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系統識別號 U0026-1108202016340500
論文名稱(中文) 基於數位波導之鋼琴聲音合成與延音踏板模擬
論文名稱(英文) Piano Synthesis and Sustain Pedal Simulation Based on Digital Waveguide
校院名稱 成功大學
系所名稱(中) 醫學資訊研究所
系所名稱(英) Institute of Medical Informatics
學年度 108
學期 2
出版年 109
研究生(中文) 高靖珊
研究生(英文) Ching-Shan Kao
學號 Q56074043
學位類別 碩士
語文別 英文
論文頁數 62頁
口試委員 指導教授-蘇文鈺
口試委員-楊奕軒
口試委員-蔡宗翰
口試委員-蘇黎
口試委員-劉奕汶
中文關鍵字 數位波導  物理建模  踏板效果  音樂套件 
英文關鍵字 Digital waveguide  Physical model  Pedal effect  VST Plugin 
學科別分類
中文摘要 在鋼琴演奏中踏板踩踏的技巧是非常重要的,踏板會直接影響鋼琴音色,使琴聲更為豐富。當踩下踏板時,琴弦上所有的制音器抬起,所有的琴弦可以自由振動,琴弦彼此耦合會互相傳遞能量,除了會延長演奏時間之外也會造成不同音調衰減的模式。

本論文基於數位波導上合成出鋼琴琴聲,並利用琴弦耦合進行踏板踩踏的效果模擬。提出一種合成方法最終應用於VST Plugin上,產生一個數位鋼琴套件,此套件可以讓使用者調整相關係數,產生客製化的琴聲。
英文摘要 The technique of pedal pedaling is essential in piano performance. The pedal will directly affect the piano sound and make the piano sound more productive. When the pedal is depressed, all the dampers on the strings are lifted, all the strings can vibrate freely, and the strings are coupled with each other to transfer energy to each other. In addition to prolonging the playing time, it also causes different tone decay modes.

In this article, we will use digital waveguide to achieve piano synthesis and use string coupling to simulate the pedal pedaling effect. It also proposes a synthesis method that is finally applied to the VST Plugin to produce a digital piano kit. This kit allows users to adjust the correlation coefficients to produce customized piano sounds.
論文目次 摘要........................................................................... i
Abstract ...........................................................................ii
誌謝........................................................................... iii
Table of Contents........................................................................... v
List of Figures........................................................................... vii
Chapter 1. Introduction ...........................................................................1
1.1.Motivation............................................................................................. 1
1.2.ChapterSummary................................................................................... 2
Chapter 2. Related Work ...........................................................................3

2.1.Piano ..................................................................................................... 3
2.1.1. Origin of piano….…………………………………………… 3
2.1.2. Structure of piano..................................................................... 4
2.1.3. The Sound ­Producing Mechanism ........................................ 14

2.2.SynthesisMethods ............................................................................... 15
2.2.1. AdditiveSynthesis .................................................................. 15
2.2.2. FrequencyModulationSynthesis............................................. 15
2.2.3. WavetableSynthesis ............................................................... 16
2.2.4. PhysicalModeling .................................................................. 17
2.3. Digitai Waveguide ............................................................................. 18
2.3.1. Delay line............................................................................... 19
2.3.2. Digital Waveguide Filter ....................................................... 19
2.3.3. Coupled Strings...................................................................... 24
2.4. Pedal effect ........................................................................................ 27
2.5. The way to simulate sustain pedal ..................................................... 28
2.6. VST Plugin ........................................................................................ 29
Chapter 3. Method ...........................................................................31
3.1. Lehtonen’s method ......................................................................... 31
3.1.1. Signal analysis ....................................................................... 32
3.1.2. Synthesis method ................................................................... 34
3.2. My method ........................................................................................ 38
3.2.1. System introduction................................................................ 38
3.3. Comparison of implementation types ................................................ 50
3.3.1. The difference between a single string or two strings ………50 3.3.2. Resonance effect .................................................................... 51
3.4. Practice analysis and comparison....................................................... 52
3.4.1. Number of strings................................................................... 52
3.4.2. string coupling ....................................................................... 52
3.4.3. The necessity of R(z) ............................................................. 52
3.4.4. Formant filter ......................................................................... 53
3.4.5. Resonance method ................................................................. 53
Chapter 4. Implement ...........................................................................54
4.1. VST implementation type................................................................... 54
4.1.1. System1.................................................................................. 54
4.1.2. System2.................................................................................. 54
4.1.3. System3.................................................................................. 55
4.1.4. System4.................................................................................. 55
Chapter 5. Result ......................................................................................56
5.1.Result................................................................................................... 56
5.1.1. Tone duration ......................................................................... 56
5.1.2. Overtone ................................................................................ 57
5.1.3. Beating ................................................................................... 58
Chapter 6. Conclusion and Future work .....................................................59
6.1. Conclusion ......................................................................................... 59
6.2. Future work........................................................................................ 59
References................................................................................................. 61
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