439:
rather, a VL solo note backed up by the up-to-64 notes of polyphony of the XG wavetable portion). The 724 only supported stereo out, while the others supported various four and more speaker setups. Yamaha’s own card using these was the WaveForce-128, but a number of licensees made very inexpensive YMF-724 sound cards that retailed for as low as $ 12 at the peak of the technology’s popularity. The MIDI synth portion (both XG and VL) of the YMF chips was actually just hardware assist to a mostly software synth that resided in the device driver (the XG wavetable samples, for instance, were in system RAM with the driver , not in ROM on the sound card). As such, the MIDI synth, especially with VL in active use, took considerably more CPU power than a truly hardware synth would use, but not as much as a pure software synth. Towards the end of their market period, YMF-724 cards could be had for as little as $ 12 USD brand new, making them by far the least expensive means of obtaining
Sondius-XG CL digital waveguide technology. The DS-XG series also included the YMF-740, but it lacked the Sondius-XG VL waveguide synthesis module, yet was otherwise identical to the YMF-744.
450:), capable of up to eight VL notes at once (all other Yamaha VL implementations except the original VL1 and VL1m were limited to one, and the VL1/1m could do two), in addition to up to 64 notes of XG wavetable from the MU50-emulating portion of the soft synth. Never sold in the US, but was sold in Japan. Presumably a much more powerful system could be done with today’s multi-GHz dual-core CPUs, but the technology appears to have been abandoned. Hypothetically could also be used with a YMF chipset system to combine their capabilities on sufficiently powerful CPUs.
443:
but had no physical modeling, and was just the MU50 XG wavetable emulator. This was basically the synth portion of the YMF chips implemented entirely in software without the hardware assist provided by the YMF chips. Required a somewhat more powerful CPU than the YMF chips did. Could also be used in conjunction with a YMF-equipped sound card or motherboard to provide up to 128 notes of XG wavetable polyphony and up to two VL instruments simultaneously on sufficiently powerful CPUs.
442:
S-YXG100plus-VL Soft
Synthesizer for PCs with any sound card (again, the VL part only worked on Windows 95, 98, 98SE, and ME: it emulated a .VxD MIDI device driver). Likewise equivalent to an MU50 (minus certain digital effects) plus VL70m. The non-VL version, S-YXG50, would work on any Windows OS,
438:
portion of such sound chips, when the VL was enabled, was functionally equivalent to an MU50 Level 1 XG tone module (minus certain digital effects) with greater polyphony (up to 64 simultaneous notes, compared to 32 for Level 1 XG) plus a VL70m (the VL adds an additional note of polyphony, or,
291:
Waveguides such as acoustic tubes are three-dimensional, but because their lengths are often much greater than their cross-sectional area, it is reasonable and computationally efficient to model them as one-dimensional waveguides. Membranes, as used in
272:
merely involves summing two delayed copies of its traveling waves. These traveling waves will reflect at boundaries such as the suspension points of vibrating strings or the open or closed ends of tubes. Hence the waves travel along closed loops.
397:
PLG-100VL, PLG-150VL (1999) — plug-in cards for various Yamaha keyboards, tone modules, and the SWG-1000 high-end PC sound card. The MU100R rack-mount tone module included two PLG slots, pre-filled with a PLG-100VL and a PLG-100VH (Vocal
42:. Digital waveguides are efficient computational models for physical media through which acoustic waves propagate. For this reason, digital waveguides constitute a major part of most modern
354:
and makes it unnecessary to model the instrument body's resonances after synthesizing the string output, greatly reducing the number of computations required for a convincing resynthesis.
153:
288:
elements. Losses incurred throughout the medium are generally consolidated so that they can be calculated once at the termination of a delay line, rather than many times throughout.
401:
YMF-724, 744, 754, and 764 sound chips for inexpensive DS-XG PC sound cards and motherboards (the VL part only worked on
Windows 95, 98, 98SE, and ME, and then only when using
621:
350:, wherein the excitation to the digital waveguide contains both string excitation and the body response of the instrument. This is possible because the digital waveguide is
210:
183:
270:
250:
230:
347:
587:
706:
Julius O. Smith (2008). "Digital
Waveguide Architectures for Virtual Musical Instruments". In David Havelock; Sonoko Kuwano; Michael Vorländer (eds.).
296:, may be modeled using two-dimensional waveguide meshes, and reverberation in three-dimensional spaces may be modeled using three-dimensional meshes.
868:
749:
Model behaviour. The technology your PC uses to make sound is usually based on replaying an audio sample. Brian
Heywood looks at alternatives.
611:
17:
790:
769:
738:
717:
994:
861:
364:
The first musical use of digital waveguide synthesis was in the composition May All Your
Children Be Acrobats (1981) by
339:
owned the patent rights for digital waveguide synthesis and signed an agreement in 1989 to develop the technology with
67:
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889:
854:
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332:
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43:
414:). No longer made, presumably due to conflict with AC-97 and AC-99 sound card standards (which specify '
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838:. Note the use of the joystick to control the vibrato effect of the plucked strings physical model.
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is the left-going wave. It can be seen from this representation that sampling the function
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919:
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who helped develop it and eventually filed the patent. It represents an extension of the
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321:
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to represent the frequency-dependent losses and mild dispersion in the medium, and often
761:
Numerical Sound
Synthesis: Finite Difference Schemes and Simulation in Musical Acoustics
1004:
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914:
782:
Digital sound synthesis by physical modeling using the functional transformation method
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Prototype waveguide software implementations were done by students of Smith in the
842:
Yamaha VL1 with breath controller vs. traditional synthesizer for wind instruments
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35:
806:
825:
686:
484:(2005) with some modules, for instance the STR-1 plucked strings physical model
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365:
281:
841:
835:
1060:
831:
460:
54:
807:
Julius O. Smith III's ``A Basic
Introduction to Digital Waveguide Synthesis"
505:
317:
305:
563:
280:
to represent the geometry of the waveguide which are closed by recursion,
877:
811:
695:"Yamaha, Stanford join forces. Licensing program offers new technologies"
487:
447:
31:
846:
564:"Digital Waveguide Synthesis Papers, Software, Sound Samples, and Links"
385:
VL1m, VL7 (1994) — tone module and less expensive keyboard, respectively
816:
540:
481:
297:
285:
431:
427:
309:
39:
446:
S-YXG100plus-PolyVL SoftSynth for then-powerful PCs (e. g. 333+MHz
466:
778:
351:
612:"Inside a Luxury Synth: Creating the Linux-Powered Korg OASYS"
434:
sound system, which
Sondius-XG cannot integrate with). The
536:
455:
435:
394:
EX5 (1999) — workstation keyboard that included a VL module
293:
49:
A lossless digital waveguide realizes the discrete form of
346:
An extension to DWG synthesis of strings made by Smith is
320:
digital waveguide elements are used to model the strongly
404:
817:
Virtual
Acoustic Musical Instruments: Review and Update
343:, however, many of the early patents have now expired.
327:
The term "digital waveguide synthesis" was coined by
258:
238:
218:
191:
164:
70:
382:
VL1 (1994) — expensive keyboard (about $ 10,000 USD)
672:"Yamaha VL-1 revolutionizes synthesizer technology"
368:, followed by his Silicon Valley Breakdown (1982).
517:Reality (1997) - one of the earliest professional
264:
244:
224:
204:
177:
147:
1058:
535:Dimension Pro (2005) - software synthesizer for
705:
669:
862:
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61:of a right-going wave and a left-going wave,
510:Creative WaveSynth (1996) for Creative Labs
312:) can be modeled by a related method called
276:Digital waveguide models therefore comprise
148:{\displaystyle y(m,n)=y^{+}(m-n)+y^{-}(m+n)}
822:Modeling string sounds and wind instruments
726:
869:
855:
779:Lutz Trautmann; Rudolf Rabenstein (2003).
709:Handbook of Signal Processing in Acoustics
692:
876:
391:VL70m (1996) — less expensive tone module
683:Yamaha VL1. Virtual Acoustic Synthesizer
764:. John Wiley and Sons. pp. 11–14.
308:and other sounding solids (also called
14:
1059:
850:
24:
663:
592:The Synthesis ToolKit in C++ (STK)
25:
1078:
800:
733:. Focal Press. pp. 288–289.
568:Julius Orion Smith III Home Page
53:solution of the one-dimensional
624:from the original on 2011-08-15
712:. Springer. pp. 399–417.
635:
604:
580:
556:
142:
130:
114:
102:
86:
74:
44:physical modeling synthesizers
13:
1:
812:Waveguide Synthesis home page
670:Daniel Levitin (7 May 1994).
549:
324:behavior of waves in solids.
785:. Springer. pp. 77–86.
747:Brian Heywood (22 Nov 2005)
730:Sound Synthesis and Sampling
693:Paul Verna (2 August 1997).
371:
185:is the right-going wave and
7:
500:WSA1 (1995) PCM + resonator
28:Digital waveguide synthesis
10:
1083:
588:"PluckTwo Class Reference"
1026:
1003:
965:
928:
885:
828:magazine, September 1998
643:"Cakewalk Dimension Pro"
333:Karplus–Strong algorithm
834:playing on Korg Oasys
758:Stefan Bilbao (2009).
388:VP1 (prototype) (1994)
266:
246:
226:
206:
179:
149:
18:Julius Orion Smith III
1067:Sound synthesis types
995:Karplus–Strong string
267:
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207:
205:{\displaystyle y^{-}}
180:
178:{\displaystyle y^{+}}
150:
1046:Software synthesizer
890:Frequency modulation
727:Martin Russ (2008).
519:software synthesizer
490:(2011) same as OASYS
256:
236:
216:
189:
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68:
1028:Digital synthesizer
512:Sound Blaster AWE64
337:Stanford University
329:Julius O. Smith III
278:digital delay lines
1005:Analog synthesizer
967:Physical modelling
348:commuted synthesis
262:
242:
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175:
145:
1054:
1053:
1041:Scanned synthesis
980:Digital waveguide
895:Linear arithmetic
836:Youtube recording
792:978-0-306-47875-8
771:978-0-470-51046-9
740:978-0-240-52105-3
719:978-0-387-77698-9
469:, MOSS-TRI (1997)
359:Synthesis Toolkit
314:banded waveguides
265:{\displaystyle n}
245:{\displaystyle m}
232:at a given point
225:{\displaystyle y}
16:(Redirected from
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975:Banded waveguide
900:Phase distortion
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38:using a digital
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664:Further reading
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472:EXB-MOSS (2001)
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316:where multiple
282:digital filters
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801:External links
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687:Sound on Sound
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647:Sound On Sound
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620:. 2005-11-09.
617:O'Reilly Media
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957:Concatenative
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420:sample tables
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306:singing bowls
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59:superposition
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55:wave equation
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33:
29:
19:
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930:Sample-based
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675:
650:. Retrieved
646:
637:
626:. Retrieved
615:
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595:. Retrieved
591:
582:
571:. Retrieved
567:
558:
521:products by
506:Seer Systems
398:Harmonizer).
363:
356:
345:
326:
318:band-limited
290:
275:
157:
51:d'Alembert's
48:
27:
26:
910:Subtractive
689:, July 1994
448:Pentium III
430:-competing
422:) based on
920:Distortion
678:: 102–103.
652:2019-07-17
628:2019-07-17
597:2019-07-17
573:2019-07-17
550:References
541:Windows XP
523:Dave Smith
416:wavetables
322:dispersive
310:idiophones
298:Vibraphone
286:non-linear
942:Wavetable
699:Billboard
676:Billboard
476:OASYS PCI
372:Licensees
252:and time
198:−
126:−
109:−
40:waveguide
32:synthesis
1061:Category
947:Granular
915:Additive
622:Archived
531:Cakewalk
496:Technics
461:Prophecy
1018:Modular
990:Formant
934:Sampler
905:Scanned
361:(STK).
57:as the
30:is the
952:Vector
789:
768:
753:PC Pro
737:
716:
488:Kronos
478:(1999)
463:(1995)
424:Roland
378:Yamaha
352:linear
341:Yamaha
300:bars,
158:where
880:types
701:: 56.
482:OASYS
302:bells
294:drums
36:audio
787:ISBN
766:ISBN
735:ISBN
714:ISBN
539:and
537:OS X
525:team
456:Korg
436:MIDI
411:.WDM
335:.
932:or
426:’s
418:' (
405:VxD
34:of
1063::
824:-
751:,
697:.
685:,
674:.
645:.
614:.
590:.
566:.
467:Z1
432:GS
428:XG
304:,
46:.
870:e
863:t
856:v
795:.
774:.
743:.
722:.
655:.
631:.
600:.
576:.
543:.
514:.
403:.
260:n
240:m
220:y
194:y
171:+
167:y
143:)
140:n
137:+
134:m
131:(
122:y
118:+
115:)
112:n
106:m
103:(
98:+
94:y
90:=
87:)
84:n
81:,
78:m
75:(
72:y
20:)
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