An Environment for Physical Modeling of Articulated Brass Instruments

Desvages

Ducceschi

et al. 2019

Computer Music Journal

Self Cite

Synthesis using physical modeling has a long history. As computational costs for physical modeling synthesis are often much greater than for conventional synthesis methods, most techniques currently rely on simplifying assumptions. These include digital waveguides, as well as modal synthesis methods. Although such methods are efficient, it can be difficult to approach some of the more detailed behavior of musical instruments in this way, including strongly nonlinear interactions. Mainstream time-stepping simulation methods, despite being computationally costly, allow for such detailed modeling. In this article, the results of a five-year research project, Next Generation Sound Synthesis, are presented, with regard to algorithm design for a variety of sound-producing systems, including brass and bowed-string instruments, guitars, and large-scale environments for physical modeling synthesis. In addition, 3-D wave-based modeling of large acoustic spaces is discussed, as well as the embedding of percussion instruments within such spaces for full spatialization. This article concludes with a discussion of some of the basics of such time-stepping methods, as well as their application in audio synthesis.

Section: Brass Instrumentsmentioning

confidence: 99%

Physical Modeling, Algorithms, and Sound Synthesis: The NESS Project

Desvages

Ducceschi

et al. 2019

Computer Music Journal

Self Cite

“…However, when attempting more fine-grained modelling of the trombone resonator using finite-difference time-domain (FDTD) methods, the issue of the change in the tube length is not trivial. Previous implementations of brass instruments using these methods focus on the trumpet [6] and various brass instruments (including the trombone bore) under static conditions [7]. To our knowledge, the simulation of a trombone varying the shape of the resonator in real time using FDTD methods has not been approached.…”

Section: Introductionmentioning

confidence: 99%

A Physical Model of the Trombone Using Dynamic Grids for Finite-Difference Schemes

Willemsen

2021 24th International Conference on Digital Audio Effects (DAFx)

Ducceschi

et al. 2021

Self Cite

In this paper, a complete simulation of a trombone using finitedifference time-domain (FDTD) methods is proposed. In particular, we propose the use of a novel method to dynamically vary the number of grid points associated to the FDTD method, to simulate the fact that the physical dimension of the trombone's resonator dynamically varies over time. We describe the different elements of the model and present the results of a real-time simulation.

“…Breakpoint functions (piecewise linear here, but easily generalised) are used in order to specify such control streams. The complete brass synthesis environment is described inHarrison et al (2015).The single-and double-membrane drum code and the gong code were developed between 2013 and 2015. They incorporate many realistic features, including membrane/plate nonlinearity, mallet interactions, snares, and are ultimately embedded in 3D, allowing for spatialised sound output.…”

mentioning

confidence: 99%

Large-Scale Physical Modeling Synthesis, Parallel Computing, and Musical Experimentation: The NESS Project in Practice

Perry

Graham

et al. 2019

Computer Music Journal

Self Cite

Sound synthesis using physical modeling, emulating systems of a complexity approaching and even exceeding that of real-world acoustic musical instruments, is becoming possible, thanks to recent theoretical developments in musical acoustics and algorithm design. Severe practical difficulties remain, both at the level of the raw computational resources required, and at the level of user control. An approach to the first difficulty is through the use of large-scale parallelization, and results for a variety of physical modeling systems are presented here. Any progress with regard to the second difficulty requires, necessarily, the experience and advice of professional musicians. A basic interface to a parallelized large-scale physical modeling synthesis system is presented here, accompanied by first-hand descriptions of the working methods of five composers, each of whom generated complete multichannel pieces using the system.