KR100570569B1 - Synthesizer and method for simulating transients and vibrations of string - Google Patents

Abstract

The present invention relates to a sound synthesizer for a stringed string instrument that simulates noise and transients generated before and after transitions between sounds. It is produced by combining the certain synthesized sound of a particularly stringed string with its final output. In particular, both the transition tap tone and longitudinal vibration of the string resulting from the run and the damping tap tone resulting from damping the string are simulated. In one embodiment, the tap tones produced at attack and when the string is run are synthesized and then used to stimulate the resonant circuit, thereby simulating both the run and tap tones and the transverse vibration of the string. Furthermore, the last damping sounds that occur at the end of the segmented sound are also simulated by using an independent synthesized sound synthesis portion, or by stimulating the resonant circuit with a tap tone while retuning the resonant circuit at the same time.

Description

Synthesizer and method for simulating elapsed sound and vibration of strings {SYNTHESIZER AND METHOD FOR SIMULATING TRANSIENTS AND VIBRATIONS OF STRING}

The present invention relates to the simulation of sounds produced by pucking stringed instruments.

A software appendix is attached to this specification. The appendix is under copyright protection. Applicant has no objection to the reproduction of the appendix in the form presented in the US Patent and Trademark Office file, but reserves all other rights under copyright law.

Recent developments in integrated circuit technology have made it possible to build synthesizers or computers that can process sound samples quickly and efficiently. Indeed, for some music production and performances, such as pop music concerts and pop music recordings, it has become convenient and inexpensive to use synthesizers or electronic instruments instead of live performers. "Clavinova" produced in Yamaha, MIDI guitars, and synthesizers produced in Kurzweil and Yamaha are examples of popular electronic musical instruments.

The ultimate goal of designing these instruments is to achieve a sound that is closest to the synthesized instrument over the entire pitch range, at low cost and without complexity. In order to achieve the above object, in order to simplify the synthesis model without degrading sound quality, sound perception and psychoacoustics must be well understood to determine which components of sound are important to the human ear.

In general, current state-of-the-art synthesis apparatuses generally use a combination of wavetable synthesis, FM synthesis, and additive synthesis methods. There are also some of the latest models that incorporate physical modeling synthesis. In the wavetable synthesis method, some or all of the acoustic instrument notes are recorded digitally. The recorded sound data is then digitally processed to achieve notes that include various amplitudes, durations, pitches, and other important parameters specific to the instrument. In FM synthesis, previously recorded sound data is not used; Instead, oscillator pairs are properly enveloped and weighted to produce frequency and amplitude modulated sine waves which are then added. In additive synthesis, the frequency components of sound are generated separately, enveloped, and combined. Pure additive synthesis is not commercially viable, especially because of the large number of components that must be used to produce realistic sounds, especially for the synthesis of transitional and non-linear parts. Finally, in the physical modeling synthesis method, the solutions of the equations that control the wave propagation of the instrument are numerically solved, and the result produces a sound sample.

These and other methods, or a combination of the above methods, have been found to be successful in synthesizing different unique instruments. In particular, FM and wavetable synthesis methods have been successfully applied to pianos, most percussion and wind instruments in some pitch ranges. On the other hand, physical modeling synthesis is very effective in synthesizing sounds produced by nonlinear effects that are particularly important in all wind and bowed stringed instruments. However, physical modeling synthetic models are very new and are very difficult to realize, and as a result are not commercially viable yet.

A drawback with general state-of-the-art sound synthesizers is that they produce articulation between sounds. Even if an isolated single note is perfectly synthesized, an inadequate segmentation of some notes played in succession makes the sound impractical. Particularly, the old sound and noise generated during the forefront of changing notes are very important components. In some instruments, such as flutes, this is a very important problem, since during the transition there is a non-linear effect that cannot be successfully simulated by FM synthesis or wavetable synthesis.

Furthermore, current state-of-the-art synthesizers fail to properly display the transitional sound in the reproduced sound. When the output of a typical synthesizer is examined in detail, it is often found that the notes of the stringed stringed instruments being synthesized do not have the transitions found in live recordings of real instruments. These transition sounds are important not only for successfully synthesizing segmented note sequences, but also for isolated single notes. A "classic guitar" (a guitar that sounds with a nylon string) "is a very good example: the typical FM synthesis method or physical modeling synthesis method for the instrument sounds when hitting a body known as" tap sound. " The tapping sound is caused not only in the longitudinal mode vibration of the string generated when the string is first stroked, but also in the vibration that occurs in the tree when the string is first stroked, and also during the short period before releasing the string. I can hear it. Without these components, each synthesized note sound or segmented note sounds can be easily distinguished from the sound produced in a real instrument.

If the wavetables were properly recorded, the wavetable synthesis method may include such elapsed sound components; However, in current wavetable synthesizing devices, elapsed sounds are not recorded separately, so it becomes impossible to manipulate them regardless of the notes on which they are based; This means that the reproduced sound quality can be very good with respect to pitch, beat, and duration, so that most pitches, beats, and durations can be close to the original recording, while elapsed sound is a live instrument. This means that the reproduced sound quality becomes poor because it does not match with the elapsed sound generated.

In accordance with the principles of the present invention, in addition to the vibrations of the original strings simulated by the system as previously described, most of the old sounds produced in the stringed stringed instruments are also simulated. Particularly convincing synthesis for stringed stringed instruments is produced by combining the transition into the final output.

In particular, in one aspect, the present invention utilizes a resonant circuit tuned to the fundamental natural frequency of the string being run, thereby inducing a resonant circuit with an elapsed sound corresponding when the string is run. It has the characteristic of simulating Therefore, the synthesizing apparatus for simulating the stringed string sounds includes a resonant circuit and a synchronizing sound synthesis portion. The elapsed sound synthesis portion provides a simulation of the audible attack elapsed sound, which is of first duration. The resonant circuit is tuned to produce an audible tone corresponding to the simulated sound, which has a longer duration than the first duration. The output of the old sound synthesis portion is fed to the resonant circuit to induce the resonant circuit, thereby producing an audible tone that simulates the sound of the stringed stringed instrument.

In another aspect, the present invention has the characteristic of simulating both longitudinal transverse vibration of the string as well as transverse longitudinal vibration for longer periods of time. Thus, a synthesizing apparatus for generating a simulation for the sound of a stringed stringed instrument has a transverse synthesis portion that simulates an audible tone in the transverse vibration of the string, and also a longitudinal direction that provides a simulation for the longitudinal vibration of the string. Includes synthetic parts. The outputs of the transverse synthesized portion and the longitudinal synthesized portion are combined to produce an output signal that simulates the sound of the stringed string instrument.

In a particular embodiment of the invention relating to this aspect, the longitudinally synthesized portion is stimulated by a sawtooth waveform, resulting in simulating the transition that is produced when the reeling of a string of stringed stringed instruments is performed.

In a third aspect, the invention is characterized by simulating elapsed sound during the last damping of the simulated sound.

In one embodiment, the damping noise is simulated by an independent old sound synthesis portion. A synthesizing apparatus for providing a simulation of the sound of a stringed stringed instrument includes a sound synthesis section and an old sound synthesis section. The sound synthesis portion provides a simulation of an audible tone, corresponding to the simulated sound, which has a duration from the simulated run time of the joule to the last damping period of the subsequent simulated runout of the joule. . The old sound synthesis portion provides a simulation of the audible old sound, which is shorter than the first duration and also occurs during the last damping period. The outputs of the sound synthesis section and the old sound synthesis section are combined to produce an output signal that simulates the sound of a stringed instrument that is played during the damping period.

In another embodiment, damping noise is simulated by retuning the sound synthesis device during the damping period. In particular, the sound synthesizer may include a first filter, a second filter, and a first signal connecting the signal output from the first filter to the input of the second filter and a signal output from the second filter to the input of the first filter, respectively. And a delay element and a second delay element. Furthermore, the sound synthesizer reflects the portion of the adjustable signal transmitted to the second delay element through the first delay element and also the portion of the adjustable signal transmitted to the first delay element through the second delay element. To this end, a scattering junction SCATTERING JUNCTION is coupled to the first and second delay elements. In order to simulate damping, the scatter junction is adjusted to echo almost most of the signals before damping.

The above and other objects and advantages of the present invention will become apparent from the detailed description of the present invention and the accompanying drawings.

The accompanying drawings, which are incorporated in and constitute a part of this specification, illustrate embodiments of the invention in conjunction with the general description provided above, and the description of the embodiments provided below is provided to illustrate the principles of the invention.

For the following detailed description, various terms are first defined to simplify the following text:

Plucked String Instrument (PSI): The term " stringed string instrument " is connected to the " body " and is " string " which can be set to vibration by a " Plucking Device ". Depicts an instrument comprising a. Examples include all other kinds of guitars including but not limited to classical, electric, folk, flamenco, iron strings, nylon strings and the like; All kinds of mandolin and banjo; Either with or without frets of all types of reinforcing frets, including but not limited to baroque lutes, renaissance lutes, uds, saz, tammburas Not lutes; All kinds of citters; With all kinds of harps; All types of harp: all kinds of bowed stringed instruments, played using techniques such as pizzicato; All kinds of retracted zither, including but not limited to harpsichord, virginal, spinnet, koto and vina There is.

Plucking Device (PD): The "plucking device" excites longitudinally and / or laterally, sets the initial state (typically stretched laterally by the length of the string), and releases it. This is the tool used to set the strings of stringed string instruments to work. Examples are human nails, the human finger itself, and all kinds of pickra made of any material.

String: The “string” of a PSI is a stretchable cylindrical part, which may vibrate in the longitudinal and transverse directions to produce audible sound. The string is made of a material that has much less stiffness than other parts of the instrument. Joule stiffness is related to material constants such as Young's Modulus and Bulk Modulus. The material from which the string is made may be, but is not limited to, nylon, gut, iron, and coated or uncoated wound nylon.

Body: The "body" of the PSI is the part where the strings are connected. Depending on the stiffness and size of the body, the body resonates considerably with the string and thus acts like a resonant circuit. In some instruments, however, the body is very small or very stiff, as in an electric guitar, and does not resonate as the string vibrates. The body may be made of wood, metal, or any material such as a polymer (plastic).

Resonant Circuit: The resonant circuit of the PSI is the body itself or the part connected to the body. Examples of resonant circuits include hollow, wooden tubes, or boxes of arbitrary shapes and materials, such as classic guitars, harpsichords, or lutes, but are not limited to these.

Longitudinal Vibrational Tone (LVT): This tone is generated due to the longitudinal vibration mode of the string. The mode is typically excited by sliding motion of the tool against the length of the string. Depending on the texture of the string, eg twisted or rough, LVT can coexist with sound that can be expressed as white noise.

Tap Tone (TT): When the PD places a string to play a note or prepares to play the next note, when the string is damped, it interacts with the main body or the resonant circuit. Tons due to impact generated.

Damping Noise (DN): A buzzing noise that can be heard when the position of the PD is very close to the line so that the amplitude of the line can be suppressed by the PD. Damping noise causes some of the energy to be lost, or results in the loss of elapsed sound, which can be represented by a clipped sinusoid. Damping noise is also generated in instruments such as banjo whose strings are so close to the main body that the transverse motion of the string is limited by the main body, and forms a very important part of the sound produced by these instruments.

Transverse Vibrational Tone (TVT): A tone produced when a string vibrates in the direction transverse to its length. Typically, such vibration modes last for a relatively long duration compared to LVT or TT and are the basis for the perceived pitch of the notes being played. The transverse vibration has two components because the string can vibrate freely in two dimensions.

As a preliminary knowledge to begin with, it is useful to elaborate on the vibration modes of the strings in stringed stringed instruments. The vibration of the string can be divided into two components: longitudinal vibration and lateral vibration. Transverse vibrations are caused when molecules in a string move in a plane perpendicular to the longitudinal axis of the string. Since two Cartesian coordinates can be defined in this respect, there are two transverse modes. If the string extends in the x direction, these modes can be considered to vibrate in the y and z directions.

Firstly, the two transverse modes are independent of each other, so in this case the fundamental frequency f ₀ of each transverse mode is given as follows.

Where T is the tension of the string, ρ is the volume density, and L is the length of the string. ρ can be considered to be a constant, which is a valid assumption if the line is uniform.

However, performing secondary and more corrections should be considered to achieve a successful synthesis model for the sound of stringed instruments. In most stringed instruments, the point where the string is attached to the body is not symmetrical in the y and z directions. This is not the same boundary condition for the y and z directions, which results in different fundamental frequencies and chords. Another reason for the differentness as described above relates to the connection of the stringed stringed instrument to the geese. Admittance for geese is not the same in both directions.

Coupling between two transverse modes indicates the perceived “beating” of oscillation, ie that potentially slightly different fundamental frequencies are simultaneously transversely out of phase. In strings that are not sufficiently uniform, the beatings can be heard very well, for example due to extended use and / or manufacturing defects or due to varying properties of the material.

The strings also represent longitudinal vibrations. Longitudinal vibration occurs because the material of the string is compressed and expanded along the length of the string. (These vibration modes are the primary basis for the sound of cylindrical wind instruments, such as flutes and pipe organs, that are compressed and expanded along the length of the string to provide a sense of the sense of the column of air inside the instrument. First, the frequency along the length of the string is independent of the tension of the string. In contrast to the transverse vibration, the fundamental frequency for the longitudinal vibration is as follows.

Where f ₀ , E, ρ ₀ , and L are the fundamental frequency, Young's modulus, mass density, and string length, respectively.

Longitudinal vibration mode is typically induced by chording strings of stringed instruments. For example, in a classical guitar, the longitudinal vibration mode is excited by sliding motion to the side along the string as part of the player's fingernail chording the string. In general, the angle of the muzzle tool determines how strongly the mode is excited. In particular, longitudinal vibrations are minimal when the tool is hitting the string perpendicular to the longitudinal direction of the string. As the angle of the muzzle tool approaches the longitudinal axis of the string, the induction of the longitudinal vibration mode is increased.

Remember that the longitudinal vibration frequency is first independent of the tension of the string. This is consistent with the experimental observation that even if the tuning of the strings is changed, the fundamental frequency audible to the old sound is unchanged before the transverse vibration occurs. Remember that the Young's modulus itself varies over time and also depends on the tension of the string. Using a point where E = 4.5 × 10 ⁹ N / m 2 and ρ ₀ = 1.607 g / cm 3 in G string vibration in a classical guitar, f ₀ = 1600 hertz. The experimental value obtained from the recorded sample is 1546 hertz. These and other figures demonstrate that the sliding motion of the trajectory tool actually excites the longitudinal mode.

The main body of the stringed instrument and the resonant circuit have a unique vibration mode. Because the body has a three-dimensional structure, the mode of the body is much more complicated than the mode of the string, and the reactions generated when the body is excited do not occur at regular intervals. This causes a percussive sound to be produced when the string vibrates, or when the body is excited by the runner tool itself. Furthermore, instruments that have a hollow and airy body also have vibration modes that relate to the resonance of air in the body. In general, the air trapped in the body forms a Helmholz resonant circuit, which is strongly coupled to the body and the resonant circuit.

In the following, various synthesis methodologies are combined to reliably simulate the vibration modes discussed above. Methodologies include wavetable synthesis, FM synthesis, and physical modeling.

Wavetable synthesis involves the recording machine continuously repeating p samples. Envelopes also apply to the shape of other signals. Assuming that A _n is the nth sample produced by the synthesizer, the mathematical conclusion of wavetable synthesis is A _n = A _np . Where p is called the table length. The table length determines the amount of memory needed to store the wavetable and the tone's periodicity. Various pitches can be obtained by interpolating and / or decimating the samples in the wavetable to produce more or fewer samples, thus reducing or increasing the perceived pitch. Can be.

FM synthesis uses multiple oscillator pairs whose output signals are weighted and added to produce the final sound. In each pair, one oscillator is a carrier and the other oscillator is a modulator. The output of the oscillator pair can be expressed as:

Where A _n is the amplitude of the carrier, W _c is the carrier frequency, m (n) is the modulation amplitude, and w _m is the modulation frequency. If the w _c / w _m ratio is not an integer, FM synthesis is particularly useful for synthesizing non-harmonic tones since S _n is a non-harmonic spectrum defined by the vessel function.

In physical modeling synthesis, wave equations for lines are solved numerically using techniques such as delay lines, finite differential approximation, and finite element methods. If stiffness and other secondary effects can be neglected, the wave equation can be written as:

Where Y (x, t) is the axial displacement and c is the speed of sound. Solution of the wave equation is Y (x, t) = Y + (x, t) + Y - is a traveling wave component ^- is in the form of (x, t), where Y ⁺ and Y. If the equation is discontinuous at the sampling frequency (1 / Δt) and the value of Δx / Δt is c, the solution of the equation is solved using waveguide-like delay lines representing leftward and rightward traveling waves (FIG. 1B). If the value of Δx / Δt is not c, then a more complicated finite differential approximation method should be used, because the delay line model is not valid in this case.

Referring now to FIG. 1A, a high quality embodiment of a synthesizing device 10 of a string of strings is shown in a general form. In an embodiment, the synthesizing apparatus 10 includes a Longitudinal Vibratory Tone (LVT) synthesizing portion 12 for synthesizing the longitudinal vibrating sound. More details regarding the LVT synthesis portion 12 will be provided below with respect to FIGS. 5A and 5B.

The synthesizing apparatus 10 further comprises two lateral vibration tone (TVT) portions 14, 16, which combines the two components of the transverse lateral vibration. These components are connected together by a bridge filter 18 to simulate the transfer of energy between the two transverse modes of vibration occurring in the geese of the stringed instrument. More details about the TVT portions 14, 16 and bridge filter 18 will be provided below with respect to FIG. 1B.

The synthesizing apparatus 10 in FIG. 1A also includes a tap tone (TT) synthesizing portion 20, wherein the tap tone synthesizing portion is a transverse sound generated by lateral vibration and contact between the string and the ritual tool before the string is released. When the vibrations of the strings, and strings are damped by the muzzle tool, synthesize the sound between the sounds. The TT portion 20 is connected to the bridge filter 18, which in turn is also connected to the TVT components 14, 16. Bridge filter 18 implements the transmission coefficient and reflection coefficient for all directions. In such an approach, the simulated tap tone provided by the TT portion 20 establishes the boundary conditions in the physically modeled TVT portions 14, 16, which are the same as those imposed in the finite differential approximation, As a result, the physical model can be implemented directly.

To produce an output signal, the outputs of the TVT portions 14, 16 are summed by an adder 22. The output of the adder 22 is summed by the second adder 24 with the output of the LVT portion 12 to produce the sound of the stringed stringed instrument of the simulation in line 26. In an embodiment using a digital scheme, the simulated sound on line 26 is a digital sample sequence, which is then passed to a digital to analog converter to drive one or more speakers.

Referring now to FIG. 1B, the details of the TVT portions 14, 16 and the bridge filter 18 can be described. In this embodiment, the lateral vibration modes for the string are synthesized by resonant circuit model and physical modeling, such as portions 14 and 16 presented in FIG. The portions 14, 16 are structurally identical, but in the form of mirror images of each other and combine in the bridge filter 18. {Although various parameter values, such as the scalar values of the components or the filter transfer function, are set slightly differently to simulate the beats between the lateral vibration modes} Those parts are identified by 'A'. Parts of part 14 and parts of part 16 identified by 'B' will be referred to collectively in the description below. Respective portions include delay lines 30A / 30B, 32A / 32B, 34A / 34B, and 36A / 36B, and low pass filters 38A / 38B, 40A / 40B, 42A / 42B, 44A / 44B, 46A / 46B, and 48A / 48B). When the strings at the beginning and end of the note are interlocked by the meddle tool, the delay lines 30A / 30B and 34A / 34B having the same delay length represent the portion of the string between the tangled tool and the hanging needle. Delay lines 32A / 32B and 36A / 36B having the same delay length represent the string portion between the geese head and the rim tool.

Between the delay lines is a scatter junction 50A / 50B, which simulates the effect of engagement of the reel tool with the string. In particular, the scatter junction determines the echo and transmission coefficients for the transverse vibration waveform simulated by the portions 14, 16. For example, when a PD initially interacts with a string, if the PD presses the string strongly, the PD almost completely dampens the vibrations that occur at the point of contact with the string. This effectively splits the string into two parts, freeing vibration at the midpoint. In this case, all traveling wave components are suppressed in two halves of the row.

In order to model the resulting change in the mechanical properties of the cord, the scattering junction can, if appropriate, either of the delay lines 32A / 32B and 34A / 34B in the delay lines 30A / 30B and 36A / 36B. Real-time adjustable scalar portions 52A / 52B, 54A / 54B, 56A / 56B, and 58A / 58B to convey signals to both.

For example, if the PD almost completely dampens the vibration at the point of contact with the string, the output signal of the delay line 36A / 36B echoes directly to the delay line 32A / 32B via the scalar portion 58A / 58B. At this time, there is almost no signal going to the delay line 34A / 34B through the scalar portions 56A / 56B. Similarly, in this case, the signal output of the delay lines 30A / 30B is reflected directly to the delay lines 34A / 34B through the scalar portions 54A / 54B, at which time through the scalar portions 52A / 52B. There is almost no signal going to the delay lines 32A / 32B. {The tool or peak is not completely stiff, resulting in movement with the vibrating string, thus allowing some signal to pass through, which signal can be transmitted even when the tool is in full contact, e.g. 0.5% Modeled by scalar portions 52A / 52B and 56A / 56B that allow the same small amount of signal to pass through.

Alternatively, when the runner is released from contact with the string, there is no echo of the signal as described above, so that all output signals of the delay lines 36A / 36B are routed through the scalar portions 56A / 56B. There is no signal reflected directly to the delay line 32A / 32B through the scalar 58A / 58B by being delivered directly to 34A / 34B. Similarly, in this case, the output signal of the delay line 30A / 30B is the scalar part. There is no signal echoed to the delay line 34A / 34B through the scalar portion 54A / 54B by being delivered directly to the delay line 32A / 32B via 52A / 52B.

While the tool is in contact with the string, a partial echo is produced, in which case each scalar pair produces a partially passing component and a partially reflected component. The sum of the scalar portions may be equal to the sum when the scalar portions have been adjusted to simulate such partial reflections for some time, or the sum may be a loss caused by contact with the ritual tool. It may be slightly smaller than that to model.

Thus, the motion of the ballistic tool is easily simulated by simply adjusting the transmission and echo coefficients established by the scalar portions 52A / 52B, 54A / 54B, 56A / 56B, and 58A / 58B. This is especially important when damping strings in which the PD is already vibrating, and therefore plays a very important role for articulation.

The result of adjusting the scalar portions of the scattering junction 50 is to retune the resonant circuits of the portions 14, 16 because the resonant frequency generated in the portions 14, 16 depends on the delay lengths of the delay lines. to be. The filters 38A / 38B, 44A / 44B are biquad low pass filters and exhibit loss in the joule and echo coefficients in drapes and geese. The filters 40A / 40B, 42A / 42B, 46A / 46B, and 48A / 48B are first order tradition and filters and are used to generate dissonance by tuning the pitch and inducing phase delay. The resulting filter matrix is at least a third order filter matrix, preferably a fourth order filter matrix. This ensures a perfect match of the decay profile over the perfect pitch range of the stringed stringed instrument.

In order to create a simulation for the transverse vibration of the string, the delay lines are initialized with triangular waveforms. In other words, the delay lines 30A / 30B and 34A / 34B start with a value of zero at the connection with the filters 42A / 42B and 38A / 38B and the delay lines 30A / 30B and 34A / 34B. At the opposite end of is initialized with samples increasing to the maximum value, the delay lines 32A / 32B and 36A / 36B are at their maximum where they are connected with the delay lines 30A / 30B and 34A / 34B. It is initialized with samples starting and decreasing to the value of zero at the opposite end. The initial pattern of the triangle simulates the transverse deflection of the string at the moment the slash tool releases the string. It is an intuitive and physically correct choice, so the spectrum represents the harmonics lost at the correct frequency. In practically deflected rows, it will be appreciated that there are no sharp corners where the maximum deflection occurs, but rather that there are curved corners due to the finite size and elasticity of the tool when the tool is deflecting the file. Thus, even more accurate initialization is done by rounding the sharp end of the triangular initial pattern.

The scalar portions 52A / 52B, 54A / 54B, 56A / 56B, and 58A / 58B are adjusted according to the time interval and the corresponding transition presented in FIG. 3 below. During t _long <t <t _end , the transmission coefficients of the scalar portions 52A / 52B and 56A / 56B in both directions are 1.0, and the echo coefficients of the scalar portions 54A / 54B and 58A / 58B are 0.0. As soon as the string begins to dampen, the runner suppresses displacement. The line displacement is zero when t = t _end . Subsequently, the displacement of the string quickly becomes negative to excite the divided portion of the string. Therefore, t = t from just before the _end until t = t _end, and t = t _end + t _damp, echo coefficients of the scalar unit (54A / 54B and 58A / 58B) are in near proximity value to 1.0 In addition, the transmission coefficients of the scalar portions 52A / 52B and 56A / 56B also decrease to values near zero, such as 0.05. Depending on the excitation, scalar transmission coefficient sequences can be made asymmetric; Furthermore, the sum of the echo and transmission coefficients on one side may be less than 1.0 to induce additional losses.

As mentioned above, the transverse vibration mode synthesizer shown in FIG. 1B models the beating between the two transverse modes through interaction in the bridge filter 18, details of which are shown in FIG. 1A. Is shown. Basically, the bridge filter is essentially a different type of scattering junction and transverse mode oscillation from one mode to the other opposite to the frequency domain filters 61A / 61B which model the reverberation of the transverse mode oscillation in the same mode. Filters 63A / 63B for modeling conversion. The parameters of these filters are not modified while sound is going on, but these parameters are frequency dependent in order to maximize the modeling of the bridge coupling between the transverse modes. Echo and transfer signals from filters 61A / 61B and 63A / 63B are added at adder 65A / 65B and passed to filter 46A / 46B to induce a suitable mode of string.

As noted above, the simulated tap tone generated by the TT portion 20 establishes the boundary conditions for the physically modeled TVT portions 14, 16. This causes the output of the TT portion 20 to be multiplied by the scalar 67A / 67B to be delivered to the adder 65A / 65B, that is to say that the output of the TT portion 20 is part of the initial induction for the transverse vibration mode. And by establishing boundary conditions for traveling waves in each transverse mode.

A simplified embodiment of the stringed string synthesizing apparatus is shown in FIG. The above embodiment includes many of the units presented above, but the interactions between the units are less complicated. In particular, the embodiment includes a longitudinal vibrating tone portion 12, a tab tone portion 20, and transverse vibration tone portions 14, 16. The outputs of the parts are weighted by scalar amplifiers 60, 62, and 64, and then summed by adder 66. This embodiment does not provide the reproduction quality of the previous embodiment, because this embodiment cannot simulate such a connection between the main body and the rope, for example in a wild goose. The resulting interaction between the tap tone and the transverse vibration tones cannot be accurately represented by simply adding up the output of the TVT portions 14, 16 and the output of the TT portion 20.

The physical modeling synthesis presented above and shown in FIG. 1B is expensive to implement as a result, by using multiple delay lines and filters. In the simplified embodiment as shown in FIG. 2, a low quality TVT model can be created by using wavetable synthesis of two lateral vibration modes. Next, two separate synthesized transverse vibration components are added, creating a beating that can be a solid simulation of the TVT mode. The summed output is then multiplied by a time envelope with the same rise pattern as the envelope used by the attack portion of the TT portion (hereafter generated by the envelope circuit 82 presented in FIG. 4A). This is done to ensure that the TT part and the TVT part are recognized as a single tone using the same rising envelope.

The simplified synthesizer in FIG. 2 is capable of modeling not only attack tap tones and damp tap tones, but also longitudinal vibration tones, but dynamic inter-mode interactions that can be realized in physical modeling of TVTs. Is deficient. Furthermore, in the model, as described above, it is not possible to use the TT portion 20 to establish boundary conditions for the TVT portion. Therefore, the result produced tends to be less reliable than the simulation made in the more complicated model shown in FIG. 1A.

Referring to FIG. 3, a description will be made using the relationship between the TVT and TT used in the embodiments shown in FIGS. 1A, 1B and 2, and the LVT components and the time order. As shown in Fig. 3, the sound produced by a string instrument that is played through a single played note starting at time t = 0 and ending at time t = t _end + t _damp can be classified as follows:

0 <t <t _damp During this period, when the PD is placed in contact with the string to play a note, the vibration for the previous note is damped. This creates a buzzing noise with a very short duration at that moment, continuing until the PD starts sliding on the line. This buzzing noise is simulated by damping the tap tone in this region.

t _{damp <<} long During this period, the longitudinal vibration tone LVT is generated because the PD slides along the line. The duration of this spacing is determined by the angle of the PD and the speed of the PD (ie, whether the PD is perpendicular or parallel to the string) as the PD lines up.

t _long <t <t _end At the beginning of this period, the transverse vibration mode of the string is excited by releasing the string from the PD. The energy transfer from the strings to the instrument's body also produces a tap tone, simulated by an attack tap tone in this region.

t _end <t <t _end + t _damp During this period, vibrations on the sound are _damped when the PD is placed in contact with the string to play the next sound. Since the duration of this interval is typically not equal to the negative damp duration before, a suitable simulation thus incorporates the vibration in the damping time between each segmented notes.

Referring to FIG. 4A, details of the tap tone portion 20 are provided. Tap tones are efficiently generated by FM synthesis. Physical models are less efficient than this because the body is more than two dimensional. This means that the physical model contains a number of delay lines connected to each other, in particular two-dimensional or three-dimensional waveguide mesh. The FM synthesis model used in the embodiment shown in FIG. 4A actually has a reduced complexity.

Referring first to attack tap tone portion 70, the tap tone is simulated by a frequency modulated carrier. There are two main occurrences of an attack tap tone (TT): the first is the PD's initial attack on the string before the string begins to vibrate (ie when the previous note is damped), and the second occurs. Is when the PD releases the string and the string delivers some of the energy to the body and / or the resonant circuit. Once a second oscillation is induced, both can listen at the same time. Thus, two oscillators 72 and 74 are used to produce the desired output.

Each oscillator 72, 74 has a first input for controlling the output frequency of the oscillator and a second input for controlling the output amplitude of the oscillator. The frequency input of the first oscillator 72 is connected to the constant portion 76, thus producing a constant oscillation frequency. The amplitude input of the first oscillator 72 is connected to an envelope circuit 77, which, once triggered, outputs a defined time-envelope processed waveform shown in FIG. 4A. Thus, the output of oscillator 72 is a time-enveloped constant frequency alternating waveform.

The output of the oscillator 72 is supplied to the adder 78. The second input of the adder 78 is connected to the constant portion 80. Thus, the output of adder 78 is a time-enveloped constant frequency alternating waveform generated by oscillator 72 and superimposed over a constant baseline value.

The output of adder 78 is connected to the frequency input of second oscillator 74. The amplitude input of the oscillator 74 is connected to a second envelope processing circuit 82 that generates the time-enveloped waveform shown in FIG. 4A. Therefore, the output of the oscillator 74 on the line 84 is the carrier frequency corresponding to the constant part 80, the frequency modulated according to the envelope of the envelope processing circuit 77, and also the envelope of the envelope processing circuit 82. Is the modulated amplitude according to The above waveform is an accurate representation of the attack tap tone produced by the interlocking of the reel tool with the string.

Referring now to the damp tap tone portion 88, the damp tap tone is again simulated by a frequency modulated carrier. Once again, two oscillators 90 and 92 are used to produce the desired output. The frequency input of the first oscillator 90 is connected to the constant portion 94, which in this way produces a constant oscillation frequency. The amplitude input of the first oscillator 90 is connected to an envelope processing circuit 96 which, once triggered, outputs a defined time-envelope processed waveform as shown in FIG. 4A. The output of oscillator 90 is supplied to adder 98. A second input of the adder 98 is connected to the constant portion 100. Thus, the output of adder 98 is a constant frequency alternating waveform generated by oscillator 90 and superimposed over a constant baseline value. The output is connected to the frequency input of the second oscillator 92. The amplitude input of oscillator 92 is connected to a second envelope processing circuit 94, which generates the time-enveloped waveform shown in FIG. 4A. Accordingly, the output of the oscillator 92 at the line 101 is the carrier frequency corresponding to the constant portion 100, the frequency modulation modulated according to the envelope of the envelope processing circuit 96, and the output of the envelope processing circuit 94. The amplitude modulated by the envelope. This waveform is an accurate representation of the damp tap tone produced by the runner tool against the transversely vibrating string.

The temporal envelope blocks 77, 82, 94, and 96 in FIG. 4A are suitably triggered when the longitudinal and transverse vibrations begin and end. The damp portion 88 is triggered at t = 0 and t = t _end in FIG. 3 and is audible at the end of each note. Attack portion 70 is triggered at t = t _long in FIG. 3 and is audible at the beginning of the sound. The envelopes for each of the blocks 77, 82, 94, and 96 are selected according to the specific geometry and vibration mode of the stringed stringed instrument being simulated. These can be determined from recording a number of parameters related to performance such as, for example, the PD speed, the position of the PD relative to the geese, and the angle of the PD. In some cases, depending on the instrument used, it may be necessary to include one or more additional parts similar to parts 70 and 88 to properly simulate all frequencies present in the attack tap or damp tap tones. have.

While being attacked at the earliest point in time of the tap tone, in particular, the frequency spectrum of the generated sound is very wide. In order to properly simulate this initial spectrum, the enveloped white noise generated by portion 102 is superimposed over the tap tone of the FM synthesis produced by portions 70 and / or 88. Portion 102 includes a random signal generator 106 that generates white noise and a time envelope processing circuit 104, which, when triggered, generates the time envelope shown in FIG. 4B. The output of the envelope processing circuit 104 and the white noise generator 106 is passed to a multiplier 108, which produces the multiplied values of these signals on line 110. Thus, the signal at line 110 is a simple pulse of white noise. The envelope produced by the circuit 104 is similarly determined from recording an instrument with various parameter variations.

Additional problems arise in synthesizing tapped tones in the case of wound or very rough strings. In the case where the PD slides in the string, the stringed string instrument produces a tapped tone that continues to be re-induced when the PD hits each of the winding or rough of the string. The coiled PD skips the winding, and the envelope value increases each time the next winding is hit. This process is repeated using the number of times related to the angle of the runner tool relative to the string, and the frequency related to the lateral velocity of the PD. The faster the PD, the more often the windings are skipped, so the generated tone has a higher frequency. Furthermore, the sharper the angle of the tool, relative to the string, the more windings are skipped and the more the amplitude increases.

To simulate this behavior, the envelopes used in circuits 77, 82, 94 and / or 96 may be sawtoothed. One example of an envelope is shown in FIG. 4B. As an alternative, it may be desirable to include additional portions having similar structures, in addition to portions 70 and 88, which simulate the primary tap tone, where an envelope processing circuit is created by the PD skipping the winding of the string. It includes a sawtooth-shaped envelope as shown in FIG. 4B to simulate additional tap tones that are made.

Referring now to FIG. 5A, a synthesis apparatus for modeling longitudinal vibrations of a string may be discussed. In this embodiment, the synthesizer comprises a delay line 140 and a low pass filter 142 connected to the loop via an adder 144. The second input of adder 144 receives the enveloped white noise generated by multiplier 146. The multiplier 146 generates a white noise generated by multiplying the white noise from the generator 148 by the envelope generated by the envelope processing circuit 150. Thus, the longitudinal vibration mode is induced by white noise by simulating the friction between the tool and the string, which excites the mode. {For some stringed stringed instruments, because of the string roughness when the instrument is sliding on the string, some noise is also heard which is superimposed on the perceived pitch. This noise is more important in nylon or silk thread than in iron.

In the embodiment shown in FIG. 5A, the pitch in the longitudinal vibration mode is adjusted by the length of the delay line 140 and the coefficient of the low pass filter 142 (due to the additional phase delay caused by the filter). The envelope generated by the circuit 150 is adjusted to sharpen the tone shape in the longitudinal mode, or equally the excitation duration in the longitudinal mode, as a function of the speed and angle of the runner.

Referring now to FIG. 5B, as an alternative embodiment, the longitudinal mode may be synthesized using a frequency modulation model. In this embodiment, a pair of frequency modulators 152, 154 is used, which is sufficient because the longitudinal vibration mode produces vibrations that are close to harmonics. In addition, because the duration of the vibration is very short, simpler models provide the same awareness as theoretically more accurate. Here again, the carrier frequency is established by the constant part 156 and supplied to the adder 158, the output of the adder driving the frequency control input of the modulator 152. A second input of adder 158 is connected to the output of modulator 154 to receive a modulated signal. The frequency of the modulated signal is determined by the constant of the constant portion 160 supplied to the frequency control input of the modulator 154 and the envelope generated by the envelope processing circuit 162 supplied to the amplitude control input of the modulator 154. do. The amplitude of the frequency modulated carrier is controlled by an envelope generated by the envelope processing circuit 164 and supplied to the amplitude control input of the modulator 152. Carrier and modulator frequencies are adjusted according to the pitch of the longitudinal vibration mode, which is determined by the length of the string of the stringed instrument. The noise component is added to the frequency modulated carrier by adder 166 to take into account the surface roughness of the string. The noise is enveloped white noise generated at the output of the multiplier 168, which multiplies the output of the white noise generator 170 by the envelope of the envelope processing circuit 172.

A software appendix has been added to this specification. The program described in this appendix is written in the LISP programming language and uses a generic LISP music package to model unit signal generators such as filters and delay lines. The program can be executed as a command of ": cl filename". The program output simulates a classical guitar sound in accordance with the principles of the present invention. The key variables used in the software simulation and their interrelationships can be expressed as follows:

PD speed = function ()

PD distance from bridge = function ()

PD angle from String = function ()

Attack tap amplitude = function (PD speed)

Attack tap duration = function (Attack Tap Amplitude)

longitudinal duration = function (PD speed, PD angle from String)

Damp tap amplitude = function (PD speed, PD distance from bridge)

Damp tap duration = function (Damp tap amplitude)

Damp duration = function (PD speed)

Wound long pitch = function (PD speed)

Although the present invention has been described in terms of various embodiments, and these embodiments have been described in great detail, it is not the intention of the applicant of the present invention to limit or limit in any way the scope of the claims appended hereto. Additional advantages and modifications will be apparent to those skilled in the art.

For example, if the lengths of the delay lines shown in FIG. 1B are arranged such that the scattering filters 50A / 50B are in a proximal position corresponding to the end of the string entanglement, the model may have a line close to the sensation. You can simulate the effect of damping with your thumb.

In the above embodiment, damping noise modeled by changing the transmission and reflection coefficients of the scattering junction of FIG. 1B can be realized in other ways, for example by averaging the various tap points along the delay lines and using the average as the output. Can be. White noise with very small amplitude can be added (this noise is particularly loud in the harpsichord).

The transition from the longitudinal mode to the transverse mode can be smoothed by providing a volume fader at the input of the adder 24 shown in FIG. 1A, resulting in an LVT when the TVT fades in. May fade out after t _long .

Other purely impact tones can also be simulated. In most PSIs, purely impact tones can be produced as special effects. All these can be synthesized easily and simply by modifying the FM synthesis parameters in the TT generation unit 20.

In tambora technology, one of the techniques in classical guitar, the hand strikes the correct string in the goose paw. This can be realized by deriving a finite value for the wild geese side of the delay lines shown in FIG. 1A, that is, by finitely setting the boundary condition in the wild geese.

Hand noise can also be simulated. This noise occurs in the rough or wound line of the PSI as the skin slides in the line. If the string is not wound, the pitch is basically the fundamental frequency of the longitudinal mode. If the string is wound, the pitch is composed of two overlapping sounds: the serrated envelope shown in Fig. 4b, LVT and TT, which can be generated by using the embodiment of Fig. 1a or 2). Will consist. Higher accuracy can be achieved by inducing some frequency modulation because the finger and velocity are not constant when moving from one note to another. In fact, the speed of the finger has a pitch curve that can be accurately determined in studio recordings.

In PSI using a fretboard, the fingers of the left hand are used to segment the rising slur, which is basically accomplished by hitting a fingerboard. This produces sound produced by striking as in longitudinal vibrations starting at the same time as the TT, so that it can be modeled by additional TT components. This TT has a small amplitude because the left hand is usually hitting a distance away from the resonant circuit.

Downward left hand seams are also typical for PSI with a fingerboard. The rising seam is played by the fingers pulling the string and creating a TT as soon as the TVT starts. So this segment can be synthesized by simply turning off the LVT unit and changing the delay length of the TVT delay lines shown in FIG. 1A in real time.

Harmonics can be easily implemented by dividing one of the waveguides shown in FIG. 1B into two parts. This simulates one finger stopping at an arbitrary position on the string while the PD is playing at another position.

Various different pearling techniques produce different damping noises. For example, in a classical guitar, when damping a previous note, the finger splits the string into two. If the thumb is playing, the hanging part of the string is damped by the flesh of the thumb. On the other hand, if the other fingers are playing, the geese portion of the vibration is damped by the flesh. These techniques can be easily incorporated into the model by changing the transmission and echo coefficients of the filters in FIG. 1A to simulate operation.

Accordingly, the invention in its broader aspects is not limited to the specific details shown and described, and representative apparatus and methods, and illustrative examples. Accordingly, other changes may be made based on the above details without departing from the spirit or scope of the applicant's general inventive concept.

As mentioned above, the present invention provides a sound that is closest to the synthesized musical instrument over the entire pitch range while being low cost and not complicated.

1A is a block diagram showing a first embodiment of a synthesizing apparatus for a stringed string instrument in accordance with the principles of the present invention;

FIG. 1B is a detailed block diagram showing the transverse vibration tone portion and bridge filter portion of the synthesizing apparatus of the stringed string instrument shown in FIG. 1A;

2 is a block diagram illustrating another embodiment of a synthesizing apparatus for a stringed string instrument in accordance with the principles of the present invention;

3 is a timing diagram illustrating the timing of various elapsed sounds simulated in accordance with the principles of the present invention.

4A is a detailed block diagram of the tap tone portion of the synthesizing apparatus of the stringed stringed instrument shown in FIGS. 1A and 2;

4B illustrates a sawtooth waveform used in conjunction with the tap tone portion shown in FIG. 4A to simulate tap tones generated by a wound string.

FIG. 5A is a detailed block diagram of a first embodiment of the longitudinal vibration tone portion of the synthesizing apparatus of a stringed string instrument shown in FIGS. 1A and 2;

FIG. 5B is a detailed block diagram of a second embodiment of the longitudinal vibration tone portion of the stringed string instrument shown in FIGS. 1A and 2;

Claims (32)

A synthesizing apparatus that simulates attack transients caused by chording strings of plucked strings, A first elapsed sound circuit for generating a first simulation of an audible attack elapsed sound having a first duration; A second elapsed sound circuit for generating a second simulation of the audible attack elapsed sound having a second duration; For a third duration longer than the first or second duration, a resonant circuit tuned to the fundamental natural frequency of the chorded string to produce a simulation for an audible tone. Including, Wherein each said transient sound circuit is coupled to said resonant circuit to enable said resonant circuit to produce an audible tone that simulates the sound of the stringed stringed instrument. 2. The synthesizing apparatus of claim 1 wherein said resonant circuit is tuned to a fundamental natural frequency for lateral vibrations of said stringed strings. 2. The circuit of claim 1, wherein the resonant circuit comprises a first and a second delay element and a first and a second filter circuit, the output of the first delay element being connected to an input of the first filter circuit. The output of the first filter circuit is connected to an input of the second delay element, the output of the second delay element is connected to an input of the second filter circuit, and the output of the second filter circuit is A synthesizer, characterized in that connected to the input of the one delay element. The method of claim 3, wherein The resonant circuit has a fundamental natural frequency equal to the fundamental frequency of the simulated tone, Wherein the first and second delay lines include the second elapsed sound circuit by initializing the first and second delay lines using a waveform representing the transverse deflection of the string as part of the string run. Characterized in that the synthesizer. 5. The synthesizing apparatus according to claim 4, wherein the waveform has a triangular form. 4. The apparatus of claim 3, wherein the controllable portion of the signals transmitted to the second delay element through the first delay element is controllably reflected, and is also passed to the first delay element through the second delay element. A scattering junction connected to the first and second delay elements may be used to controllably control the adjustable portion of the signal (which is passed through the first delay element to the second delay element). Synthesis device further comprising. 7. The method of claim 6, wherein during the last damping period at the end of the simulated tone, the scatter junction is characterized in that the signal transmitted through the first and second delay elements is more than at a time prior to the damping period. And is controllably adjusted to echo substantially larger portions. The method of claim 6, wherein each of the first and second delay elements, A nut-PD delay portion for simulating a delay generated when a signal propagates between a plucking device (PD) and a nut of the stringed string instrument; A PD-goose delay portion that simulates a delay that occurs when a signal propagates between the bridge of the chorded string instrument and the drum tool PD, And said scattering junction is connected to each delay element between said PD- goose-producing delay portion and said salient-PD delay portion of said delay element. 2. The first oscillator circuit of claim 1, wherein the first elapsed sound circuit comprises first and second oscillators, the output of the first oscillator controlling the frequency generated by the second oscillator, whereby the second oscillator is a frequency modulated carrier. Synthesis device, characterized in that for generating. 10. The synthesizer of claim 9, wherein the first elapsed sound circuit further comprises a noise generator, wherein the output of the noise generator is coupled to the output of the second oscillator to produce a synthesized elapsed sound. The method of claim 1, The resonant circuit, Has a fundamental natural frequency equal to the fundamental frequency of the simulated tone, Further comprising a longitudinal vibration synthesis portion to generate a simulation of the longitudinal vibration of the string, And the output of the resonant circuit and the output of the longitudinal vibration synthesizing portion are combined to produce an output signal that simulates the sound of the stringed string instrument. In a synthesizing apparatus that simulates the long-term transverse vibrations and transient longitudinal vibrations of a string generated by chording strings of stringed stringed instruments, A transverse vibration synthesis portion for generating a simulation of an audible tone for the transverse vibration of the string; A longitudinal vibration synthesis portion for generating a simulation of the longitudinal vibration of the string, And the outputs of the transverse and longitudinal vibration synthesizing portions are combined to produce an output signal that simulates the sound of the stringed string instrument. 13. The synthesizing apparatus as set forth in claim 12, wherein said longitudinal synthesizing portion is stimulated by a sawtooth waveform, and simulates an elapsed sound generated when an a wound string of the stringed string instrument is run. . 13. The apparatus of claim 12, wherein the lateral vibration synthesizing portion comprises first and second delay elements and first and second filter circuits, the output of the first delay element being connected to an input of the first filter circuit. And an output of the first filter circuit is connected to an input of the second delay element, an output of the second delay element is connected to an input of the second filter circuit, and an output of the second filter circuit is connected to the first filter element. And a synthesizer connected to the input of the delay element. 15. The method of claim 14, wherein the lateral vibration synthesis portion has a fundamental natural frequency equal to the fundamental frequency of the simulated tone, And the lateral vibration synthesizing portion is further stimulated by initializing the first and second delay lines using a waveform representing the transverse deflection of the string as part of chording the string. The synthesizing apparatus according to claim 15, wherein the waveform has a triangular shape. 15. The apparatus of claim 14, wherein the controllable portion of the signals transmitted to the second delay element through the first delay element is controllably reflected, and is also passed to the first delay element through the second delay element. And a scattering junction connected to said first and second delay elements for reproducibly reflecting an adjustable portion of the signal. 18. The apparatus of claim 17, wherein during the last damping period at the end of the simulated tone, the scatter junction is to reflect a substantially larger portion of the signal transmitted through the first and second delay elements than before the damping period. Synthesis device, characterized in that the controllable adjustment. The method of claim 17, wherein each of the first and second delay elements, A hang-PD delay portion that simulates a delay caused when a signal propagates between the hang tool PD and the hang of the stringed string instrument; And a PD-wild goose delay portion that simulates a delay that occurs when a signal propagates between the geese goose of the stringed instrument and the drum instrument PD. And said scattering junction is connected to each delay element between said PD- goose-producing delay portion and said salient-PD delay portion of said delay element. In the synthesizing apparatus for simulating the sound generated during the damping of the vibrating string of the stringed stringed instrument, A sound synthesis portion that produces a simulation of an audible tone corresponding to a simulated sound, wherein the simulated sound extends from the time of the simulated run of the string to the first damping period before the subsequent simulated run of the string. A sound synthesis portion having a period; A progression synthesis portion for generating a simulation for audible passages, wherein the audible passages have a second duration shorter than the first duration, and the simulation of the audible passages is synthesized during the last damping period Including the part, And the outputs of the sound synthesizing portion and the elapsed sound synthesizing portion are combined to produce an output signal that simulates the sound of the stringed string instrument during the damping period. 21. The apparatus of claim 20, wherein the sound synthesis portion comprises first and second delay elements and first and second filter circuits, the output of the first delay element being connected to an input of the first filter circuit. The output of the first filter circuit is connected to the input of the second delay element, the output of the second delay element is connected to the input of the second filter circuit, and the output of the second filter element is the first delay element. Synthesis device, characterized in that connected to the input. The method of claim 21, The sound synthesis portion has a fundamental natural frequency equal to the fundamental frequency of the simulated tone, And the sound synthesizing portion is stimulated by initializing the first and second delay lines using a waveform representing the transverse deflection of the string as part of chording the string. 23. The synthesizing apparatus according to claim 22, wherein the waveform is in the form of a triangle. 22. The apparatus of claim 21, wherein the controllable echo of an adjustable portion of signals transmitted through the first delay element to the second delay element is controllable and is further transmitted to the first delay element through the second delay element. And a scattering junction connected to said first and second delay elements for reproducibly reflecting an adjustable portion of the signal. 25. The apparatus of claim 24, wherein during the last damping period at the end of the simulated tone, the scatter junction is a substantially larger portion of the signal transmitted through the first and second delay elements than at the time before the damping period. Synthesis device, characterized in that the controllable adjustment to echo. The method of claim 24, wherein each of the first and second delay elements, A hang-PD delay portion that simulates a delay caused when a signal propagates between the hang tool PD and the hang of the stringed string instrument; And a PD-wild goose delay portion that simulates a delay that occurs when a signal propagates between the geese goose of the stringed instrument and the drum instrument PD. And said scattering junction is connected to each delay element between said PD- goose-producing delay portion and said salient-PD delay portion of said delay element. In the synthesizing apparatus for simulating the sound generated during the damping of the vibrating string of the stringed stringed instrument, A sound synthesis portion that produces a simulation of an audible tone corresponding to a simulated sound, wherein the simulated sound extends from the time of the simulated run of the string to the first damping period before the subsequent simulated run of the string. Period, the sound synthesis portion, First and second filters, each having an input stage and an output stage and generating at the output stage a frequency filtered version of the signal transmitted to the input stage; A first delay element connecting the signal output from the first filter to an input terminal of the second filter; A second delay element connecting the signal output from the second filter to an input terminal of the first filter; Echoes controllable portions of the signal passing through the first delay element to the second delay element, and is transmitted to the first delay element via the second delay element (and a first delay element). A negative synthesis portion, comprising a scattering junction connected to the first delay element and the second delay element, in order to be able to control the adjustable portion of the signal transmitted via the second delay element This includes During the last damping period, the scattering junction of the sound synthesis portion is controllably adjusted to echo a substantially larger portion of the signal transmitted through the first and second delay elements than before the damping period. Synthesis device, characterized in that. The method of claim 27, wherein each of the first and second delay elements, A hang-PD delay portion that simulates a delay caused when a signal propagates between the hang tool PD and the hang of the stringed string instrument; And a PD-wild goose delay portion that simulates a delay that occurs when a signal propagates between the geese goose of the stringed instrument and the drum instrument PD. And said scattering junction is connected to each delay element between said PD- goose-producing delay portion and said salient-PD delay portion of said delay element. In the method of simulating the attack elapsed sound generated by chording the string of the stringed stringed instrument, Providing a resonant circuit tuned to the fundamental natural frequency of the string to be run, wherein the resonant circuit generates a simulation of an audible tone for a first duration when stimulated; Generating a simulation for a first audible attack elapsed sound having a second duration shorter than the first duration; Generating a simulation for a second audible attack elapsed sound having a third duration shorter than the first duration; Delivering a simulation of the audible attack elapsed sound to the resonant circuit such that the resonant circuit produces an audible tone that simulates the sound of the stringed string instrument. In the method of simulating the long-term transverse vibration and temporary longitudinal vibration of the string generated by the stringing of the string of the stringed string instrument, Generating a simulation of an audible tone for said transverse vibration of said string; Generating a simulation of longitudinal vibration of the string; Combining the simulated lateral vibration and the longitudinal vibration to produce an output signal that simulates the sound of the stringed string instrument. In the method of simulating the sound generated during the damping of the vibrating string of the stringed string instrument, Generating a simulation of an audible tone corresponding to the simulated sound, the simulated sound extending a first duration extending from the time of the simulated run of the string to the last damping period before the subsequent simulated run of the string. Generating a simulation of audible tones having; Providing a simulation for an audible old sound having a second duration shorter than the first duration, wherein the simulation of an audible old sound is provided during the last damping period. Doing; Combining the simulated sound and the simulated audible sound to produce an output signal that simulates the sound of the stringed string instrument during the damping period. In the method of simulating the sound generated while damping the vibrating string of the stringed string instrument, Providing a sound synthesizer that produces a simulation of an audible tone corresponding to the simulated sound, wherein the simulated sound extends from the time of the simulated run of the string to the last damping period before the subsequent simulated run of the string. Providing a sound synthesizer for generating a simulation of an audible tone having a first duration of time, wherein the sound synthesizer portion of the sound synthesizer comprises: The first and second filters, each having an input stage and an output stage and generating at the output stage a frequency filtered version of the signal transmitted from the input stage; A first delay element connecting the signal output from the first filter to the input terminal of the second filter; A second delay element connecting the signal output from the second filter to the input terminal of the first filter; Echoes controllable portions of the signal passing through the first delay element to the second delay element, and is transmitted to the first delay element via the second delay element (and a first delay element). Providing a scattering junction connected to said first and said second delay elements so as to be able to control an adjustable portion of the signal transmitted via said second delay element via: Steps; Adjusting the scattering junction of the sound synthesis device during the damping period to reflect a substantially larger portion of the signal passing through the first and second delay elements than before the damping period. How to simulate the transition sound. Appendix: Software of the Invention