The Exbow MetaSax: Compositional Applications of Bowed String Physical Models Using Instrument Controller Subsititution

Burtner, Matthew; Serafin, Stefania

doi:10.1076/jnmr.31.2.131.8093

Cited by 4 publications

(5 citation statements)

References 8 publications

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“…3 The physical modelling sound synthesis used is based on modal synthesis [1]. The software synthesizer enables the user to control a lot of different parameters mostly related to the resonators of the models.…”

Section: Interfaces For Physical Modelsmentioning

confidence: 99%

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Physmism

Böttcher

Gelineck

Serafin

2007

Proceedings of the 7th International Conference on New Interfaces for Musical Expression - NIME '07

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In this paper we describe the design and implementation of the PHYSMISM: an interface for exploring the possibilities for improving the creative use of physical modelling sound synthesis.The PHYSMISM is implemented in a software and hardware version. Moreover, four different physical modelling techniques are implemented, to explore the implications of using and combining different techniques.In order to evaluate the creative use of physical models, a test was performed using 11 experienced musicians as test subjects. Results show that the capability of combining the physical models and the use of a physical interface engaged the musicians in creative exploration of physical models.

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Section: Interfaces For Physical Modelsmentioning

confidence: 99%

“…As an example, S-Trance-S by Matthew Burtner is a piece where a saxophone acts as a controller for a physical model of a string [3].…”

Section: Compositions Using Physical Modelsmentioning

confidence: 99%

Physmism

Böttcher

Gelineck

Serafin

2007

Proceedings of the 7th International Conference on New Interfaces for Musical Expression - NIME '07

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“…In an ongoing project with Stefania Serafin, the Metasaxophone has been used as a controller for bowed string physical models (Burtner/Serafin 2000, 2002. By bowing the string from within the gestural space of a wind instrument, new expressive potentialities of the model are opened.…”

Section: S-trance-s: Mappings For Virtual Instrument Controlmentioning

confidence: 99%

“…Instrument controller substitution experiments with the recombination of an instrument controller interface and a physically modelled instrument of an entirely different type. In an ongoing project with Stefania Serafin, the Metasaxophone has been used as a controller for bowed string physical models (Burtner/Serafin 2000, 2002. By bowing the string from within the gestural space of a wind instrument, new expressive potentialities of the model are opened.…”

Section: S-trance-s: Mappings For Virtual Instrument Controlmentioning

confidence: 99%

The Metasaxophone: concept, implementation, and mapping strategies for a new computer music instrument

Burtner

2002

Org. Sound

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The Metasaxophone is an acoustic tenor saxophone retrofitted with an onboard computer microprocessor and an array of sensors that convert performance data into MIDI control messages. The instrument has additionally been outfitted with a unique microphone system that allows for detailed control of the amplified sound. While maintaining full acoustic functionality it is also a versatile MIDI controller and an electric instrument. A primary motivation behind the Metasaxophone is to put signal processing under direct expressive control of the performer. Through the combination of gestural and audio performance control, employing both discrete and continuous multilayered mapping strategies, the Metasaxophone can be adapted for a wide range of musical purposes. This paper explores the artistic and technical development of the instrument, as well as new conceptions of musical mappings arising from the enhanced interface.

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“…One of the merits of the use of physical models in the computer music context is that, unlike real instruments, the values of the parameters of the model can be modified without any loss of their timbral identity, and hence the model can be used to explore timbre (Burtner & Serafin, 2002;Roads, 1996;Smith, 1996). In this study, we use this flexibility to implement articulations that we can find in other musical instruments, and attempt to extend the sho timbre space.…”

Section: Introductionmentioning

confidence: 99%

Sho-So-In: Control of a Physical Model of the Sho by Means of Automatic Feature Extraction from Real Sounds

Hikichi¹,

Osaka²,

Itakura³

2004

Journal of New Music Research

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This paper proposes a synthesis framework for sound hybridization that creates sho-like sounds with articulations that are the same as that of a given input signal. This approach has three components: acoustic feature extraction, physical parameter estimation, and waveform synthesis. During acoustic feature extraction, the amplitude and fundamental frequency of the input signal are extracted, and in the parameter estimation stage these values are converted to control parameters for the physical model. Then, using these control parameters, a sound waveform is calculated during the synthesis stage. Based on the proposed method, a mapping function between acoustical parameters and physical parameters was determined using recorded sho sounds. Then, sounds with various articulations were synthesized using several kinds of instrumental tones. As a result, sounds with natural frequency and amplitude variations such as vibrato and portamento were created. The proposed method was used in music composition and proved to be effective.

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The Exbow MetaSax: Compositional Applications of Bowed String Physical Models Using Instrument Controller Subsititution

Cited by 4 publications

References 8 publications

Physmism

Physmism

The Metasaxophone: concept, implementation, and mapping strategies for a new computer music instrument

Sho-So-In: Control of a Physical Model of the Sho by Means of Automatic Feature Extraction from Real Sounds

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