Hi Rich,

Maybe you can consider taking another approach - not about the envelopes but how the sound is made.
Working from an algorhitm based on the physics of the instrument and the player and listen (with your ears) how musicians use things as embouchure, trills & frills and dynamics. Like said by Ingo - there is no one way to it. To take brass instruments as an example; a jazz musician will probably play different than a Bulgarian folk musician or a Baroque musician. Different styles of music ask for different styles of playing and thus envelopes.

Cheers, Wilfred
KlankOntwerp
Ingo schreef op 05-11-14 20:52:
The amount of real life envelopes is close to endless when you're looking at
performaces of good musicians. That's one reason why good musicians cannot
be replaced by machines.

The best way to find out is playing as many instruments as you can -
spending some serious time.

Second best thing would be recording good musicians in various musical
contexts.

The last version would be looking at some decent sample libraries if you
happen to have acces to them - those are usually very expensive.

>From my experience of building realtime playable instruments I can tell that
the sample libraries represent only a very small portion of tha available
articulations / envelopes.

Ingo


________________________________________
Von: Pd-list [mailto:pd-list-bounces@lists.iem.at] Im Auftrag von Rich Eakin
Gesendet: Mittwoch, 5. November 2014 20:15
An: pd-list@lists.iem.at
Betreff: [PD] Looking for research in amplitude envelopes of music
instruments during performance.

Hi all,

This topic isn't about pd per-say, but I bet there are many on this list
that know about it, so it was the best place I could think of to ask.

Is anyone aware of studies, articles, or other research that has been
conducted around the amplitude envelopes of real world music instruments
(strings, brass, voice, etc) during performance? What I mean is, I've seen a
few articles here and there that explain how the envelopes differ between
musical instruments (such as figure 5 of this article), but the source
analysis samples are too simple for musical usefulness, usually a single
note recorded with basic dynamics.  What I'd like to find is more how the
ADSR curves look for actual musical phrases.

The end result would be applied to a composition tool I'm working on that
provides control over the envelopes of the notes. Right now I'm going with
the standard exponential attack/decay/release, as found in analog synths,
but I've always wondered what these curves look like in acoustic instruments
and real world situations..

Or perhaps if there is a better place to ask that someone can think of, I'd
be happy to post my question there. Its not easy for find recordings to do
the analysis and it would be quite time consuming to produce anything
reliable, but I figure there's gotta be people out there that have done
immense work in this topic.

cheers,
Rich


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