09 Modelling

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OThe idea is not to capture the soundOBut rather recreate it to sound like the

original

ORequires more computing powerOBut less disk storageOCan respond to player inputOSound is recalculated with each articulation


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OThe waveform of the sound is computed byusing a mathematical model,

OUses equations and algorithms to simulate aphysical source of sound

OFollows the laws of physics that govern thesound production


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OInstrument materialsOInstrument dimensionsOType of electronicsOBehavior of electronicsOTime perhaps the most difficult


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OAn algorithm to describe the striking of adrumhead at a specific location

OThe properties of the drumhead have to bedefined

OMassODensityOStiffnessOMaterial of the shell


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OAn algorithm that solves the equationsdescribing the pressure variance at the

blowholeOThe algorithm must take into account

OBreath pressureOAngle of inflow of airO

Back pressure from the rest of the instrument


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OThen another algorithm interprets that dataand applies it to

OResonance of the tubeOLength of noteOOvertones (from blowing too hard)ORelease


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OBehavior of the bow against the stringOWidth of the bowOResonance and damping behavior of the

strings

OTransfer of string vibrations through thebridge

OResonance of the soundboard in response tothose vibrations.


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OIn 1989 Yamaha signed a contract withStanford University

OJointly develop digital waveguide synthesisOMost patents related to the technology are

owned by Stanford or Yamaha.

OIn 1994 Yamaha unveils the VL-1OThe first commercially available physical

modelling synthesizer

OA monophonic instrument costing $5000


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OModelling exists in several ways todayOSynthesizersOEffects ProcessorsOGuitar AmplificationOPianos


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OAttempt to recreate the sound of vintagesynthesizers

OAnalog synths with VCOs are the hardestORandom nature of VCOs and pitchOVCFs are difficult as well, not predictable like

DCFs


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OExtremely believable recreations of analogsynthesizers

OUses True Analog Emulation (TAE)OBetter reproduction of analog oscillatorsOBetter reproduction of analog filtersOImplementation of soft clipping

OExtremely good value now


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OAttempt to recreate sound of vintageprocessors

OMore difficult because incoming sound is anunknown

ORequires a tremendous amount of processingpower

OMust be as random as original hardware


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OWaves does not publish what their modellingmethod is

ORecreations of vintage effects processors areextremely good

OMost recreations are endorsed by the originalmanufacturer

OPricing is reasonable


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OUA plugins require a UAD DSP card at aconsiderable expense

OUA recreations are extremely accurateOIn most cases they are licensed by the

original manufacturer

OExpensive but wonderful


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OGuitar amps has been extremely popularONearly every company has oneOAmps are difficult because of the random

nature of tubes and players

OFor an amp to be convincingOMust respond to player nuancesOKnob adjustments must be noticeableOHas to feel right


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OAmps are given names hinting at the originalOSignal routing is flexibleOEnormous amounts of presetsOCan stack amps and pedals in any orderOModels are neither licensed or endorsed


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OEndorsed by Paul Reed SmithODesigned specifically for studio useOAmps are described by tone, not

manufacturer

OVery simple interface


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!%'.+$OPianos have always been difficult to captureOSampling requires enormous amounts of storageOEach string reacts differently depending on what

strings are sounding

ORange of dynamics is largeOSound is different depending on the pedals usedOSound is different if the lid is open versus closedOModelling is seen as a way to make a piano

library manageable


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OExtremely small footprintO20MB versus 27GB for EastWest Steinway

OUser can adjust tone, harmonics, stringresponse, lid opening

ODoes not try to sound like any particularpiano, just a good piano

ODesigned for studio and live use


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OAs computing power increases, modeling willbecome easier

OPopular because it is cheaper than theoriginal hardware

OWhile not exact replicas, the sounds areconvincing enough for most users

OCannot replace the magic of a real musicianon a real instrument


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09 Modelling