Search query: "pluck*" AND "string"

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abstract: There are many techniques currently used for digital music synthesis, including frequency modulation (FM) synthesis, waveshaping, additive synthesis, and subtractive synthesis. To achieve rich, natural sounds, all of them require fast arithmetic capability, such as is found on expensive computers or digital synthesizers. For musicians and experimenters without access to these machines, musically interesting digital synthesis has been almost impossible. The techniques described in this paper can be implemented quite cheaply on almost any computer. Real time synthesis implementations have been done for Intel 8080A (by Alex Strong) Texas Instruments TMS9900 (by Kevin Karplus) and SC/MP (by Mike Plass) microprocessors. David Jaffe and Julius Smith have programmed the Systems Concept Digital Synthesizer at the Center for Computer Research in Music and Acoustics (CCRMA) to perform several variants of the algorithms (Jaffe and Smith 1983) Not only are the algorithms simple to implement in software, but hardware realizations are easily done. The authors have designed and tested a custom n channel metal oxide semiconductor (nMOS) chip (the Digitar chip) which computes 16 independent notes, each with a sampling rate of 20 KHz.
author_names: Kevin Karplus

Alexander R Strong
title: Digital Synthesis of Plucked String and Drum Timbers
year: 1983

abstract: In the McGurk effect, visual information specifying a speaker's articulatory movements can influence auditory judgments of speech. In the present study, we attempted to find an analogue of the McGurk effect by using nonspeech stimuli the discrepant audiovisual tokens of plucks and bows on a cello. The results of an initial experiment revealed that subjects' auditory judgments were influenced significantly by the visual pluck and bow stimuli. However, a second experiment in which speech syllables were used demonstrated that the visual influence on consonants was significantly greater than the visual influence observed for pluck bow stimuli. This result could be interpreted to suggest that the nonspeech visual influence was not a true McGurk effect. In a third experiment, visual stimuli consisting of the wordspluck andbow were found to have no influence over auditory pluck and bow judgments. This result could suggest that the nonspeech effects found in Experiment 1 were based on the audio and visual information's having an ostensive lawful relation to the specified event. These results are discussed in terms of motor theory, ecological, and FLMP approaches to speech perception.
author_names: Helena M Saldana

Lawrence D Rosenblum
title: Visual influences on auditory pluck and bow judgments
venue: Perception psychophysics
year: 1993

abstract: We develop techniques to compute higher loop string amplitudes for twistedN=2 theories withc=3 (i.e. the critical case) An important ingredient is the discovery of an anomaly at every genus in decoupling of BRST trivial states, captured to all orders by a master anomaly equation. In a particular realization of theN=2 theories, the resulting string field theory is equivalent to a topological theory in six dimensions, the Kodaira Spencer theory, which may be viewed as the closed string analog of the Chern Simons theory. Using the mirror map this leads to computation of the 'number' of holomorphic curves of higher genus curves in Calabi Yau manifolds. It is shown that topological amplitudes can also be reinterpreted as computing corrections to superpotential terms appearing in the effective 4d theory resulting from compactification of standard 10d superstrings on the correspondingN=2 theory. Relations withc=1 strings are also pointed out.
author_names: Michael Bershadsky

Sergio Cecotti

Hirosi Ooguri

C Vafa
title: Kodaira Spencer theory of gravity and exact results for quantum string amplitudes
year: 1994

abstract: In this chapter some distinct characteristics of the plucked string instruments from Asia will be discussed in relation to those from the West. Primary attention will be paid to the interrelation between the instrument wood material, the playing style, and the resulting sound. It will be demonstrated that the philosophy of making string instruments is definitely different in Asia and the Western countries.
author_names: Shigeru Yoshikawa
title: Plucked String Instruments in Asia
year: 2010

abstract: We are developing systems which play music on synthesized plucked strings instruments idiomatically. The present paper introduces a system focusing on the acoustic guitar. The system is programmed with rules embodying the architecture of the guitar and the respective biomechanical constraints of a performer. These rules define the types of musical gestures that are played by the system: only those gestures that are idiomatically compatible with the guitar are performed. The system also features rules for arranging (and re arranging) musical materials in order to make them idiomatically playable. These include rules for shaping chords and algorithms for generating realistic fingering.
author_names: Leandro Lesqueves Costalonga

Eduardo Reck Miranda

John Matthias

Rosa Maria Vicari
title: An Idiomatic Plucked String Player
venue: FLAIRS Conference
year: 2006

abstract: Digital waveguide modeling of a nonlinear vibrating string is investigated when the nonlinearity is essentially caused by tension modulation. We derive synthesis models where the nonlinearity is implemented with a time varying fractional delay filter. Also, conversion from a dual delay line physical model into a single delay loop model is explained. Realistic synthetic tones with nonlinear effects are obtained by introducing minor amendments to a linear string synthesis algorithm. It is shown how synthetic plucked string tones are modified as a consequence of tension modulation.
author_names: Vesa Valimaki

Tero Tolonen

Matti Karjalainen
title: Plucked string synthesis algorithms with tension modulation nonlinearity
venue: 1999 IEEE International Conference on Acoustics, Speech, and Signal Processing. Proceedings. ICASSP99 (Cat. No.99CH36258)
year: 1999

abstract: The physics of the plucked string has been treated in many articles and books.1 4 For our 12th grade high school physics laboratory, we have built a cheap, simple sonometer apparatus for each pair of students on which they may investigate some interesting phenomena that arise when a string is plucked. Among these are the generation of harmonics (overtones) and the way their number depends on the length of a string and on where one plucks, the relation between the frequencies of the fundamental and those of the harmonics, and the way these are affected by changes in the length and the tension in the string. Such an experiment will help students appreciate the working of stringed musical instruments and, in particular, the contribution of overtones to the richness of sound produced.
author_names: Paul Gluck
title: Plucked String on a Shoestring Budget
year: 2009

abstract: The exact equation of motion for a plucked flexible string is compared at second order level with the D'Alembert approximation. Important differences are demonstrated and discussed. A simplifying hypothesis is proposed.
author_names: J E Bolwell
title: How realistic is the D'Alembert plucked string?
year: 1999

abstract: The audibility of variations of decay parameters in plucked string synthesis was studied by a listening test. The decay was described by an overall time constant and a frequency dependent parameter. Two fundamental frequencies, tone durations, and types of excitations were used for both parameters. The results indicate that variations between 25 and 40% in the time constant are inaudible. This suggests large perceptual tolerances for the decay parameters. The results are applied in model based audio processing.
author_names: Hanna Jarvelainen

Tero Tolonen
title: Perceptual Tolerances for Decay Parameters in Plucked String Synthesis
year: 2001

abstract: The excitation mechanism of any musical instrument is a key component of the sound production and resulting sound of the instrument. In the case of the guitar, the manner and object with which the strings on the guitar are plucked determine, to some extent, the sound of the instrument. Parameters such as the plucking position, initial displacement, and deformation of the string have a strong influence on the resulting sound and its spectrum. In this talk, these and other parameters, as well as how they influence the sound, will be explained in detail, reviewing the studies available on this subject.
author_names: Sandra Carral
title: Plucking the string: The excitation mechanism of the guitar.
year: 2010