We use one-dimensional coupled map lattices (CMLs) to generate sounds that reflect their spatial organization and temporal evolution from a random initial configuration corresponding to uncorrelated noise. In many instances, the process approaches an equilibrium, which generates a sustained tone. The pitch of this tone is proportional to the lattice size, so the CML behaves like an instrument that could be tuned. Among exceptional cases, we provide an example with a metastable strange attractor, which produces an evolving sound reminiscent of drone music.

This article explores techniques for synthesizing resonant sounds using the principle of nonlinear distortion. These methods can be grouped under the heading of “subtractive synthesis without filters,” the case for which has been made in the literature. Starting with a simple resonator model, this article looks at how the source-modifier arrangement can be reconstructed as a heterodyne structure made of a sinusoidal carrier and a complex modulator. From this, we examine how the modulator signal can be created with nonlinear distortion methods, looking at the classic case of phase-aligned formant synthesis and then our own modified frequency-modulation technique. The article concludes with some application examples of this sound-synthesis principle.

This article outlines a hybrid approach to the synthesis of percussion sounds. The synthesis method described here combines techniques and concepts from physical modeling and convolution to produce audio synthesis of percussive instruments. This synthesis method not only achieves a high degree of realism in comparison with audio samples but also retains some of the flexibility associated with waveguide physical models. When the results are analyzed, the method exhibits some interesting detailed spectral features that have some aspects in common with the behavior of acoustic percussion instruments. In addition to outlining the synthesis process, the article discusses some of the more creative possibilities inherent in this approach, e.g., the use and free combination of excitation and resonance sources from beyond the realms of the purely percussive examples given.