Stochastic Excitation for Quasi-Periodic Synthesis

International Standard Book Number — Click for https://mathworld.wolfram.com/ISBN.html

An Finite Impulse Response (FIR) digital filter has an impulse response that reaches zero in a finite number of samples. Such filters cannot have any feedback loops. FIR filters are also called nonrecursive. The transfer function of an FIR filter is a polynomial. — Click for https://ccrma.stanford.edu/~jos/filters/FIR_Digital_Filters.html

The impulse signal is the shortest pulse signal. For discrete time (digital) systems, the impulse is a 1 followed by zeros. In continuous time, the impulse is a narrow, unit-area pulse (ideally infinitely narrow). The impulse is typically denoted by the Greek delta symbol δ and is often called the 'Dirac delta function', after Paul Dirac who pioneered its use (in addition to being a lead contributor in the development of Quantum Mechanics). — Click for https://ccrma.stanford.edu/~jos/filters/Impulse_Response_Representation.html

A digital filter can be visualized as a 'black box' that accepts a sequence of numbers and emits a new sequence of numbers. In digital audio signal processing applications, such number sequences usually represent sounds. For example, digital filters are used to implement graphic equalizers and other digital audio effects. — Click for https://ccrma.stanford.edu/~jos/filters/

In digital signal processing, FIR is an acronym for Finite Impulse Response — Click for https://ccrma.stanford.edu/~jos/filters/FIR_Digital_Filters.html

The impulse response of a system is its output signal in response to the impulse signal. For discrete time (digital) systems, the impulse is a 1 followed by zeros. In continuous time, the impulse is a narrow, unit-area pulse (ideally infinitely narrow). — Click for https://ccrma.stanford.edu/~jos/filters/Impulse_Response_Representation.html

In signal processing, noise is a random signal. Broadband noise contains energy over a wide range of frequencies. — Click for http://en.wikipedia.org/wiki/White_noise

A signal is typically a real-valued function of time. A discrete-time signal is typically a real-valued function of discrete time, and is therefore a time-ordered sequence of real numbers. — Click for http://ccrma.stanford.edu/~jos/filters/Definition_Signal.html

Noise (in signal processing) is a random signal. In the language of statistical signal processing, a noise signal is typically modeled as 'stochastic process', which is in turn defined as a sequence of random variables. — Click for https://ccrma.stanford.edu/~jos/sasp/What_Noise.html

A filter in the audio signal processing context is any operation that accepts a signal as an input and produces a signal as an output. Most practical audio filters are linear and time invariant, in which case they can be characterized by their impulse response or their frequency response. — Click for https://ccrma.stanford.edu/~jos/filters/What_Filter.html

Stochastic Excitation for Quasi-Periodic Synthesis

**Figure 9.57:** Example of a filtered noise excitation implementation.
$\includegraphics[width=3.5in]{eps/noise_excitation}$

For good generality, at least one of the excitation signals should be a filtered noise signal [443]. An example implementation is shown in Fig. 9.57, in which there is a free-running bandlimited noise generator filtered by a finite impulse response (FIR) digital filter. As noted in §9.4.4, such a filtered-noise signal can synthesize the perceptual equivalent of the impulse response of many high-frequency modes that have been separated from the lower frequency modes in commuted synthesis (§8.7.1). It can also handle pluck models in which successive plucking variations are imposed by the FIR filter coefficients.

In a simple implementation, only two gains might be used, allowing simple interpolation from one filter to the next, and providing an overall amplitude control for the noise component of the excitation signal.

Stochastic Excitation for Quasi-Periodic Synthesis

``Physical Audio Signal Processing'', by Julius O. Smith III, W3K Publishing, 2010, ISBN 978-0-9745607-2-4 Copyright © 2024-06-28 by Julius O. Smith III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University

``Physical Audio Signal Processing'', by Julius O. Smith III, W3K Publishing, 2010, ISBN 978-0-9745607-2-4
Copyright © 2024-06-28 by Julius O. Smith III
Center for Computer Research in Music and Acoustics (CCRMA), Stanford University