On Fri, 2004-02-20 at 23:51, Tim Goetze wrote: > [David Olofson] > > >On Friday 20 February 2004 20.41, Joern Nettingsmeier wrote: > >[...] > >> > Tricky. To get crunchy hard-rock guitar sounds like Pete's > >> > (nice track pete!), you'll have to realistically emulate > >> > palm-muting, which I've never heard in a synth. And how would you > >> > control the amount of muting? Map it to a CC and play a slider? > >> > >> <p class="heretic"> > >> why spend precious coding time faking electric guitars when there > >> are so may excellent and highly trained guitarists around? > >> nothing against electronic sounds where they are appropriate. but > >> when you need a crunchy guitar, simulators strike me as the wrong > >> tool for the job. :-D > >> </p> > > > >Well, there's a big difference between a fake crunchy guitar sound, > >and a crunchy synth sound - but basically, I agree; use the Real > >Thing(TM) instead. Easier, and it feels and sounds better. :-) > > > >However, in this case, I was rather thinking about getting this sort > >of sound into a "typical" Audiality song, which means a total file > >size around 10 kB or so. (Sort of like IXS, except Free/Open Source > >and based on MIDI + modular synthesis rather than a tracker format + > >FM synthesis.) > > > >What I want to do is push the limits of extremely compact music > >formats, and proving that virtual analog style synthesis doesn't > >*have* to sound like minimalistic german synth music. I may fail in > >doing this, but I hope to at least learn a few useful things about > >creating good synth sounds in the process. > > the most promising concept if you want realism is probably physical > modeling, i.e. a waveguide. used with a filter modeling the response > (resonance) of the guitar body, you'll already have a good start. a > bit more troublesome will be feedback between strings, but doable. > > as has been observed, the real trouble starts when you want to model > the non-linear aspects, like palm muting, finger tip interaction with > the string during oscillation, when releasing or tapping, and most > importantly the plektron or finger exciting the string. > > there's some very interesting work by someone at hut.fi (sorry i'm so > vague on this, it's some time ago i read it) on modeling the piano.
Is it this one? http://www.acoustics.hut.fi/~bbank/demo.html Marek