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SWAM-S stands for Synchronous Waves Acoustic Modeling – Strings. Differently from SWAM, sound is generated by pure Physical Modeling, so there are no samples at all.

Hsbc wire transfer form pdf free. We have performed an in-depth study of the Physical Modeling techniques, especially the Digital Waveguides Synthesis by prof. Using this technique, adding new elements and performing an unceasing fine-tuning, we have built the best modeled Bowed Strings virtual instruments on the market, allowing the real-time control of bow speed, bow pressure, bow position, vibrato, portamento, harmonics, tremolo, pizzicato, and many other parameters in a realistic way, almost indistinguishable from the real instrument.

DMG Audio Compassion 1.17 is a full-featured processor for the dynamic processing of any audio material. Behind this interface is probably the most flexible dynamic engine ever created. DMG Audio Dualism 1.07 is a powerful tool for working with a stereo signal, including a comprehensive audio visualization system.

Bowed Strings The bow allows the player to continuously input energy and so to maintain a note. This affects the timbre, too: after a pluck, the high harmonics fade away quickly, leaving only the fundamental and some weak lower harmonics, while bowing maintains the rich harmonic spectrum.

The action of the bow which drives the strings is a regular cycle of stick-slip-stick-slip. This involves some interesting properties of friction, the force that makes things difficult to slide. The bow string interaction is important for another aspect.

Over a limited range of pressure applied by the player, the cycle of stick and slip is governed by the standing wave in the string. When this happens the motion of the string is nearly exactly periodic, and it therefore makes a sound with an almost exactly harmonic spectrum. This means that any inharmonic effects of the string are reduced by bowing, which is not the case when the string is plucked. Helmholtz motion is the name given to the idealised motion of the string during stick and slip cycles.

SWAM-S bowed strings model this complex system using the Digital Waveguide Synthesis conceived by prof. Smith, exploiting a complex friction model and adding several elements taken from the SWAM technology created for the Woodwinds instruments. Folks control this with breath controllers, mod wheels, Roli Seaboards, etc. Or other octaves on your keyboard.

And from what I understand, the approach to pitch shift is unique and more natural sounding than other string libraries with sample-based engines. I'm pretty sold on it at the moment and could really put it to use for a current project.

The only downside is Reason doesn't have multitimbral/MPE support; so doing things like applying different pressure on individual strings or bending notes independently of one another using a single instance of an instrument isn't possible. But I can use Garagband for that, as it has support. Hopefully Reason will have this soon. 18 Nov 2017 It's interesting. The first demo videos you posted, I was like - if I close my eyes, I could probably not discern whether or not this was a real cello or modeled/synthetic.

But the second videos you posted, where it was Bach and the GOT theme alone. Something about it sounded. Noticeably synthetic, IMHO. Still, it sounded amazing - and probably the closest approximation of a cello played by keys I've ever heard! Like many software instruments, I think there's still certain aspects with how you play them that will lend themselves to how realistic they sound. But these seem more playable then most that I've seen with a higher success rate of sounding more natural with the expressiveness and MPE support. What I found nice about the GOT example was the natural sounding pitch bend.

With other instruments I've used, I either hear steps, weird formant shifts, odd changes in harmonics and volume, etc. (especially when bending between that many notes). These sound much smoother and natural. Here's another SWAM example, this one with violin and controlled with a breath controller. This sounds impressively versatile for performing with, but my ears aren't entirely convinced of their realism. Like EnochLight, I'm hearing something noticeably synthy about the timbre in some of these videos.

For really far-out atonal cello parts I can easily see the uses for this, but the timbre is a drawback that may or may not be worthwhile depending on how complex and abstract the parts you're planning to play are. For my uses, I've been very satisfied with the from Embertone's deep-sampled Intimate Strings series.