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Striving For and Departing From Realism

In section 1 we discussed sampling and samplers. Unless you apply some form of stretching or repitching the sample is what it is. You download a recording of a piano and when you click play you hear a piano. That’s great but what if you don't like that piano and would prefer a different model or one recorded in a dry room versus a wet concert hall. You're out of luck with that sample. This week is all about alternative synthesis methods that strive for realism and then eventually depart from it (extreme sample manipulation).

We’ll begin with physical modeling. The principle is that algorithms, instead of samples, model the actual acoustic traits that make an instrument sound the way it sounds. For example you could use a physical model to approximate the sound of a bow dragging across a tensioned string. By the end of this week we will be using samples as the source for experimental resampling/synthesis techniques including wave scan and granular.