Artikels

Jaap Vink's Multiplied Feedback In Memoriam Rob Hordijk Meantone Temperaments Mother of all Artificial Reverberations Footages vs Harmonics The Time Machine Mixtures Apollo III Carillon Computer Introduction DX7!The FM Synthesis of a Carillon Bell Acoustic musical instruments, a concise sonological exploration Virtual Reed Organ Werner Kaegi's VOSIM Multiple identities of the simple S&H PLL synth Synthesizer Sings Sounds with Soul The complexity of timbre Serendipity, Pitch Tracker From Ring Modulator to Multiplier Resonance Strings Reverb FX All Pass, fexible FX tool: vibrato, leslie, phasing, delay About sine wave, formants, vowels, consonants and overtone singing The Ondes Martenot Back to Old School Sequencing Plucked String Modal Synthesis: Virtual Mallet Instruments Tone Bending The automatic chime Granular Synthesis Percussion Instruments FoSyn Oscillator Feedback, the interaction in Physical Models A cyber musician, a bow and string An other view at filters Doppler Panner Electronic Organ Wind Brass Instruments Deceptive Overtones

Percussion Instruments

Physical Modeling Percussion Synth with Delay Line and All Pass Filter

At first glance it may seem strange to have a delay line as the basis for percussion sounds. Percussion sounds are generally seen by a non-harmonic overtone structure. Up to now, we use the delay line in the form of a comb filter as a harmonic resonator for generating string and wind instrument sounds.

percussion-instruments.pdf
foekepot-doumbek.pdf
percussion-1.jpg
percussion-1.pch2
percussion-2.pch2
sh-sequence-1.pch2

percussion3.mp3

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percussion2.mp3

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percussion1.mp3

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