61–70 of 79 posts
Looking it up just now, it turns out that, "Modern physics research shows that the f-shape allows the instrument to push much more air than a traditional round hole, resulting in greater acoustic power and projection."
Just wanted to share in case someone else had that same bit of false knowledge in their head.
> It produces sound based on the way the instrument, including its vibrating strings, physically interacts with the surrounding air. I suppose this is the innovative part. They're not simulating just the string, but also the fluid it's immersed in, which is a computationally hard problem. I made a vibrating string simulator in college for our Numerical Methods course and for quite a while I couldn't understand why it…
> Turns out rounding errors in floating point operations can propagate to a point where they produce this distinct, "metallic" sound. Reminds me of a Karplus-Strong synthesis implementation that produced a gorgeous guitar/mandolin sound, but only for delay durations that weren't simple ratios with the given sample rate. The simple-ratio durations would end up sounding like crude, attenuated periods of noise-- metalli…
In this area of research, there's this classic trap that many fall into (including myself, many times). You focus on modeling things like the vibrating string, the resonant body, etc. to perfection. But it still sounds, uh, not great, because the more important and difficult part is modeling detailed control and the human/instrument interface. Air fluctuations around the violin sound like a fun experiment, but I don'…
In this area of research, there's this classic trap that many fall into (including myself, many times). You focus on modeling things like the vibrating string, the resonant body, etc. to perfection. But it still sounds, uh, not great, because the more important and difficult part is modeling detailed control and the human/instrument interface. Air fluctuations around the violin sound like a fun experiment, but I don'…
Earlier quoted context omitted.
That's also not the case. There have been some really accurate physically-modeled instruments for at least 20 years. Also, aschkually, a violin is on the "easier" end of making it sound realistic. It's one of the "tutorial" models you go through when you start learning about this (resonators + reverb get you 80% there). Much harder to do any plucking sound (guitar, piano), and much much harder to model percussions ac…
Do you know if there has been any progress on conical-bore brass? From what I recall (I did some graduate work in instrument modeling in the late 2000s) reed instruments could be modeled convincingly, but the feedback oscillator with the lip buzzing was very difficult to model.
Conical and cylindrical bores definitely differ but I don't see why they'd be different specifically with respect to the lip interaction, can you say more about that part?
it doesn't sound as a real violin at all. A professional violinist would immediately tell that something is wrong.
Earlier quoted context omitted.
> Turns out rounding errors in floating point operations can propagate to a point where they produce this distinct, "metallic" sound. Reminds me of a Karplus-Strong synthesis implementation that produced a gorgeous guitar/mandolin sound, but only for delay durations that weren't simple ratios with the given sample rate. The simple-ratio durations would end up sounding like crude, attenuated periods of noise-- metalli…
That's really hellish, considering 44.1k is divisible by numbers 1-10 and more.