Download Self-Sustained Vibrating Structures Physical Modelling by Means of Mass-Interaction Networks GENESIS is a sound synthesis and musical creation environment based on the mass-interaction CORDIS-ANIMA physical modelling formalism. It has got the noteworthy property that it allows to work both on sound itself and on musical composition in a single coherent environment. In this paper we present the first results of a study that is carried out with GENESIS on a particular type of models: self-sustained oscillating structures. By trying to build physical models of real instruments like bowed strings or woodwinds, our aim is to develop and analyse generic tools that can be used for the production of self-sustained oscillations on every mass-interaction network built with GENESIS. But, if the family of the self-sustained oscillating structures is very interesting to create rich timbres, it can also play a new and fundamental role at the level of the temporal macrostructure of the music (that of the gesture and the instrumental performance, as well as the composition). Indeed, it is possible, as we will propose in this paper, to use the relatively complex motion of a bowed macrostructure in a musical composition way, as a musical events generator.
Download Filtering within the Framework of Mass-Interaction Physical Modeling and of Haptic Gestural Interaction A variety of filters have been designed, synthesized and used in the history of electronic and computer music. All the approaches aimed to provide filters fulfilling several specifications such as frequency response, phase response, transient state characteristics like rise time and overshoot, realizably conditions concerning the technology used for the implementation and even economical considerations. One of the most important aspects concerning the filters dedicated to musical applications is the control structure they provide to the musician, who is in charge for the integration of the filtering operation in the compositional process and performance. Designing filters using the mass interaction scheme embedded in the CORDIS-ANIMA formalism (used for sound synthesis and composition by physical modelling) offers a different methodology in the control which is coherent with the philosophy of musical composition by ‘physical thinking’. This article introduces a technique to design filters using the CORDIS-ANIMA simulation language.