Struck Instrument Simulator
© Ing. Radovan Konečný - radkon, 2013-2016
Go to Models and samples.
This project is one of the components of a virtual music studio.
The simulator program is free on request.
About the project
The goal of the project was to create a simpler and more efficient modal decomposition model player than my more complicated and slower project Sound modelling - modal decomposition. Since many of the sounds I've decided to model have the character of a struck musical instrument, and each harmonic component is an exponentially decaying harmonic signal (sine), I decided to create a separate project that would be limited to just such sounds. It is true that the easier the player is, the faster and more usable when playing real-time.
The struck instrument simulator works on the principle of modal decomposition, that is to say the imaginative separation of sound into individual harmonic components or modes (but they do not have to be an integer multiple of the basic frequency of the tone) and their separate playback by means of harmonic (sine) oscillators. The resulting sound is generated by summing up the signals of each oscillator. This is not about simulating the physical properties of a musical instrument (e.g. string), but rather about simulating the sound created by the musical instrument. Therefore, it is possible to create good models without measuring the physical and acoustic properties of the musical instrument, and audio recordings (of course appropriate) are enough.
The simulation (or modelling) of a musical instrument is divided into two independent but necessary phases:
Since the modal decomposition player has full control over the individual harmonic components, it is possible to change several interesting parameters of the sound:
In this project I was limited to a few basic parameters of harmonic components:
The player itself allows to control some model parameters - tuning, decay time, and so on. It is also possible to create a multi-layer model (i.e. for a particular tone and velocity contains a set of slightly different oscillator settings), and one layer is randomly selected when playing. When repeating one tone, it does not always sound the same, which sounds more better.
In addition to playing back harmonic components (sines), my simulator is also able to play signals from white noise filtering. Each oscillator can therefore work either as a harmonic oscillator or as a noise generator, with noise filtered by a resonator digital filter, and it is possible to determine the center frequency, the quality of the filter and the order of the filter. This feature is intended to simplify simulation of the foley sound components - for example hammer strike, hits, and so on. With a high quality of the filter, the noise generator can also be used as a generator of a nearly harmonic signal, but it is not purely harmonic and regular, but has a bandwidth in the frequency range (the sine does not have it). It also has a random character and two same tones will not sound the same. See samples of NoiseSaw, NoiseSquare or NoiseGlockenspiel. (A similar principle also uses my Sound modelling - NoiseSaw project.)
The program works with MIDI and with NetSound. It also supports ASIO audio devices (smaller sound latency).
The second part of the project is the algorithms for creating the model - i.e. the rules of (the above mentioned) properties of all harmonic components for individual tones and velocity. Several usable synthetic models have already been created (see samples and models below). The long-term plan also includes the development of a software environment in which it will be possible to create a model from existing sound recordings. It will be the so-called resynthesis of musical instruments. Some of the experiments are also in the following sample table.
Models and samples
(Note: Some sound samples may not work in Internet Explorer.)
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