Physically Informed Signal Processing Methods for Piano Sound Synthesis: A Research Overview
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Physically Informed Signal Processing Methods for Piano Sound Synthesis: A Research Overview ´ Bank Balazs Department of Measurement and Information Systems, Faculty of Electronical Engineering and Informatics, Budapest University of Technology and Economics, H-111 Budapest, Hungary Email: [email protected]
Federico Avanzini Department of Information Engineering, University of Padova, 35131 Padua, Italy Email: [email protected]
Gianpaolo Borin Dipartimento di Informatica, University of Verona, 37134 Verona, Italy Email: [email protected]
Giovanni De Poli Department of Information Engineering, University of Padova, 35131 Padua, Italy Email: [email protected]
Federico Fontana Department of Information Engineering, University of Padova, 35131 Padua, Italy Email: [email protected]
Davide Rocchesso Dipartimento di Informatica, University of Verona, 37134 Verona, Italy Email: [email protected] Received 31 May 2002 and in revised form 6 March 2003 This paper reviews recent developments in physics-based synthesis of piano. The paper considers the main components of the instrument, that is, the hammer, the string, and the soundboard. Modeling techniques are discussed for each of these elements, together with implementation strategies. Attention is focused on numerical issues, and each implementation technique is described in light of its efficiency and accuracy properties. As the structured audio coding approach is gaining popularity, the authors argue that the physical modeling approach will have relevant applications in the field of multimedia communication. Keywords and phrases: sound synthesis, audio signal processing, structured audio, physical modeling, digital waveguide, piano.
1.
INTRODUCTION
Sounds produced by acoustic musical instruments can be described at the signal level, where only the time evolution of the acoustic pressure is considered and no assumptions on the generation mechanism are made. Alternatively, source models, which are based on a physical description of the sound production processes [1, 2], can be developed. Physics-based synthesis algorithms provide semantic sound representations since the control parameters have a straightforward physical interpretation in terms of masses,
springs, dimensions, and so on. Consequently, modification of the parameters leads in general to meaningful results and allows more intuitive interaction between the user and the virtual instrument. The importance of sound as a primary vehicle of information is being more and more recognized in the multimedia community. Particularly, source models of sounding objects (not necessarily musical instruments) are being explored due to their high degree of interactivity and the ease in synchronizing audio and visual synthesis [3]. The physical modeling approach also has potential applications in structured audio coding [4, 5], a coding scheme
942 where, in addition to the parameters, the decoding algorithm is transmitted to the user as well. The structured audio orchestral language (SAOL) became a part of the MPEG-4
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