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15<br />

Percussive Sound<br />

Generation<br />

Up to this point, discussion has concentrated on the synthesis <strong>of</strong> basically<br />

periodic tones. Percussive sounds, however, are quite important as well and<br />

may in fact have even more variety than periodic types <strong>of</strong> sounds. Whereas<br />

tones can be fairly well described by giving a few parameters, many percussive<br />

sounds defy simple description. As is the case with tones, direct digital<br />

techniques <strong>of</strong>fer considerably more freedom in the synthesis <strong>of</strong> percussive<br />

sounds than do analog techniques. Percussive sound generation is such a<br />

large topic that only a brief introduction can be <strong>of</strong>fered here. Nevertheless,<br />

the techniques discussed should be suitable for a wide variety <strong>of</strong> percussive<br />

sounds.<br />

Types <strong>of</strong> Percussive Sounds<br />

Out <strong>of</strong> the infinite variety <strong>of</strong> percussive sounds, it is possible to define<br />

roughly four categories. Type 1 sounds are those that are basically sine wave<br />

tones with a suitable amplitude envelope. Any <strong>of</strong> the synthesis techniques<br />

covered previously are quite adequate for generation <strong>of</strong> the tone component <strong>of</strong><br />

the sound, while direct computation or table lookup is suitable for the<br />

envelope. Nearly all sounds in this group have a moderate to strong sense <strong>of</strong><br />

pitch due to the periodic foundation. Familiar instruments producing sounds<br />

in this group are wood blocks, daves, orchestral bells, and bongo drums.<br />

Type 2 is similar, but the underlying "tone" consists <strong>of</strong> several,<br />

nonharmonically related sine wave components. Most free (without snares)<br />

drums produce sounds in this category when struck with moderate force by a<br />

padded drumstick. Unlike sttings and metal bars, the various vibration<br />

modes <strong>of</strong> a drumhead do not correspond to integrally related frequencies.<br />

Again, the previous synthesis methods can be used to produce the basic tone<br />

to which an amplitude envelope is added.<br />

Type 3 sounds are best described as filtered, enveloped noise. In many<br />

cases, the instrument physics are basically the same as for Type 2, but the<br />

number <strong>of</strong>frequency components is so large that the sound resembles random<br />

noise. In other cases, the instrument operates by means <strong>of</strong> scraping or rat-<br />

527

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