The Eat at Joe's Kawai K5000 Message Board Digest Learning Sound Theory ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------ Re: The gap between theory and reality Saturday, 07-Mar-98 17:27:03 152.163.206.105 writes: dang, this stuff is getting too intense for me. I have no idea what you are talking about. ( i wish i did). i want to be able to program just like you guys. what are all these algebra problems? where can i learn more about this. I am totally in the dark. please help Pasha Grushik ------------------------------------------------------------------------------------------ Re: Re: The gap between theory and reality Sunday, 08-Mar-98 10:12:11 130.67.65.106 writes: Maybe Leiter has had some use for the algebra, but for myself it remains to be seen if it is really superior to the cut and try method. So it is not at all certain that you would want to program "just like you guys". Whatever the merit of the algebra, if you want to learn more about it, ask. Tore tl001@online.no ------------------------------------------------------------------------------------------ Re: Re: Re: The gap between theory and reality Sunday, 08-Mar-98 21:06:34 199.86.33.82 writes: The more you know, the deeper you go. No matter what theory you apply, though, you always need your ears to cover the last mile. And to enjoy it! leiter@skypoint.com ------------------------------------------------------------------------------------------ Re: The gap between theory and reality Monday, 09-Mar-98 07:23:09 12.68.130.71 writes: I think it is extremely cool that folks are really trying to use additive synthesis for what it is and not being scared by theory! The plucked string, like all continuous musical events is a hard equation to formulate because there are really several "time blocks" of events which occurr. The pluck of the string itself is a deformation of the music wire which travels down the wire in opposite directions, reflects, passes through itself (adding or subtracting due to a linear domain here) until we arrive at steady state. The moment that is in question is actually quite fleeting --- consider that the attack of a violin is very different than its' steady state...the same for the piano...The piano undergoes a very large relative decay within 50mS of its attack--steady state is radically different than the first 50mS of "attack" (where a lot of stuff is happening to the string and it is "sorting out" to steady state") In other words, the plucked string may be correct, its placement in the whole scheme of the patch may be treating it as the wrong part of the steady state in the time domain analysis. ALSO- The division you are plucking at, lets say 1/5 of the strings length will supress the n=5 harmonic in the Fourier Analysis coefficients. I would try Morph Mode and making the pluck a transient event that melts into a simple 7 or 9 harmonic saw or square to see if it gets you closer. Also don't forget that the soundboard of a real instrument alters everything the books say about spectra of the source due to the coupling between the source (wire) and the amplifier (soundboard). For those who care try this book for a reference: "The Physics of Musical Instruments" by N. Fletcher and T. Rossing published by Springer-Verlag. (2 ISBN's???) - ISBN 0-387-94151-7 and ISBN 3-540-94151-7 Myself-I just figured out that all my "loud spectra" are too soft (my El_Piano patch is wicked guilty of this fault). Pete favant@worldnet.att.net ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------ Fletcher & Rossing, 2d ed. Monday, 13-Jul-98 23:41:31 199.86.33.80 writes: The second edition of Fletcher & Rossing, "The Physics of Musical Instruments" has just come out. It looks like there are some significant changes. This book has been a great source for useful physical and mathematical descriptions of real instruments. leiter ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------ Re: Getting Started In The K5000S Monday, 12-Oct-98 17:46:27 209.160.126.135 writes: I think one of the best methods for getting to know any synth is to study your favorite patches to see how they are programmed. Then try tweaking them to hear how changing certain parameters affect the sound. As far as additive synthesis goes, it helps to know as much theory as possible, IMO. You might start with the following books: The Acoustical Foundations Of Music The Physics Of Musical Instruments A Synthesist's Guide To Acoustic Instruments I'm not nearly up to speed as some of the others here as far as threory goes, but what I've learned has gone along way in helping me get a handle on additive synthesis. Here's a place devoted to programming the SY synth, but has a lot of good general info on all types of synthesis: http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/heja/sy-prog/sy-prog.html Leslie ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------ Re: where can i hear a k5000, and a question about it's synthesis Thursday, 29-Oct-98 02:03:23 209.160.126.143 writes: I'm not really all that familiar with the SY-55, so I can't tell you what the differences are between it and the K5000. Additive synthesis is the process where sine waves are added together. Each sine wave has it's own frequency, amplitude, and envelope. This is based on the idea that any sound can be broken down into individual sine wave components. If you want to know a little more, here is a place to go: http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/heja/sy-prog/node4.html#SECTION00031000000000000000 Leslie ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------