Digital sound synthesis algorithms: A tutorial introduction and comparison of methods

The objectives of the dissertation are to provide both a compendium of sound-synthesis methods with detailed descriptions and sound examples, as well as a comparison of the relative merits of each method based on ease of use, observed sound quality, execution time, and data storage requirements. The methods are classified under the general headings of wavetable-lookup synthesis, additive synthesis, subtractive synthesis, nonlinear methods, and physical modelling. The nonlinear methods comprise a large group that ranges from the well-known frequency-modulation synthesis to waveshaping. The final category explores computer modelling of real musical instruments and includes numerical and analytical solutions to the classical wave equation of motion, along with some of the more sophisticated time-domain models that are possible through the prudent combination of simpler synthesis techniques.; The dissertation is intended to be understandable by a musician who is mathematically literate but who does not necessarily have a background in digital signal processing. With this limitation in mind, a brief and somewhat intuitive description of digital sampling theory is provided in the introduction. Other topics such as filter theory are discussed as the need arises.; By employing each of the synthesis methods to produce the same type of sound, interesting comparisons can be made. For example, a struck string sound, such as that typical of a piano, can be produced by algorithms in each of the synthesis classifications. Many sounds, however, are peculiar to a single algorithm and must be examined independently. Psychoacoustic studies were conducted as an aid in the comparison of the sound quality of several implementations of the synthesis algorithms. Other psychoacoustic experiments were conducted to supplement the established notions of which timbral issues are important in the re-synthesis of the sounds of acoustic musical instruments.