Sonification is the use of non-speech audio to convey information. We are developing tools for interactive data exploration, which make use of sonification for data presentation. In this paper, model-based sonification is presented as a concept to design auditory displays. Two designs are described: (1) particle trajectories in a "data potential" is a sonification model to reveal information about the clustering of vectorial data and (2) "data-sonograms" is a sonification for data from a classification problem to reveal information about the mixing of distinct classes.

In this paper, a nonlinear discrete-time model that simulates a vibrating string exhibiting tension modulation nonlinearity is developed. The tension modulation phenomenon is caused by string elongation during transversal vibration. Fundamental frequency variation and coupling of harmonic modes are among the perceptually most important effects of this nonlinearity. The proposed model extends the linear bidirectional digital waveguide model of a string. It is also formulated as a computationally more efficient single-delay-loop structure. A method of reducing the computational load of the string elongation approximation is described, and a technique of obtaining the tension modulation parameter from recorded plucked string instrument tones is presented. The performance of the model is demonstrated with analysis /synthesis experiments and with examples of synthetic tones available at http://www.acoustics.hut.fi/~ttolonen/tmstr_SAP/. Index Terms---Acoustic signal processing, modeling, mu...

ABSTRACT: We present here three developments for the Commuted Piano Synthesis model described more fully elswhere in these proceedings [3]: (1)a theoretical foundation and calibration scheme for the required linearized piano hammer system; (2) a simple algorithmic synthesis approach for the commuted soundboard impulse response, eliminating the need for any wavetable memory; and (3) a calibration method for the coupled string system, required for high quality two-stage piano tone decay. 1

A commuted-synthesis model for bowed strings is driven by a separate nonlinear model of bowed-string dynamics. This gives the desirable combination of a full range of complex bow-string interaction behavior together with an efficiently implemented body resonator. A “single-hair bow” may control a pulsed-noise version which provide the effects of multiple bow hairs. The pulsed noise may also include qualitatively the impulse responses of commuted high-frequency body modes.

The theory of multidimensional continuous and discrete systems is applied to derive a parametric description of musical sounds from a physical model of real or virtual string instruments. The mathematical representation of this model is given by a partial differential equation for a vibrating string. Suitable functional transformations with respect to time and space turn this partial differential equation into a multidimensional transfer function. It is the starting point for the derivation of a discrete-time system by classical analog to discrete transformations. The coefficients of this discrete model depend explicitly on the geometric properties and material constants of the underlying physical model. This ensures a meaningful behaviour of the discrete system under varying conditions and allows for an intuitive control by the user. Furthermore, the performance of real-time implementations is discussed. Finally, several extensions of this synthesis method for computer music applications are presented.

In this paper high-quality model-based sound synthesis of plucked string and woodwind instruments is combined with room simulation and auralization techniques. The result is a real-time virtual three-dimensional room where the listener and multiple virtual instruments can be moved. The system was designed using signal processors in a multiprocessing environment. Sound radiation patterns of musical instruments were measured and direction-dependent filtering was applied to instrument simulation models. Auralization is achieved by measuring and using head-related transfer functions. The binaural three-dimensional audio output of the virtual environment is directed to headphone listening. The environment is controlled by a mouse-operated user interface while the virtual instruments are played via MIDI. 1 Introduction Digital waveguide and delay line modeling of wave propagation has been an interesting and rewarding field in computer music technology. Artificial reverberation gene...

Distributed physical models of musical instruments have been used to acoustically “ping ” Internet connections between two network hosts. Sound waves propagated through Internet acoustics behave just as in air, water or along a stretched string. In this case, a musical synthesis technique creates waves on the Internet path between two hosts. When waves recirculate between two endpoints, a musical tone is created if the round trip travel time lies within the range of our pitch sense (roughly  ¢¡¤£¤¥§¦ to ¡¤£©¨� ¦). The result-ing tones provide a quick and intuitive evaluation of quality of service (QoS), displaying its significant aspects including latency, jitter and packet loss. Stable, clear tones with high pitch indicate good end-to-end capabilities that a path must support for immersive, real-time applications. A “network harp ” recently demonstrated 320 synthesized strings oscillating across the Western half of the Internet2 Abilene Network. 1.

string model, friction model This report presents a model-based sound synthesis algorithm for the Chinese plucked string instrument called the guqin. The instrument is fretless, which enables smooth pitch glides from a note to another. A version of the digital waveguide synthesis approach is used, where the string length is time-varying and its energy is scaled properly. A body model filter is placed in cascade with the string model. Flageolet tones are synthesized with the so called ripple filter structure, which is an FIR comb filter in the delay line of a digital waveguide model. In addition, signal analysis of recorded guqin tones is presented. Friction noise produced by gliding the finger across the soundboard has a harmonic structure and is proportional to the gliding speed. For pressed tones, one end of a vibrating string is terminated either by the nail of the thumb or a fingertip. The tones terminated with a fingertip decay faster than those terminated with a thumb. Guqin tones are slightly inharmonic and they exhibit phantom partials. The synthesis model takes into account these characteristic features of the instrument and is able to reproduce them. The synthesis model will be used for rule based synthesis of guqin music. 1 1

this paper reviews two applications in digital waveguide modeling: single reed woodwinds (such as the clarinet), and bowed strings (such as the violin). In these applications, a sustained sound is synthesized by the interaction of the digital waveguide with a nonlinear junction causing spontaneous, self-sustaining oscillation in response to an applied mouth pressure or bow velocity, respectively. This type of nonlinear oscillation forms the basis of the Yamaha "VL" series of synthesizers ("VL" standing for "virtual lead"). 2 Single-Reed Instruments

this paper we have presented methods for incorporating directional characteristics of musical instrument sound radiation to model-based sound synthesis. This has been achieved by measuring and analyzing acoustical instruments, and using DSP techniques. We found three different methods for retaining the directional radiation information during spatial sound synthesis: 1) directional filtering, 2) a set of elementary sources, and 3) a direction-dependent excitation. The results are useful, e.g., in the design and implementation of room simulation and virtual reality environments for physical models of musical instruments [8].