Physical Modelling

Sound Production and Manipulation [SPM]  >  Synthesis and Resynthesis Techniques  ]

This area includes any means of synthesizing sound "from scratch" or "first principles" through a mathematical acoustical model, generally of an existing musical instrument. Normally based on models of the manner in which a resonator responds to some form of excitation (i.e. energy input), two frequently encountered examples are Waveguide Synthesis Karplus Strong techniques for the simulation of plucked strings and membrane instruments.


See also:

FOF, Karplus Strong Algorithm



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Alphabetical order - Chronological order

Borin, Gianpaolo, Poli, Giovanni De, Sarti, Augusto (1997). Musical Signal Synthesis
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Brümmer, Ludger (1999). Physikalische Modelle im musikalischen Kontext
Collins, Nick (2002b). Relating Superhuman Virtuosity to Human Performance
Cook, Perry (2001a). Principles for Designing Computer Music Controllers
Cook, Perry (2004). Remutualizing the Musical Instrument: Co-Design of Synthesis Algorithms and Controllers
Cook, Perry R. (1996). Singing Voice Synthesis: History, Current Work and Future Directions
Cuzzucoli, Giuseppe, Lombardo, Vincenzo (1999). A Physical Model of the Classical Guitar, Including the Player’s Touch
Depalle, Philippe, Tassart, Stéphan, Wanderley, Marcello M. (1997). Instruments virtuels
Essl, Georg, Serafin, Stefania, Cook, Perry R., Smith, Julius O. (2004). Theory of Banded Waveguides
Essl, Georg, Serafin, Stefania, Cook, Perry. R., Smith, Julius. O. (2004b). Musical Applications of Banded Waveguides
Karjalainen, Matti, Valimaki, Vesa (1998). Plucked-String Models: From the Karplus-Strong Algorithm to Digital Waveguides and Beyond
Miranda, Eduardo Reck (1998). The Role of Speech Synthesis in {Requiem per un veu perdida}
Miranda, Eduardo Reck (2005). Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages
Moorer, James, Grey, J, Strawn, J (1978). Lexicon of Analyzed Tones - Part 2
Nichols, Charles (2002). The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback
Pearson, Mark (1996). TAO: A physical modelling system and related issues
Risset, Jean-Claude (1993). Synthèse et matériau musical
Risset, Jean-Claude, Sousa Dias, Antonio de, Lorrain, Denis, Pottier, Laurent (2002). De {Inharmonique} à {Resonant Sound Space} : temps réal et mise en espace
Roads, Curtis (1992b). Des instruments pour un son organisé
Rodet, Xavier (1996). Recent Developments in Computer Sound Analysis and Synthesis
Ruget-Langlois, Nathalie (1999). Musique et technologie: la démarche particulière de Marco Stroppa. Entretien avec le compositeur
Serafin, Stefania, Götzen, Amalia de, Böttcher, Niels (2006). Synthesis and Control of Everyday Sounds: Reconstructing Russolo’s Intonarumori
Serafin, Stefania, Kojs, Juraj (2005). Computer Models and Compositional Applications of Plastic Corrugated Tubes
Strawn, John (1982). Research on Timbre and Musical Contexts at CCRMA
Vaggione, Horacio (1994). Timbre as Syntax: A Spectral Modeling Approach
Vaggione, Horacio (1996b). Articulating Microtime
Vandenheede, Jan (1992). Jonathan Harvey’s {Ritual Melodies}
Verma, Tony S., Meng, Teresa H. Y. (2000). Extending Spectral Modeling Synthesis with Transient Modeling Synthesis
Välimäki, Vesa, Takala, Tapio (1996). Virtual Music Instruments - Natural sound using physical models
Wallin, Eric, Williams, Ronald D., Salinas, Maximo H. (1999). Delta-Sigma Waveguides for Music Synthesis
Ystad, Sølvi (1999). De la facture informatique au jeu instrumental