Someday I hope you make a big ole' physical modeled jazz drum kit, Andy.<br><br>Genius!<br><br>~Kyle<br><br><div class="gmail_quote">On Sat, Nov 29, 2008 at 10:31 AM, Andy Farnell <span dir="ltr"><<a href="mailto:padawan12@obiwannabe.co.uk">padawan12@obiwannabe.co.uk</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><br>
Hey Patrick,<br>
<br>
<br>
It's the "everything in-between" bit that is hard. A hihat is one<br>
of those instruments that seems really simple, but on deeper analysis<br>
you see it is an amazingly complex and subtle device (which is obvious<br>
when you hear a really good drummer playing). With samples you can get<br>
the usual opening and closing strike sounds, and the cup/clash.<br>
<br>
But if you want a really good model you probably need to look at<br>
physical modelling and granular methods.<br>
<br>
The two parts can rattle against each other causing new excitations.<br>
<br>
Sometimes the top cymbal rotates around the bottom one, creating a<br>
rolling 'clatter'.<br>
<br>
The pressure of the pedal pushes them together harder increasing<br>
the frequencies (speeding up the roll - like if you push down<br>
in the middle of a rolling dinner plate) and damping both parts more.<br>
<br>
You can hit it on the edge or at any radius from the centre. As a simple<br>
rule the spectral complexity increases as you move outwards, hitting<br>
the bell in the middle produces a purer, shorter tone.<br>
<br>
You can use the tip of the stick, or brush, or hit lower down<br>
to get a less elastic impact with more energy transferrence (louder<br>
and noiser).<br>
<br>
So for the input vector; for pedal you probably want two continuous<br>
ranges, position and pressure (where they are touching), and for<br>
excitation you probably want two more impact event parameters,<br>
energy (0.5 * mass * velocity^2) and duration (impulse).<br>
<br>
You can also model leaving the stick connected, which damps the<br>
vibration at one point and reduces the modes.<br>
<br>
A full physical model of two interacting centre supported circular<br>
plates is certainly too expensive. FM methods can give you the<br>
raw spectra to blend according to interaction rules. (In fact -<br>
because the relationship of spectra in both FM and the disc modeal<br>
model both derive from Bessel functions you can get very natural<br>
evolution if you choose the right synth model - complex FM with<br>
multiple modulator sources works extremely well.)<br>
<br>
The trick is mapping the control params onto the synthesis params.<br>
As they come together you can tap off a little bit of the lowest<br>
and strongest vibrational mode (lop~ -> max~) and use it to<br>
make impulse spikes that amplitude modulate the other plate.<br>
Of course this is a reciprocal relationship (the lower plate<br>
also rattles against the upper one) - so it's ring modulation<br>
of the two maximum excusions to get a 'rattle modulator'.<br>
Moving the lop~ up and bringing the clip down will create the<br>
impression of the plates being forced together.<br>
<br>
The other approach is to make a parametric map from samples<br>
into a great big wavetable to use as grains. I have never<br>
tried it but I think that would work well for hi-hat.<br>
<br>
a.<br>
<div><div></div><div class="Wj3C7c"><br>
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On Wed, 26 Nov 2008 01:27:23 -0500<br>
patrick <<a href="mailto:puredata@11h11.com">puredata@11h11.com</a>> wrote:<br>
<br>
> hi,<br>
><br>
> would it be possible to patch an acoustic hi-hat pedal complete with<br>
> heel-splash sound, closed sound, open sound, and everything in-between.<br>
><br>
> i am not so sure where to start, i want a sampler-base solution.<br>
><br>
> adsr, playing with filters, morphing of sounds, using 2 samples or more<br>
> (open, middle, close, very close). i would gladly pay a beer for this.<br>
><br>
> pat<br>
><br>
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<br>
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