Interfacing Digital Waveguide with CORDIS ANIMA networks

Abstract

Conference: Acoustics'08 Paris (June 30 to July 4) - Musical Acoustics: Virtual Musical Instruments II (poster session 4pMUf)International audienceThe aim of this article is mainly to offer a link between the Digital Waveguide and the CORDIS-ANIMA physical modeling formalism. The first one is highly a modular lumped physical modeling and simulation system based on the mass-interaction paradigm while the second one offers accurate and efficient discrete time distributed models synthesized typically by delay lines and scattering junctions, in combination with digital filters. Both of them are widely developed and used in the domain of computer music field by scientists and artists. Although Digital Waveguide models have already been combined with Wave Digital Filters, they have never been exploited and integrated with CORDIS ANIMA networks. Wave Digital Filters are lumped models which are based on a scattering theoretic formulation which simplifies interfacing to Digital Waveguide models in contrast with the CORDIS ANIMA models. This research investigates the similarities of those formalisms, as well as focuses on the advantages of each modeling technique and proposes a real time computable interface between them. Moreover it results as well in a common convenient structural representation of their computational algorithms using signal processing block diagrams. These hybrid models were designed directly by their block diagrams, simulated and run in differ time using the Simulink software package of the matlab technical computing language

Music, Art Installations and Haptic Technology

“…This framework is mainly based on the mass-interaction physical modelling scheme running on Max or Pure Data music programming languages. Its second version was partly based and built upon a Simulink framework (Simulink is a MATLAB-based graphical programming environment for modelling and simulating dynamical systems), developed by the author for his doctoral research in 2007 Kontogeorgakopoulos (2008). This framework has been employed for the artistic and technical work presented in the following sections.…”

“…The author's PhD research proposed the use of a mass-interaction network as a means of designing musical sound transformations under the concept of instrumental interaction. A series of classic digital audio effect algorithms were developed (filters, delay-based effects, distortions and amplitude modifiers) that could be directly controlled by a haptic device Kontogeorgakopoulos (2008). The basic concept was to be able to interact instrumentally when performing live sample-based digital music, like in a DJ set, as mentioned in Section 3.1.1.…”

“…Furthermore, there are many problems related to the impedance mismatching of physical models that can arise and overcomplicate the modelling process. An in-depth examination of this subject can be found in Kontogeorgakopoulos (2008).…”

Audio Enhancement of Physical Models of Musical Instruments Using Optimal Correction Factors: The Recorder Case

“…The acoustic simulation of musical instruments using computer models is a pole of attraction for scientists of multidisciplinary fields (i.e., physics, informatics, musicology, etc.) [1][2][3][4][5][6][7][8]. In the last decades, several digital sound synthesis techniques have been developed (e.g., sampling, spectral modeling, and physical modeling) [9].…”