Adrien J.M. 1991. "The Missing Link: Modal Synthesis". Representation of Musical Signal, G.. De Poli, A. Picialli, and C. Roads, eds, Cambridge, Massachusetts, MIT Press.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....such a modal chamber as an optional feature. At this point, the modal chamber is parameterized with explicit mode frequency and damping time and explicit mode amplitude at the access point. Other controls may be added soon to provide, when necessary, a more traditional approach to modal synthesis [13]. 4. GENESIS SIMULATION FEATURES The standard GENESIS version is non real time. The CORDIS OFF engine is implemented in optimized independent background programs that can run in parallel. The data generated by the workbench s simulator are displayed in GENESIS in the simulation window. ....

Adrien J.M. 1991. "The Missing Link: Modal Synthesis". Representation of Musical Signal, G.. De Poli, A. Picialli, and C. Roads, eds, Cambridge, Massachusetts, MIT Press.

....while maintaining the possibility to play and vary their parameters in real time. Looking at the frequency domain content of the instruments, it is immediately noticeable how they both present few strongly inharmonic modes. In these situations, usually an implementation based on modal synthesis [3] is preferred. Modal synthesis, however, does not conventionally retain any spatial information about the wavetrains that propagate along a resonating object. As figure 9 shows, this is particularly relevant in 0 0.5 1 1.5 2 2.5 3 3.5 4 4.5 5 0.1 0.2 Figure 7: Spectrogram of the Tibetan bowl ....

Jean-Marie Adrien, "The missing link: Modal synthesis," in Representations of Musical Signals, Giovanni De Poli, Aldo Picialli, and Curtis Roads, Eds., pp. 269--297. MIT Press, Cambridge, MA, 1991.

....of the drum and a robust numerical solution of a non linear stick membrane interaction model. This approach aims at an integrated sound object , including different forms of a player s interaction, rather than perfectly realistic reproduction of isolated signals. The technique of modal synthesis [2] forms a well suited basis for our efforts for several reasons [3] For example the implementation requires convincing results even under preferably low computational cost; dynamic interactions beating damping must be provided and synthesis parameters should be comfortably estimable under physical ....

J. M. Adrien, "The Missing Link: Modal Synthesis," in Representations of Musical Signal.5, G. De Poli, A. Piccialli, and C. Roads, Eds., pp.269-297. MIT Pres~, 1991.

.... of bars and membranes have used either finite difference [3, 8, 10] or finite element methods [4, 5, 24] Finite differencing approaches have also been used to model the behavior of strings [6, 7, 25] Many current real time techniques model the modes of acoustical systems, using resonant filters [1, 9, 35, 37] or additive sinusoidal synthesis [28] In essence, modal modeling achieves efficiency by removing the spatial dynamics, and by replacing the actual physical system by an equivalent mass spring system which models the same spectral response. However, the dynamics (in particular the propagation of ....

....a physical simulation method as discussed in Section 3.1. We will refer to the nodes of a given triangle by indexing with square brackets. For example, 2] is the position in world coordinates of the triangle s second node. The surface area of each triangle is given by a = 2] [1] ) 3] 1] 2, 3) and its unit normal by = 2] 1] 3] 1] 2a . 4) The average pressure over the triangle is computed by substituting the triangle s normal and average velocity, into Equation (2) so that p = z = z # 1 3 3 # i=1 [i] # ....

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J. M. Adrien. The missing link: Modal synthesis. In De Poli, Piccialli, and Roads, editors, Representations of Musical Signals, chapter 8, pages 269--297. MIT Press, Cambridge, 1991.

.... 1 2 = P( M] 1 2 [K] 1 2 [M] 1 2 ) Kelvin models cannot however generate the overdamped components and derivations in the right hand of (10) are ignored. Hence, this method works well as far as only free oscillations are considered. 4.3. Modal synthesis Classical modal synthesis [9,12,13] enables us to synthesize material sound by a direct control of modal damping factors according to a a(w 0 ) material signature. But, this approach is similar to 4.2 since it neglects overdamped components. Complex modal synthesis deals with the whole set of solutions, including derivations ....

Adrien, J.M., "The Missing Link: Modal Synthesis", In G. De Poli, A. Picalli, and C. Roads, eds. Representation of Musical Signals, MIT Press, 1991.

....objects, the virtual data object may be beaten, shaken, touched or squeezed. The multidimen sionality of sound makes it a well usable medium to explore abstract data. Theoretical Acoustics [11] and well established sound synthesis models like Digital Waveguide Theory [14, 13] or Modal Synthesis [2] yield ideas for the design of virtual instruments and materials as well as their efficient implementation for sound synthesis. 3 Model I: Particle Trajectories in a Data Potential Here, our goal is to receive information about the clustering of vectorial data. The sonification is determined by ....

J. M. Adrien. The missing link: modal synthesis. In A. Piccialli G. De Poli and C. Roads, editors, Representations of Musical Signals. MIT Press, 1991.

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Adrien J.M. 1991. "The Missing Link: Modal Synthesis". Representation of Musical Signal, G.. De Poli, A. Picialli, and C. Roads, eds, Cambridge, Massachusetts, MIT Press.

No context found.

J. M. Adrien, "The Missing Link: Modal Synthesis," in Representations of Musical Signals, G. De Poli, A. Piccialli, and C. Roads, Eds., pp. 269--297. MIT Press, 1991.

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