Hi Ross Thanks for the link to that book. I remember that Stefan did some great work in energy-preserving FD methods for musical instrument simulation when he was working with J.O. Smith at CCRMA, trying to extend the waveguide method really. These are quite specialized though, and won't apply to an arbitrary nonlinear electronic circuit - there has to be an underlying 'conservation law'. Shame that there aren't more of these kind of systematic texts on numerical analysis applied to musical electronics.
Max On 14 November 2013 14:23, Ross Bencina <rossb-li...@audiomulch.com> wrote: > Hi Max, > > Another data point which would seem to support your take on things. This is > the first monograph in Sound Synthesis that I'm aware of that specifically > addresses finite difference methods (other examples welcome): > > Stefan Bilbao (2009), "Numerical Sound Synthesis: Finite Difference Schemes > and Simulation in Musical Acoustics" > > http://www.amazon.com/Numerical-Sound-Synthesis-Difference-Simulation/dp/0470510463 > > Not that there are that many books on sound synthesis... > > Ross. > > > > On 15/11/2013 1:14 AM, Max Little wrote: >> >> Thanks Ross. >> >> Good point about the practical utility of implicit FD and increasing >> computational power. There's also all the issues about uniqueness of >> implicit FDs arising from nonlinear IVPs, and then there's stability, >> convergence, weather the resulting method is essentially >> non-oscillatory etc. I suppose there are additional issues to do with >> frequency response which may be what matters most in audio DSP. >> >> Max >> >> >> On 14 November 2013 14:06, Ross Bencina <rossb-li...@audiomulch.com> >> wrote: >>> >>> On 14/11/2013 11:41 PM, Max Little wrote: >>>> >>>> >>>> I may have misread, but the discussion seems to suggest that this >>>> discipline is just discovering implicit finite differencing! Is that >>>> really the case? If so, that would be odd, because implicit methods >>>> have been around for a very long time in numerical analysis. >>> >>> >>> >>> Hi Max, >>> >>> I think you would be extrapolating too far to say that a few people >>> tossing >>> around ideas on a mailing list are representative of the trends of an >>> entire >>> discipline. On this mailing list I would struggle to guess which "this >>> discipline" you are refering to. Suffice to say that a lot of the people >>> discussing things in this thread are developers not research scientists. >>> >>> Some practitioners are just "discovering" new practicable applications of >>> implicit finite differencing in the last 10 years or so. One good reason >>> for >>> this is that in the past these techniques were completely irrelevant >>> because >>> they were too expensive to apply in real time at the required scale (100+ >>> synthesizer voices, 100+ DAW channels). It also seems that the market has >>> changed such that people will pay for a monophonic synth that burns a >>> whole >>> i7 CPU core. >>> >>> Cheers, >>> >>> Ross. >>> >>> -- >>> dupswapdrop -- the music-dsp mailing list and website: >>> subscription info, FAQ, source code archive, list archive, book reviews, >>> dsp >>> links >>> http://music.columbia.edu/cmc/music-dsp >>> http://music.columbia.edu/mailman/listinfo/music-dsp >> >> >> >> > -- > dupswapdrop -- the music-dsp mailing list and website: > subscription info, FAQ, source code archive, list archive, book reviews, dsp > links > http://music.columbia.edu/cmc/music-dsp > http://music.columbia.edu/mailman/listinfo/music-dsp -- Max Little (www.maxlittle.net) Wellcome Trust/MIT Fellow and Assistant Professor, Aston University TED Fellow (fellows.ted.com/profiles/max-little) Visiting Assistant Professor, MIT Room MB318A, Aston University Aston Triangle, Birmingham, B4 7ET, UK UK +44 7710 609564/+44 121 204 5327 Skype dr.max.little -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
