By Seymour Ginsburg

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56 Basic Physical Modeling Concepts For example, using simple additive synthesis as in Figure 9 can produce very different sounds depending on the shape and the physical parameters of the structure. Figure 9. Bouncing ball used for additive synthesis In Figure 9, forces applied to each mass control the amplitude of the sinusoid which performs additive synthesis. The sound produced by the structure can be controlled while moving the structure, making it bounce, etc. The evolution of the sound over time (the musical structure) can be run with a few parameters that describe the global behavior of the structure, such as rigidity or dampening of link.

This permits easy and precise access to any time-point within the sample, by localizing its numerical value. In addition, an audio recording represented by a number set may itself act as a controller of various events; for instance, it may become a sequencer or a set of MIDI-signals. This mode of operative storage of audio samples enables the realization of various refined yet simple ways of audio playback – the sample can be fragmented to pieces of any length, played in any direction, at any speed, or as a loop.

Such mapping has interesting specifications. For example, a few input parameters can generate many different data flows (a musician can play with only a few control parameters on the whole structure and then generate lots of data to control any audio synthesis). Moreover, the control parameters are intuitive because they correspond to physical values. Playing with such a system can be very intuitive. Certain control parameters can change the way the structure evolves within a time period, allowing the control of the synthesis evolution over time.