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Developing a Flexible and Expressive Realtime Polyphonic Wave Terrain Synthesis Instrument Based on a Visual and Multidimensional Methodology

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Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2005 Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology Stuart G. James Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation James, S. G. (2005). Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology. https://ro.ecu.edu.au/theses/107 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/107 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. DEVELOPING A FLEXIBLE AND EXPRESSIVE REALTIME POLYPHONIC WAVE TERRAIN SYNTHESIS INSTRUMENT BASED ON A VISUAL AND MULTIDIMENSIONAL METHODOLOGY Stuart George James Bachelor Degree with First Class Honours in Music Composition, University of Western Australia Certificate in Jazz Piano, Western Australian Academy of Performing Arts This thesis is presented in fulfilment of the requirements for the degree of Master in Creative Arts Faculty of Western Australian Academy of Performing Arts Edith Cowan University February 2005 ABSTRACT The Jitter extended library for Max/MSP is distributed with a gamut of tools for the generation, processing, storage, and visual display of multidimensional data structures. With additional support for a wide range of media types, and the interaction between these mediums, the environment presents a perfect working ground for Wave Terrain Synthesis. This research details the practical development of a realtime Wave Terrain Synthesis instrument within the Max/MSP programming environment utilizing the Jitter extended library. Various graphical processing routines are explored in relation to their potential use for Wave Terrain Synthesis. Relevant problematic issues and their solutions are discussed with an overall intent to maintain both flexible and expressive parameter control. It is initially shown, due to the multidimensional nature of Wave Terrain Synthesis, that any multi-parameter system can be mapped out, including existing sound synthesis techniques such as wavetable, waveshaping, modulation synthesis, scanned synthesis, additive synthesis, et cetera. While the research initially makes some general assessments between the topographical features of terrain functions and their resulting sound spectra, the thesis proceeds to cover some more practical and useful examples for developing further control over terrain structures. Such processes useful for Wave Terrain Synthesis include convolution, spatial remapping, video feedback, recurrence plotting, and OpenGL NURBS functions. The research also deals with the issue of micro to macro temporal evolution, and the use of complex networks of quasi-synchronous and asynchronous parameter modulations in order to create the effect of complex timbral evolution in the system. These approaches draw from various methodologies, including low frequency oscillation, break point functions, random number generators, and Dynamical Systems Theory. Furthermore, the research proposes solutions to a number of problems due to the frequent introduction of undesirable audio artifacts. Methods of controlling the extent of these problems are discussed, and classified as either Pre or Post Wave Terrain Synthesis procedures. iii DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education. (ii) contain any material previously published or written by another person except where due reference is made in the text; or (iii) contain any defamatory material. I also grant permission for the Library at Edith Cowan University to make duplicate copies of my thesis as required. Signature: ……………………………………. Date: …………………………….. iv ACKNOWLEDGEMENTS Special thanks go to research supervisor Dr Malcolm Riddoch and the support of Mr Lindsay Vickery and Associate Professor Roger Smalley. Thanks to the encouragement of Emeritus Professor David Tunley, Dr Maggi Phillips, and colleague Hannah Clemen. v TABLE OF CONTENTS USE OF THESIS ............................................................................ ii ABSTRACT .................................................................................. iii DECLARATION.............................................................................iv ACKNOWLEDGEMENTS ................................................................v 1. Introduction to Wave Terrain Synthesis....................................1 1.1.. Wave Terrain Synthesis ................................................................................... 1 1.1.1 Conceptual Definition.......................................................................... 2 1.1.2 Theoretical Definition.......................................................................... 3 1.1.2.1 Continuous Maps ........................................................................ 7 1.1.2.2 Discrete Maps.............................................................................. 8 1.1.3 Previously Documented Research ....................................................... 9 1.1.4 Previous Implementations.................................................................. 12 1.1.4.1 LADSPA Plugin Architecture for Linux Systems...................... 13 1.1.4.2 Csound....................................................................................... 13 1.1.4.3 PD and Max/MSP.................................................................... 14 1.1.4.4 Pluggo........................................................................................ 14 1.1.5 The Aim of this Research................................................................... 15 1.2.. The Development of a Realtime Wave Terrain Sound Synthesis ....... Instrument ...................................................................................................... 15 1.2.1 Technological Developments for Realtime Software Sound Synthesis............................................................................................. 16 1.2.2 The application of Basic Wave Terrain Synthesis using Max/MSP.......................................................................................... 18 1.2.3 The Jitter Extended Library for Max/MSP ...................................... 20 1.2.3.1 Wave Terrain Synthesis utilizing Jitter...................................... 22 1.2.3.2 Graphical Generative Techniques and their Application to Wave Terrain Synthesis............................................................. 23 1.2.3.3 Developing Further Control over the Wave Terrain Synthesis Shaping Function utilizing Multi-Signal Processing Techniques .............................................................. 24 1.2.4 Instrument Schematic ........................................................................ 24 1.2.5 Developing a Parameter Control Map .............................................. 26 1.2.6 Flexibility versus Computational Efficiency....................................... 27 1.2.7 Graphical User Interface.................................................................... 28 1.2.8 Synopsis.............................................................................................. 29 2. A Visual Methodology for Wave Terrain Synthesis ................... 31 2.1.. Color Space and Color Scale ......................................................................... 31 2.2.. Relationships between Images, Light, and Sound ......................................... 33 2.2.1 Graphical forms of Sound Synthesis .................................................. 35 2.2.2 The Interpretation of Images Using Discrete Methodology.............. 37 2.2.3 Extent of Correlation between Image and Sound via Wave Terrain Synthesis ............................................................................... 40 2.3.. Problems in Theoretical Classification........................................................... 43 2.3.1 Visualising Parameter Spaces of Existing Sound Synthesis Types .... 44 2.3.1.1 Additive Synthesis, Vector Synthesis, and DC Offset ............... 45 2.3.1.2 Amplitude Modulation Synthesis: Unipolar AM .....................
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