Partial tracking in sinusoidal models have been studied for over twenty years now, and have been enhanced, making it precise and useful to analyse noiseless harmonic sounds. However, such tools have always been used in a monophonic (single channel) context. A method is thus proposed to adapt the partial tracking to the case of binaural signals. This gives a tool to perform spectral analysis of such signals, keeping relevant information from both left and right channels. Moreover, azimuth (position in the horizontal plane) information for each partial is gained using interaural cues, such as interaural time differences (ITDs) and interaural level differences (ILDs). The azimuth information can then be used as an attribute or as a constraint in the binaural partial tracking algorithm. Finally, some classification results using the azimuth of partials are presented.

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In this paper the problem of the synthesis of plucked strings by means of physically inspired models is reconsidered in the context of the player’s interaction with the virtual instrument. While solutions for the synthesis of guitar tones have been proposed, which are excellent from the acoustic point of view, the problem of the control of the physical parameters directly by the player has not received sufficient attention. In this paper we revive a simple model previously presented by Cuzzucoli and Lombardo for the player’s touch. We show that the model is affected by an inconsistency that can be removed by introducing the finger/pick perturbation in a balanced form on the digital waveguide. The results, together with a more comprehensive model of the guitar have been implemented in a VST plugin, which is the starting point for further research.

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