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DIGITAL TONE GENERATION TECHNIQUES 471<br />

index <strong>of</strong> all components <strong>of</strong> the complex modulating wave simultaneously. If<br />

instead the calculations are restructured as in Fig. 13-26, the modulation<br />

indices as well as the frequencies <strong>of</strong> each modulating component can be<br />

separately controlled. Also, all table lookups remain into the same, easily<br />

interpolated, sine table. As few as two modulating frequency components<br />

have been found to dramatically improve the utility <strong>of</strong> FM synthesis. In one<br />

experiment, piano tones (which are normally not well synthesized with FM<br />

techniques) were quite successfully approximated using one modulating<br />

ftequency equal to the carrier frequency and another four times the carrier<br />

frequency. The slightly inharmonic partials <strong>of</strong> piano tones were then<br />

simulated by slightly detuning these ratios.<br />

"VOSIM"<br />

Other "minimal-parameter" synthesis techniques besides FM are possible,<br />

although none seem to be quite as flexible. One <strong>of</strong> these, which is quite<br />

efficient in synthesizing a wide range <strong>of</strong> vocal-like sounds, is called VOSIM,<br />

from the words VOcal SIMulation. VOSIM uses a very simple waveform<br />

described by three parameters that is periodically repeated at the desired<br />

fundamental frequency. Figure 13-27 shows the VOSIM waveform, which<br />

consists <strong>of</strong> one or more bell-shaped pulses. A single width parameter specifies<br />

the baseline widths <strong>of</strong> the pulses. The first pulse has unity amplitude, while<br />

succeeding ones are smaller according to a decay parameter that ranges<br />

between 0 and 1. Finally, a number parameter specifies how many pulses there<br />

are in each period. Any time left over between the end <strong>of</strong> the pulse group and<br />

the beginning <strong>of</strong> the next period is filled with zeroes. The pulses themselves<br />

are sine-squared curves, which is equivalent to one cycle <strong>of</strong> a negative cosine<br />

wave raised up to the axis. After the pulse group is specified, it is simply<br />

repeated at the desired frequency and multiplied by an amplitude envelope.<br />

Note that the time occupied by the group is in absolute terms independent <strong>of</strong><br />

the period. Thus, the "blank" time between pulse groups will vary with the<br />

period, but the pulse group itself will remain constant. Ifthe period becomes<br />

smaller than the group width, the group is simply truncated and restarted,<br />

although this is normally kept from happening.<br />

Figure 13-28 illustrates some <strong>of</strong> VOSIM's properties. Figure 13-28A<br />

shows a reference VOSIM waveform (decay = 0.8, width = 1 msec, number<br />

= 6, period = 10 msec = 100 Hz), along with its normalized harmonic<br />

spectrum and spectral envelope. Figure 13-28B shows a wave with the same<br />

parameters but with its period increased to 20 msec. Note that the overall<br />

spectral envelope is essentially unchanged; there are just more harmonics<br />

filling the space under it. Thus, the position in frequency <strong>of</strong> major spectral<br />

envelope features remains constant as fundamental frequency is varied, a<br />

desirable property not possessed by the digital synthesis techniques discussed<br />

so far. Figure 13-28C shows that reducing the width parameter to 0.67 msec<br />

increases the frequency <strong>of</strong> the broad spectral peak to about 1. 5 kHz. In Fig.<br />

13-28D, the decay parameter is reduced to 0.5, which makes the spectral

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