, and brasses is accomplished quite effectively using little more than a delay line (representing round-trip propagation time in the waveguide) and a single, low-order digital filter (representing round-trip losses and dispersion).
		His Ph.D.~research involved the application of digital signal processing and system identification techniques to the modeling and synthesis of the violin, clarinet, reverberant spaces, and other musical systems.
	www.eecs.umich.edu /systems/smith.html (464 words)

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