文档介绍：Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-00), Verona, Italy, December 7-9, 2000
DIGITAL SOUND SYNTHESIS, ACOUSTICS, AND PERCEPTION: A RICH
INTERSECTION
John M. Chowning
The Center puter Research in Music and Acoustics (CCRMA)
Stanford University
jmc@
ABSTRACT 2. THE EARLY YEARS
The early years of digital sound synthesis were filled with
promise following Max Mathews’ publication in 1963 of his
pioneering work at Bell Telephone Laboratories [1]. The digital . The Importance of Psychoacoustics
control of loudspeakers allowed for the production of any
Max Mathews, generally acknowledged to be the “father” of
conceivable sound given the correct sequence of numbers
computer music, wrote in 1963, “There are no theoretical
(samples). Producing the correct sequence of numbers, however,
limitations to the performance of puter as a source of
turned out to be a formidable task. Acoustics and
musical sounds, in contrast to the performance of ordinary
psychoacoustics, the first a well-developed field of knowledge
instruments [1].” For anyone who had generated sound and tried
and the second less so, did not provide information at the level of
to simulate acoustic instrument sounds using the analog
detail required to simulate even the simplest sound of an acoustic
technology of the time, this was a bold claim (that found it