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Computational design of metallophone contact sounds

Published: 02 November 2015 Publication History

Abstract

Metallophones such as glockenspiels produce sounds in response to contact. Building these instruments is a complicated process, limiting their shapes to well-understood designs such as bars. We automatically optimize the shape of arbitrary 2D and 3D objects through deformation and perforation to produce sounds when struck which match user-supplied frequency and amplitude spectra. This optimization requires navigating a complex energy landscape, for which we develop Latin Complement Sampling to both speed up finding minima and provide probabilistic bounds on landscape exploration. Our method produces instruments which perform similarly to those that have been professionally-manufactured, while also expanding the scope of shape and sound that can be realized, e.g., single object chords. Furthermore, we can optimize sound spectra to create overtones and to dampen specific frequencies. Thus our technique allows even novices to design metallophones with unique sound and appearance.

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Published In

cover image ACM Transactions on Graphics
ACM Transactions on Graphics  Volume 34, Issue 6
November 2015
944 pages
ISSN:0730-0301
EISSN:1557-7368
DOI:10.1145/2816795
Issue’s Table of Contents
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected].

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Publication History

Published: 02 November 2015
Published in TOG Volume 34, Issue 6

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Author Tags

  1. computational fabrication
  2. inverse problem
  3. shape optimization
  4. sound synthesis

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