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In a complete stringed musical instrument, such as a guitar, the string couples via the bridge into a resonating ``body'' which is needed for coupling to the surrounding air, and which imposes a frequency response of its own on the radiated sound. In addition, spectral characteristics of the string excitation affect the radiated sound. Thus, we have the components shown in Fig. 4.29.
Because the string and body are approximately linear and time-invariant, we may commute the string and resonator, as shown in Fig. 4.30.
The excitation can now be convolved with the resonator impulse response to provide a single, aggregate, excitation table, as depicted in Fig. 4.31. This is the basic idea behind commuted synthesis, and it greatly reduces the complexity of stringed instrument implementations, since the body filter is replaced by an inexpensive lookup table [449,233]. These simplifications are presently important in single-processor polyphonic synthesizers such as multimedia DSP chips.
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In the simplest case, the string is ``plucked'' using the (half-windowed) impulse response of the body.
An example of an excitation is the force applied by a pick or a finger at
some point, or set of points, along the string. The input force per sample
at each point divided by
gives the velocity to inject additively at
that point in both traveling-wave directions. (The factor of
comes
from splitting the injected velocity into two traveling-wave components,
and from the fact that two string end-points are being driven.) Equal
injection in the left- and right-going directions corresponds to an
excitation force which is stationary with respect to the string.
In a practical instrument, the ``resonator'' is determined by the choice of output