Kenji's K5000 Message Board Digest - Overview K5000 Resources - Overview 
The Eat at Joe's Kawai K5000 Message Board Digest
Learning Sound Theory


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Re: The gap between theory and reality
Saturday, 07-Mar-98 17:27:03 

     152.163.206.105 writes:

     dang, this stuff is getting too intense for me. I have no idea what you are
     talking about. ( i wish i did). i want to be able to program just like you guys.
     what are all these algebra problems? where can i learn more about this. I am
     totally in the dark. please help

     Pasha Grushik 

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Re: Re: The gap between theory and reality
Sunday, 08-Mar-98 10:12:11 

     130.67.65.106 writes:

     Maybe Leiter has had some use for the algebra, but for myself it remains to be
     seen if it is really superior to the cut and try method. So it is not at all
     certain that you would want to program "just like you guys". 

     Whatever the merit of the algebra, if you want to learn more about it, ask.

     Tore

     tl001@online.no 

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Re: Re: Re: The gap between theory and reality
Sunday, 08-Mar-98 21:06:34 

     199.86.33.82 writes:

     The more you know, the deeper you go. No matter what theory you apply, though,
     you always need your ears to cover the last mile. And to enjoy it!

     leiter@skypoint.com 

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Re: The gap between theory and reality
Monday, 09-Mar-98 07:23:09 

     12.68.130.71 writes:

     I think it is extremely cool that folks are really trying to use additive
     synthesis for what it is and not being scared by theory! 

     The plucked string, like all continuous musical events is a hard equation to
     formulate because there are really several "time blocks" of events which
     occurr. The pluck of the string itself is a deformation of the music wire which
     travels down the wire in opposite directions, reflects, passes through itself
     (adding or subtracting due to a linear domain here) until we arrive at steady
     state. The moment that is in question is actually quite fleeting --- consider that
     the attack of a violin is very different than its' steady state...the same for
     the piano...The piano undergoes a very large relative decay within 50mS of its
     attack--steady state is radically different than the first 50mS of "attack"
     (where a lot of stuff is happening to the string and it is "sorting out" to steady
     state")

     In other words, the plucked string may be correct, its placement in the whole
     scheme of the patch may be treating it as the wrong part of the steady state
     in the time domain analysis.

     ALSO- The division you are plucking at, lets say 1/5 of the strings length will
     supress the n=5 harmonic in the Fourier Analysis coefficients.

     I would try Morph Mode and making the pluck a transient event that melts into a
     simple 7 or 9 harmonic saw or square to see if it gets you closer. Also
     don't forget that the soundboard of a real instrument alters everything the
     books say about spectra of the source due to the coupling between the source
     (wire) and the amplifier (soundboard).

     For those who care try this book for a reference:
     "The Physics of Musical Instruments" by N. Fletcher and T. Rossing published
     by Springer-Verlag. (2 ISBN's???) - ISBN 0-387-94151-7 and ISBN 3-540-94151-7 

     Myself-I just figured out that all my "loud spectra" are too soft (my El_Piano
     patch is wicked guilty of this fault).

     Pete

     favant@worldnet.att.net 


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Fletcher & Rossing, 2d ed.
 Monday, 13-Jul-98 23:41:31 

      199.86.33.80 writes:

      The second edition of Fletcher & Rossing, "The Physics of Musical Instruments"
      has just come out. It looks like there are some significant changes. This book
      has been a great source for useful physical and mathematical descriptions of
      real instruments. 

      leiter 


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Re: Getting Started In The K5000S
 Monday, 12-Oct-98 17:46:27 

      209.160.126.135 writes:

      I think one of the best methods for getting to know any synth is to study your
      favorite patches to see how they are programmed. Then try tweaking them to hear
      how changing certain parameters affect the sound. 

      As far as additive synthesis goes, it helps to know as much theory as possible, IMO.
      You might start with the following books:

      The Acoustical Foundations Of Music
      The Physics Of Musical Instruments
      A Synthesist's Guide To Acoustic Instruments

      I'm not nearly up to speed as some of the others here as far as threory goes, but
      what I've learned has gone along way in helping me get a handle on additive
      synthesis.

      Here's a place devoted to programming the SY synth, but has a lot of good general
      info on all types of synthesis:

      http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/heja/sy-prog/sy-prog.html



      Leslie 


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Re: where can i hear a k5000, and a question about it's synthesis
 Thursday, 29-Oct-98 02:03:23 

      209.160.126.143 writes:

      I'm not really all that familiar with the SY-55, so I can't tell you what the
      differences are between it and the K5000. 

      Additive synthesis is the process where sine waves are added together. Each sine
      wave has it's own frequency, amplitude, and envelope. This is based on the idea
      that any sound can be broken down into individual sine wave components. If you
      want to know a little more, here is a place to go:

      http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/heja/sy-prog/node4.html#SECTION00031000000000000000


      Leslie 


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