Deliverables
The purpose of this research is to address shortcomings in the quality of sound produced by modern digital pipeless organs and to propose cost-effective remedies. It does this by exploring 3 related problem areas:
- Sound quality, particularly in comparison with pipe organs.
- Sound distribution, particularly in poor acoustics.
- Achieving accurate and versatile sound control.
The work is directed mainly towards organs based on synthesis technology, but many of its results are applicable to other digital technologies and to the simulation of musical instruments other than organs.
The research is in 3 parts.
Part 1 deals with sound synthesis mechanisms:
It first explores what features of organ waveforms are important to perceived quality of sound and perceived size of ensemble. This is done by means of a series of tests designed to quantify the effects of variables such as complexity of attack waveforms, number of independent sound sources in use, number of waveform points per stop, level of waveform disorder, etc.
Part 1 goes on to examine digital system components suitable for synthesis and other technologies. It concludes with a comprehensive paper entitled "Design of Music Sound Synthesis Systems", which examines in detail, against the background of the results of the tests, what is needed to create a cost-effective set of mechanisms capable of producing high quality results. The recommendations in the paper are tested by a comparison of synthesised organ sound with the sound of a good quality pipe organ.
Part 2 deals with sound output and distribution from pipeless organs:
Satisfactory sound output and distribution is a pre-requisite for realising the full potential of any electronic musical instrument, and in organs it is closely wedded to factors of building acoustics.
The work began with an exploration of pipe organ acoustics, with application to all European pipe organ traditions, as pipe organs are the comparative measure of quality in this field.
Procedures for the examination of the effects of acoustic conditions on pipeless organ sound were defined, and suitable test equipment was researched.
In combination, the findings of part 2 provide a body of reference material to aid the achievement of improved output and distribution of sound from pipeless organs, to be implemented in a variety of acoustic environments.
Part 3 deals with sound specification:
Whatever the quality of its sound synthesis mechanisms and its sound output and distribution arrangements, a synthesised musical instrument cannot produce good quality results unless its human voicer provides it with good quality sound specification data. To harness the enormous flexibility provided by a synthesis system, its sound specification data interface needs to be intuitive, interactive, fast-acting and user-friendly.
Issues involved in sound interface development were prioritised into areas potentially enhancing the interface performance. The controlling aim was the need for intuitiveness of data navigation. Development work was undertaken in each of the areas identified and the developments were evaluated, using identified techniques, for impact upon interface performance.
By these means, areas of greatest potential benefit for concentration of interface development effort were identified. The study highlighted the importance of user satisfaction with the most frequently used controls for successful interface performance.
The results of this project address the principal problem areas for pipeless organ designers, installers and voicers. Attention to the recommendations made should result in significant, cost effective improvements to sound quality and perceived size of ensemble.
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