On Sat, Mar 05, 2011 at 12:54:31AM +0100, Janek Warchoł wrote: > 2011/3/4 Graham Percival <gra...@percival-music.ca> > > Well, playing on a $1000 (or even $1,000,000) violin is just a > > matter of getting a recording of somebody tapping on such an > > instrument. Such recordings (I only need 12 milliseconds of a tap > > noise!) _are_ available online, but I haven't yet found a > > recording which stated that it was available under the GPL. And > > since sound recordings are covered by copyright, I can't just take > > an existing one. :( > > Does this mean that Artifastring is already able to simulate violing > sounds so perfectly that everything is a matter of "teaching" it how > to do so?
Artifastring is a very imperfect simulation of a violin. You can think about this as having two stages: 1. the actions of the four strings, and 2. the actions of the body (the "big empty part" of the instrument). The way that it simulates the effect of a violin body (or cello body) is by using a mathematical operation called "convolution". This convolution is done by multiplying the sum of the output samples of the strings with literally an audio recording of tapping a violin. In engineering terms, this is an approximation of the "impulse response". Because of this, switching to a different violin sound is purely a matter of switching the "tap" recording. > I don't have much experience with violin, but judging by the audio > samples i thought that it could use some improvement (independently of > Vivi's playing skill improvement). Yes and no. The actions of the strings are imperfect, but the violin used for the impulse response really is a bad instrument. The "£100 pounds" figure actually included the bow, case, and shipping. Also, generating an impulse response by tapping the instrument is not a perfect impulse response. It's a decent approximation, but serious acoustics researchers would use a frequency sweep or something like that instead. But I'm not a serious acoustics researcher -- my goal is to advance the art of automatic music performance. There's enough work that I can do on performing chords, vibrato, and the like, such that I'm not hugely concerned with the instrument quality at the moment. And the methods for training Vivi are completely general; if/when the violin sounds change (or even changes to a cello or viola), all I need to do is spend 2-3 hours teaching her how to play that instrument, by classifying audio! In other words, there's no programming involved in this training; I'm just acting like a parent of a music student. Of course, I'm hoping that when I present this at a conference, somebody from the audience will say "wow, that's nice work, but it's a pity that your physical model only approximates XYZ. I have code that does this; could we work together? I don't mind putting that code under the GPLv3." So far, the only other open-source bowed-string simulation that I know of is the 1986 Smith algorithm, implemented in the Synthesis Toolkit in C++. Most of the algorithms in Artifastring have been improved in the 2000s, but it's still much better than the version in STK. (the big open-source audio programs like Csound, Chuck, and supercollider, all use STK for physical modeling, which means the 25-year-old string algorithm) Cheers, - Graham _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user