Chapte r 1T - Introduction to sound synth esis 1T

ENVELOPESOF ACOUSTIC INSTRUMENTS

In addit ion to waveform , "the evolution of t ransients plays an essential role in
the defin ition of t imbre by the listener. Sounds w ith different waveforms can,
in some cases, be perceived to be the same (or very similar) because they have
similar transients. Conversely, sounds possessing ident ical waveforms may be
perceived to be clearly differe nt if t hey have very diffe rent transients.

In figur es 1.22 and 1.23, the envelopes that are characteristic for some instru-
ments are summarized.

Piano Piano with key release

Fig. 1.22 Envelopes of flute, trumpet, unmuted piano, and piano w ith key release

Referring to f igure 1.22, one can see how the flute is characterized by a fai rly
rapid ascent in ampl itude, fo llow ed by a slight drop (an effect obta ined by
tong uing), a phase of constancy, and fi nally a fa irly quick release. The attack
transients of the trumpet d isplay a we ll-known signature (and in general fo r all
instruments w ith mouthpieces); we can see the characte ristic "doub le attack"
in th e graph. The envelope of the piano has a very quick att ack, followed by
an exponent ial decay (about wh ich we w ill say more shortly). This decay can be
accelerated by releasing the key to app ly its felt dampers to the string.

~
Violin
r Double bass Pipe organ
L
Wood block

Fig. 1.23 Envelopes of violin, doub le bass, pipe organ and wood block

In figu re 1.23, the violin has a fair ly quick attac k and release. The double bass,
whose more massive strings resist qu ick changes and hence possess much
greater inert ia than those of a violin, are slower to vibrate dur ing t he att ack
and slowe r to stop during the release. As a consequence, the durations of both
attack and release are longer than those of the vio lin. The pipe organ has very
quick attack and release, but what really distinguishes its sound is the rever-
berat io n t hat is almost always associated wi t h the inst rument, and w hich has
become an integral part of its t imbre.

During the prog ression of transient changes in amplitud e that occur over t he
lifet ime of a note played on an acoustic instrument, the frequency will often
vary slight ly (alth ough much less in relat ive terms than th e amplitude). In par-
t icular, during the attack, the frequency is often initially unstable before set-
tling upo n a nomin al value. This is partic ularly evident in t he sustained notes
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