Physically-based modelling techniques for sound and synthesis

Among the many physically-based modelling techniques, various have been designed in computer music for sound synthesis. This text reviews some of the most important

Physically-based modelling techniques

International audiencePhysically-based modelling have developed considerably for the past 20 years in computer graphics, computer music, haptics and virtual realities. As well as a number of signal-based synthesis schemes have been proposed over years, various physically-based techniques have been introduced, each one allowing the design of models for various categories of objects and phenomena

Mapping and control vs. Instrumental interaction

International audienceFor a human-computer interactive system, implementing the paradigms of control/mapping can correspond, in some cases, to fundamental drawbacks. The current item provides an illustration of this observation by examining the typical case of today's mapping-based digital musical instruments

Physically-based modelling

International audienceA model can be said to be physically-based when the modelling and the synthesis of sensible phenomena one want to produce (a sound, a movement, etc) by using signal-based models, is replaced with the modelling and the simulation of its physical origin or cause (the sound structure that produces the sound, the objects that moves, some prominent properties of a real-world object, etc.). Hence, physically-based modelling corresponds with an historical evolution of the categories of models

Physically-based modelling techniques for multisensory simulation

International audienceThe framework of enactive interfaces emphasizes the unicity of human perception, and in parallel the need of a particularly high and thin correlation between the gesture of the user and the various multisensory stimuli generated. One can also try to design a single multisensory physically-based model. In such a case, as a vis-à-vis of the unicity of human sensori-motricity, the model is unique and generates all the sensory outputs in response to gesture in one shot. However, only a very few modelling framework qualify for such multisensory simulation. We review below the mass-interaction framework

L'environnement GENESIS: créer avec les modèles physiques masse-interaction

International audienceLa modélisation physique est reconnue aujourd'hui comme l'un des paradigmes de base pour la synthèse sonore, mais ses possibilités réelles sont pourtant encore peu exploitées. L'environnement GENESIS, outil informatique pour la création musicale à l'aide des modèles physiques " masse-interaction ", permet d'ouvrir ces nouveaux champs de création où la modélisation physique n'apparaît plus seulement comme une technique de synthèse, mais comme un véritable mode de pensée. Nous présentons ici la version 1.5 de cet outil, mis en œuvre et expérimenté depuis plusieurs années dans le cadre de travaux de recherches et de créations. Nous introduisons ses fonctionnalités ainsi que leurs origines conceptuelles et leur ergonomie et nous expliquons les choix que nous avons réalisés dans l'objectif de faire de GENESIS un outil pour la création

A Goals-Based review of physical Modelling

International audiencePhysical modelling (PM) encounters a growing success. Though, in the context of computer music, il covers numerous goals, needs and challenges. The article aims at contributing to their understanding. It provides a bibliographic overview of the various goals that researchers and musicians may pursue. Il introduces a set of features that an ideal PM technique should offer

Creating music by means of 'physical thinking' : the musician oriented genesis environment

International audienceMass-interaction physical modeling scheme is often cited as the traditional physical modeling technique, but surprisingly some of the possibilities for musical creation it allows have not yet been pointed out. GENESIS is a graphical environment based on the CORDIS-ANIMA mass-interaction paradigm and designed for musicians. It was conceived so as to help the user "think physical"; that is, to discover and experiment with new ways of creating music, which is necessary when using physical modeling. The paper introduces version 1.5 of the GENESIS environment. Its major features and ergonomic aspects are exposed - especially model representation, low and h i g h level modeling tools, multisensorial simulation facilities. Examples of composer's works are presented

Metabolic emergent auditory effects by means of physical particle modeling : the example of musical sand

International audienceIn the context of Computer Music, physical modeling is usually dedicated to the modeling of sound sources or physical instruments. This paper presents an innovative use of physical modeling in order to model and synthesize complex auditory effects such as collective acoustic phenomena producing metabolic emergent auditory organizations. As a case study, we chose the "dune effect", which in open nature leads both to visual and auditory effects. The article introduces two particle physical models, able to collaborate. The first is dedicated the synthesis of spatial (or visual) dynamics effects of moving sand dunes. The second is dedicated to the rendering of acoustical dynamics of "sounding sands". Altogether, they lead to a multisensorial simulation of sand in dune

Multimodal (multisensory) integration, in technology

International audienceThe concept of modality has two sides, depending on the domain in which it is defined (typically cognitive sciences and human computer interaction). The current item, though written in the framework of technology and system design, uses mainly the meaning of cognitive sciences: a modality is understood as a perceptual modality, and multimodality is understood as multisensory