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by itoa; Mon Oct 14, 2013 2:57 am
by MadBrain; Mon Oct 14, 2013 8:44 pm
by itoa; Mon Oct 14, 2013 9:24 pm
MadBrain wrote:Personally I just feed the pipe output into the lip simulation, and then the driver output calculated from the lip back into the pipe, while making sure that they stay in phase so that it doesn't go out of tune (so that the 1st harmonic has the same phase after being transformed by the lip+driver than what was in the pipe).
(input pressure) <-> MASS -(pressure)<-> pipe
MASS (spring) <-> "wall"
Is it like this? no problems with spring part.. but how to calculate pipe interaction? and back? If a pipe was another spring, the force would be easily calculated by spring compression. but MASS creates pressure that is "processed" by a pipe and fed back, so it seems that some input and output variables need to be integrated..
by MadBrain; Tue Oct 15, 2013 6:31 am
The real magic is that the flow of air depends on the position of your lips/reed in a non-linear way. This takes your sinewave and waveshapes it into the instrument's real waveshape, and it's where all your harmonics come from. So for instance, if your instrument is a bassoon, you need something that will take a sinewave (your reed position) and turn it into the kind of pulse-wave-ish-resonant-ish waveform you get from a bassoon.
by itoa; Tue Oct 15, 2013 7:32 am
Nevertheless coupling iterative K-models (like mass-springs systems) and waveguides open so many possibilities..
by xoxos; Wed Oct 16, 2013 7:52 am
tagore "where roads are made i lose my way"