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2010 - Session 3
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Check out some of the snowboarding and skateboarding from session 3 featuring our Signature Sessioners and staff.+ More details
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A method for digital simulation of a non-linear interaction between an excitation source and a wave in a resonator, and is particularly applicable, to real-time synthesis of digital signals representing an oscillating phenomenon such as the sound produced by a musical instrument. The invention is characterized in that it consists in calculating the digital signals from equations whereof the solution corresponds to the physical representation of the phenomenon to be simulated which is expressed, each time and in each point of the resonator, by a relationship of impedance or of admittance between two variables representing the effect and the cause of the phenomenon and in directly transcribing the equation of the impedance or of the admittance in the form of a linear filter including delays, so as to produce a non-linear interaction between the two variables of the impedance or admittance relationship.
1. A digital simulation method of a non-linear interaction between an excitation source and a wave in a resonator, by means of digital signal calculation tools based on equations the solution of which corresponds to the physical event of a phenomenon to be simulated which can translated, at each time and at each point of the resonator, by a linear relation between two variables representative of the effect and of the cause of said phenomenon to be simulated comprising:
transcribing the impedance or admittance equation directly into a digital model form enabling to realise a non-linear interaction between the two variables of the impedance or admittance relation,
wherein said method is adapted for real-time sound synthesis of a musical instrument comprising, at least, one excitation source with non-linear characteristics and a linear resonator, the sound produced by the instrument resulting from a coupling, between the excitation source and the resonator, expressed at least by a linear impedance or admittance relation and a non-linear relation between two physical variables representative of the effect and of the cause of the sound produced, a method where the sound produced by the instrument is simulated, in real time, by modelization the physical phenomena governing the operation of the instrument, wherein, to realise said physical modelization, the impedance or admittance linear relation is expressed directly and digitally between two physical variables representative of the cause and of the effect of the phenomenon to be simulated and said impedance or admittance relation in digital form is associated with the non-linear relation between the same variables.
2. A method according to
3. A simulation method according to
4. A method according to
5. A method according to
6. A method according to
7. A method according to
8. A method according to
9. A method according to
10. A method according to
ω is the angular frequency of the wave
Ze(ω) is the input impedance of the resonator,
Pe(ω) and Ue(ω) are the Fourier transforms of the dimensionless values of the pressure and of the flow at the input of the resonator;
k(ω) is a function of the angular frequency which depends on the phenomenon to be simulated;
L is the length of the resonator.
11. A method according to
and representing a two-way travel of a wave, with a sign change at the open end of the resonator, each waveguide corresponding to a term of the impedance equation.
12. A method according to
13. A method according to
14. A method according to
a parameter ζ characteristic of the mouthpiece and of the action of the player on the vibration formation member,
a parameter γ representative of the pressure applied to the vibration formation member.
15. A method according to
16. A method according to
fe being the sampling frequency,
is the pure delay corresponding to an away or return travel of the wave in the resonator,
the coefficients bo and a1 are expressed in relation to the physical parameters so that |F(ω)2|2=|{tilde over (F)}(
ω1 of the angular frequency corresponding to the fundamental playing frequency and another value ω2 corresponding to a harmonic,
and the following differential equation is derived:
p e(n)=u e(n)−a 1 u e(n−1)−b 0 u e(n−2D)+a 1 p e(n−1)−b 0 p e(n−2D). (16)
17. A method according to
|F(ω1)2|2(1+a 1 2−2a 1 cos(
|F(ω2)2|2(1+a 1 2−2a 1 cos(
said coefficients being given by the formulae:
c 1=cos(
18. A method according to
(with the sign + for a reed and the sign − for the lips)
wherein n ωr is the resonance frequency and gr is the quality factor of the reed or of the lips, wherein that said system of equations is solved in the time domain from an equivalent sampled formulation of the angular frequency response of the displacement of the reed or of the lips and of the impedance relation which is translated by the system of equations:
said equations being used sequentially by grouping the terms not depending on the time sample n, in order to calculate in succession:
19. A method according to
and is calculated, at each sampled time (n), by differential between the sums of the internal pressure pe and of the flow ue, respectively at the time (n) and at time (n−1).
20. A method according to
x(n)=b a1 p e(n−1)+b a2 p e(n−2)+b aD1 p e(n−D a−1)+a a1 x(n−1)+a a2 x(n−2)+a aD x(n−D a)+a aD1 x(n−D a−1)
the coefficients aa1, aa2, aaD2, aaD1 being defined by:
and the coefficients ba1, ba2, baD1 by:
the following equations being the same as for a single mode reed.
21. A method according to one
R(ω)exp(−2ik(ω)L), wherein
Zc being the characteristic impedance
the output impedance
22. A method according to
23. A method according to
p e(n)=bc o u e(n)+bc 1 u e(n−1)+bc 2 u e(n−2)+bc D u e(n−2D)+bc D1 u e(n−2D−1)+ac 1 p e(n−1)+ac 2 p e(n−2)+ac D p e(n−2D)+ac D1 p e(n−2D−1) (33)
wherein the coefficients bc0, bc1, bc2, bcD and bcD1 are defined by:
and the coefficients ac1, ac2, acD and acD1 are defined by:
24. A method according to
25. A method according to
is the volume of the hemispheric cavity, L1 is the length of the short pipe, L2 is the length of the conical pipe, Z1 and Z2 are the characteristic impedances of both pipes which depend on their radii, k1(ω) and k2(ω) take into account the losses and the radius R1 and R2 of each pipe, and that, From the basic model for cylindrical resonator, from its extensions to the conical pipe and to the short pipe, a resonator model is prepared by expressing the pressure at the mouthpiece or in the bill by the differential equation:
26. A method according to
p e(n)=bc o u e(n)+bc 1 u e(n−1)+bc 2 u e(n−2)+bc D u e(n−2D)+bc D1 u 1(n−2D−1)+ac 1 p e(n−1)+a c2 p e(n−2)+ac D p e(n−2D)+ac D1 p e(n−2D−1) (33)
wherein the coefficients bc0, bc1, bc2, bcD and bcD1 are defined by:
and the coefficients ac1, ac2, acD and acD1 are defined by
27. A method according to
28. A method according to
29. A digital device to implement the method according to
1. Field of the Invention
The invention refers to a digital simulation method of a non-linear interaction between an excitation source and a wave in a resonator and may be applied, in particular, to the digital synthesis, in real time, of an oscillating phenomenon such as the sound emitted by a musical instrument operating more particularly with sustained oscillations, such as wind or rubbed string instrument.
2. Description of the Related Art
The phenomena of wave propagation and formation of the emitted sounds, in particular, by a musical instrument have been studied scientifically for a very long time.
In particular, it is admitted, generally speaking, that a musical instrument includes, at least, one exciter, characterised by a non-linear characteristic, coupled possibly with certain linear elements (the reed, the lips, the bow, the hammer, etc. . . . ) and resonator elements, generally linear, where there is wave propagation as well as, generally, localised elements (for instance lateral bores or simple elements of the mass or spring type), generally linear as well.
Similarly, a digital instrument capable of synthesising the sounds emitted by a musical instrument, is composed generally of three main elements, respectively a first element, to sense the gests of a musician and to transform them into signals/control parameters, a second element computing the signal in real time, a third element converting this series of numbers calculated into a sound signal by means of digital/analogue converters, amplifier, loudspeakers.
The present invention concerns mainly the second real time calculation element of the signal.
It is known that the digital simulation of a sound or, more generally, of an oscillating phenomenon, may be conducted by discretisation in the time domain of equations forming the mathematic representation of the physical phenomenon to be simulated. Such a model is always expressed in the form of a system of equations with coupled partial derivations, linear or non-linear.
The simulation then consists, generally speaking, in computing as quickly as possible the solution of the acoustic/mechanical model describing the operation of the instrument or, at least, approximations preserving its most important characteristics.
Numerous methods exist to that effect and it is possible, in particular, to mention modal methods (which describe the resonator as a resonant filter comprised of a sum of elementary resonances), particular methods (which describe the medium wherein there is a wave propagation in the form of chains of the type mass-springs-dampers), or the digital methods for solving equations with partial derivations.
However, real time sound synthesis is difficult to realise and consequently, for some years, other methods have been developed, based on a "signal processing" formalism of the propagation in both directions of the resonator of the instrument. One may quote, for instance the methods called "digital wave guide" or "digital wave filter".
Generally speaking, to represent the propagation of a wave, one may use, in the simplest formalism, the well known d'Alembert's equation, which applies to longitudinal waves (acoustic for instance) as well as transversal waves (vibration of a string for instance). In particular, in the case of the propagation of an acoustic wave, the acoustic pressure in all points of the resonator of a wind instrument may be split into a sum of two waves of acoustic pressure, one propagating from the player to the horn, and the other from the horn to the player, which are called away-wave and return-wave.
In practice, such propagation is expressed by a convolution equation (linear filtering), which yields the away wave (or return wave) at one point of the resonator at each time in relation to the away wave (or return wave) at another point at each instant. In the so-called Green formulation, which may be implemented in digital form, d'Alembert's equation specifies for instance that this linear filter, called Green core, is a pure delay, depending on the speed of propagation in the medium and on its length.
In a synthesis model, these waves, respectively away and return waves, are represented by two signals corresponding respectively to both propagative solutions of the differential equation.
Such a synthesis method is implemented, for instance in the document U.S. Pat. No. 5,332,862 which describes a synthesiser comprising generally speaking:
Obviously, there are other types of synthesisers but, until now, all the methods involving a modelization the physical phenomena within the instrument were based on the decomposition of the vibration inside the resonator in terms of away wave and return wave variables.
Still, it has appeared that such methods exhibited several shortcomings.
First of all, when the acoustic resonator is formed, for instance, of several parts of cylindrical tubes of different diameters, the section change causes the generation of a transmitted wave and of a reflected wave at each interface. The phenomenon has been taken into account for a long time, for instance, within the framework of the modelization of the vocal conduit.
This type of modelization, which is identical, in its approach, to the conventional theory of the geometrical optics, is also employed, for instance, in seismic-reflection, in order to describe the propagation of elastic waves in a multilayer ground.
It is known, indeed that it is interesting, in all the cases when one or several waves propagate, to characterise an interface by a diffusion matrix, since it is thus possible to access the reflexions and transmissions of the different waves directly. However, the behaviour of this localised element often becomes difficult to grasp and to calculate, insofar as the interface and continuity equations are always written initially with physical quantities, for instance by expressing, at the interface, the continuity of the pressure or of the flow, of the strength or of the speed.
It is hence often more advantageous to use "impedance" or "admittance" matrices, which link the physical quantities directly, as described in an article of J. Kergomard, "Calculation of discontinuities in waveguides using mode-matching method: an alternative to the scattering matrix approach" J. d'acoustique 4 pp 111-138, (1991)".
On the other hand, when there are localised elements other than interfaces in the instrument to be simulated, the "waveguide" method must be complemented by a "wave filter" type method describing such localised elements (such as mass, spring, dampers) for a correct connection between the various sub-systems.
Similarly, when the acoustic resonator is composed for instance of a conical pipe, the waves moving from the player to the horn (away waves) and from the horn to the player (return waves) are different, which requires, either different modelization, by means of two linear filters corresponding to the Green cores describing the propagation in each direction, or approximating the cone by a succession of short length cylinders of different diameters.
Besides, the sound produced by a musical instrument is not derived solely from the propagation of a wave through a resonator, regardless of the complexity of its geometry, but results from the non-linear coupling between said resonator and an excitation source. Such non-linear coupling is expressed physically between the physical quantities representing a cause (pressure in the acoustic case, strength in the mechanical case) and an effect (flow in the acoustic case, speed in the mechanical case), called Kirchhoff variables. In the acoustic case, this so-called Euler-Bernoulli physical law, a simplified version of the Navier-Stokes equations used in fluid mechanics, specifies that the acoustic pressure, at the reed or the lips of a wind instrument, is proportional, within one additive constant, to the square of the acoustic flow. The formulation of the waves in the resonator in the form of away waves and return waves requires therefore changing the variables enabling the non-linear coupling to be expressed, not in relation to the pressure-flow physical variables any longer, but in relation to these new away-wave and return-wave variables, as for instance, in the aforementioned document U.S. Pat. No. 5,332,862. Still, the variable change introduces an additional complexity in the synthesis method. It is thus that the use of iterative or tabulation methods has been recently suggested to calculate the solution of the non-linear system.
Consequently, the synthesis methods used until now do not enable to simply express the non-linear coupling which exists between the excitation source and the resonator of the instrument and limit the physical parameterisation of the synthesis algorithms.
The invention intends to remedy such shortcomings and to eliminate such limitations thanks to a new real-time simulation and synthesis method of an oscillating phenomenon, applicable especially, but without being limited thereto, to self-oscillating wind instruments. In particular, the invention refers to a simulation method enabling to take into account the physical process governing the operation of a real instrument and where the digital implementation may be particularly simple.
Moreover, from a basic method applicable to instruments such as a clarinet, with a cylindrical resonator, the invention may be adapted to the simulation of other types of wind or string instruments.
Besides, the invention is not limited to the simulation of musical instruments but may be applied, generally to real-time digital synthesis of all sorts of oscillating phenomena.
Generally, the invention therefore relates to the simulation of a non-linear interaction between an excitation source and a wave in a resonator, by means of a digital calculation tool, from equations whose solution corresponds to the physical event of a phenomenon to be simulated.
According to the invention, the phenomenon to be simulated is translated, at each time and at a given point of the resonator, by a linear relation between two variables representative of the effect and of the cause of said phenomenon, the impedance or admittance equation is transcribed directly in the form of a digital model enabling to realise a non-linear interaction between the two variables of the impedance or admittance relation.
In this view, the model comprises, on the one hand, at least one linear part representing directly the so-called input impedance or admittance of the resonator, i.e. at the point where the non-linear interaction occurs and, on the other hand, one non-linear part modelization the role of the excitation source of the phenomenon to be simulated.
In particular, for real-time digital synthesis of an oscillating phenomenon, the invention enables, from a system of equations between at least two variables representative of the behaviour of the resonator, to establish an expression of the input impedance or admittance of the resonator in the form of a linear filter including delays, without any decomposition into away-return waves, in order to realise at least one linear part of the model which may be coupled with a non-linear loop involving the evolution of the non-linearity as expressed between the two variables of the impedance or admittance relation of the resonator.
Particularly advantageously, such linear part of the model is composed of the sum of two elementary waveguides fulfilling a transfer function between the two variables of the impedance or admittance relation.
According to another particularly advantageous characteristic, the model is driven by at least two parameters representative of the non-linear physical interaction between the source and the resonator, by means of a loop connecting the output to the input of the linear part and comprising a non-linear function playing the part of an excitation source for the resonator.
Thus, contrary to the synthesis methods used conventionally, the method according to the invention does not involve away and return waves, but expresses directly and digitally the so-called impedance, linear relation between the cause and effect variables, i.e. pressure and flow in the acoustic case, strength and speed in the mechanical case.
Naturally, such relation puts in evidence propagative elements, involving filters and delays, insofar as the physical phenomenon to be simulated is unchanged.
Still, thanks to the method according to the invention, such relation is readily processable in digital form and may then be associated with the non-linear relation expressed physically between the same variables.
As indicated above, the present invention concerns therefore essentially the modelization element of a digital instrument which, from parameters prepared by a control means, such as a gestural sensor operated by the player, computes in real time a signal liable to be transformed into a sound signal by a conversion element.
In particular, for real-time synthesis, by physical modelization, of the sound of a musical instrument resulting from a non-linear coupling between the excitation source and the resonator, the invention enables to solve the system of equations representative of the phenomenon to be simulated by expressing directly and digitally the impedance or admittance linear relation between the cause and effect variables and by associating such linear relation in digital form with the non-linear relation between the same variables. Moreover, in the case of a resonator of a complex geometry, the former may be decomposed into successive elements, in order to combine the elementary linear relations corresponding respectively to each element of the resonator, in order to obtain an impedance or admittance corresponding to the geometry of the instrument.
As already mentioned, the invention applies, in particular, to real-time synthesis of the sound produced by a wind instrument. In such a case, the two variables of the impedance relation are the acoustic pressure and flow at the input of the resonator.
In the case of a cylindrical resonator having one open end, it is particularly advantageous to realise the linear part of the digital transcription model of the impedance equation in the form of a sum of two elementary waveguides having as an excitation source the flow at the input of the resonator and fulfilling the transfer function:
According to another characteristic, each of the two waveguides involves a filter having as a transfer function:
and representing a two-way travel of a wave with the sign changing at the open end of the resonator, each waveguide corresponding to a term of the impedance equation.
Such a model may advantageously be driven by the length of the resonator and at least two parameters representative of the non-linear physical interaction between the pressure and flow at the input of the resonator, by means of a loop connecting the output to the input of the linear part and comprising a non-linear function playing the part of an excitation source for the resonator.
In particular, for real-time synthesis of the sounds to be simulated, a formulation is prepared, in the time domain, of the angular frequency response of the resonator, by approximation of the losses represented by the filter by means of an approximated digital filter.
The invention covers other essential characteristics mentioned in the claims and referring, in particular, to the equations used by the digital signal calculation tool and which leads to waveguide models depending on the phenomenon to be simulated.
Indeed, according to an essential characteristic of the invention, the method suggested for the simulation of a simple phenomenon such as the propagation of a wave in a cylindrical resonator, may be adapted in multiple ways for the simulation of more complex phenomena and, in particular, of diverse types of instruments.
In the following description, we shall thus expose in detail the simulation method, the equations used and the model to be implemented for synthesising the sound of an instrument with a reed acoustic cylindrical resonator, such as a clarinet, and then certain adaptations for the simulation of other types of instruments.
The invention will first of all be described in its application to a clarinet-type wind instrument.
A simulation model of the sound therefore includes a linear part of the model corresponding to the resonator of the instrument which, in the case of the clarinet is composed of a cylindrical tube. For such geometry, assuming that the radius of the tube is large relative to the thickness of the boundary layers, the acoustic pressure inside the tube is governed by an equation in the form:
While looking for the solutions of the exp (i(ωt−k(ω)x)) type, ω being the angular frequency of the wave, the following may be written:
by replacing √{square root over (1+x)} with the approximated value
We know that, if we consider a pipe of infinite length, supposedly excited at x=0 and t=0 by a unit pulse δ(x)δ(t), in all points x>0, the acoustic pressure propagated from such source is written in the form of a continuous sum of all the waves likely to propagate in the pipe;
in the following, the term "waveguide" will be reserved for the so-called Green formulation representing the propagation of a wave in a medium, and including the dissipation and the dispersion.
In this Green formalism, the transfer function of a pipe of length L, representing the propagation, the dissipation and the dispersion is:
The dissipation, represented by the modulus of F(ω), and the dispersion, represented by the phase of F(ω), are therefore proportional to √{square root over (ω)}, while the propagation delay is provided by
We know, on the other hand, that the Fourier transform of the dimensionless pressures and flows at the input (Pe(ω), Ue(ω)) and at the output (Ps(ω), Us(ω)) of the resonator are linked by the system of equations:
Conventionally, in order to model the internal acoustic pressure, the radiation may be neglected. The open end of the instrument is therefore perfectly reflecting, which involves that Ps(ω)=0. This enables to express the relation between pressure and flow at the input of the resonator
where Ze(ω)=i tan(k(ω)L) is the normalized input impedance of the resonator.
In the case of a conventional single-mode reed or lips model, the dimensionless displacement x(t) of the reed with respect to its point of equilibrium, and the acoustic pressure pe(t) at the origin thereof, are linked by the equation:
with the sign + when the pressure tends to close the reed or the lips and the sign − when the pressure tends to open it,
and wherein ωr=2πfr corresponds to the resonance frequency fr, for instance 2500 Hz and qr is the quality factor of the reed, for instance 0.2.
By writing, the equation (5) with the sign + in the Fourier domain, we obtain the transfer function of the reed:
whereof the angular frequency response is provided by:
For exemplification purposes,
As shown below, it should be noted that x(0)=0.
Besides, in the case of a clarinet-type reed instrument or trumpet-type mouthpiece instrument, the acoustic pressure pe(t) and acoustic flow ue(t) (dimensionless) at the input of the resonator are linked in a non-linear manner by the equation:
In the case of a reed instrument, the parameter ζ is characteristic of the mouthpiece and takes into account the position of the lips and the section ratio between the bill and the resonator. Such parameter ζ is proportional to the square root of the opening of the reed in idle position and usually ranges between 0.2 and 0.6.
The parameter γ is the ratio between the pressure inside the mouth of a player and the plating static pressure of the reed. For a no loss pipe, it ranges from ⅓ for the initiation of vibrations to � for the position of a beating reed.
The parameters ζ and γ are therefore two important playing parameters insofar as they represent, respectively, the way the player pinches the reed and the pressure of the breath into the instrument.
While combining the displacement equation of the reed or of the lips, the impedance relation and the non-linear characteristic, it appears that the acoustic pressure and flow, at the mouthpiece, are controlled by the following system of equations:
The aim of the invention is therefore to find a formulation of the impedance relation in the time domain enabling to solve this three-equation system, by modelization the impedance relation in terms of elementary waveguides.
To model the input impedance of the resonator in terms of elementary waveguides, the Fourier transform of the impedance Ze(ω) is written in the form:
This expression may be written in the form:
For exemplification purposes,
The system of the three coupled physical equations (9), (10), (11) enables to introduce the non-linearity in the form of a loop connecting the output pe of the resonator to the input ue.
The model is entirely driven by the length L of the resonator and at least two parameters ζ and γ representative of the non-linear physical interaction between the source and the resonator, by means of a loop connecting the input to the output of the linear part and comprising a non-linear function playing the part of an excitation source for the resonator. As shown on
No input signal is necessary, insofar as γ is directly proportional to the pressure in the mouth of the player. It is therefore the non-linearity itself, and its evolution imposed by the player, which plays the part of the excitation source, according to the physical model.
For real-time synthesis of the sounds to be simulated, the model requires digital sampling and, to do so, a formulation is prepared, in the time domain, of the angular frequency response of the resonator, corresponding to the inverse Fourier transform of the impedance. Such formulation in the time domain enables to calculate the pressure pe(t) at the mouthpiece in relation to the flow ue(t) but, to do so, it is necessary to approximate the losses represented by the filter F(ω) by means of an approximated digital filter. We shall therefore use an approximation of the transfer function of the filter, −F(ω)2=−exp(−2ik(ω)L), where the coefficients are determined from physical variables such as the length of the resonator and its radius, in order to be able to make the necessary modifications in relation to the geometry of the resonator. In this view, we express analytically the coefficients of the digital filter as functions of physical parameters.
In practice, it is particularly advantageous to use a single-pole filter while expressing the transfer function approximated in the form:
The parameters b0 and a1 are expressed in relation to the physical parameters so that |F(ω)2|2=|{tilde over (F)}(
The first value adopted ω1 is that of the fundamental play frequency. This enables to ensure a down-slope time of the fundamental frequency of the angular frequency response of the waveguide model using the approximated filter, identical to that of the waveguide model using the exact filter.
The second adopted value ω2 is that of a harmonic selected in order to obtain global identical decrease in the angular frequency responses of the waveguides, respectively, exact and approximate waveguides.
The selection of such second value ω2 is therefore less restricted. It corresponds, for instance, to the second resonance peak in the case of the clarinet but, in certain cases, as shown below in the case of the trumpet it may be preferable to select a higher rank harmonic.
The system of equations to be solved is provided by:
By neglecting the dispersion introduced by the non-linear to part of the phase of F(ω), the frequencies of the harmonics are:
By noting:
From the expression of the input impedance of the resonator:
and by noting z=exp(i
It can be noted that the model thus established provides a angular frequency response very close to that of the resonator, represented in
As well as for the filter representing the losses, the relation between the acoustic pressure and the displacement of the exciter (reed or lips) must be discretized in the time domain. Or, the angular frequency response of the reed is a sinus wave damped exponentially which meets the condition x(0)=0, as already mentioned above. II is therefore possible to build a digital filter for which the displacement of the reed at the time
With these approximations, the digital transfer function of the reed is provided by:
wherefrom the differential equation is derived:
wherein the coefficients b1 a, a1 a and a2 a are defined by:
It can be seen that the diagrams obtained are very close to those of
This being established, we shall now expose an explicit resolution method, according to the invention, for coupling the differential equations with the non-linear characteristic.
The sampled formulations of the angular frequency responses of the displacement of the reed and of the impedance enable, indeed, to write the sampled equivalent of the system of equations (9, 10, 11) stated above, in the form:
This system of equations is implicit, because the calculation of pe(n) by the impedance equation requires to know ue(n) and such value is itself obtained from the non-linear equation and requires to know pe(n). Still, as already mentioned above, the calculation of x(n) does not requires to know pe(n) but to know pe(n−1) which is indeed known at the time n.
This enables, according to the invention, to solve simply and exactly the coupled system. To do so, the terms of the equations (19) and (20) above, which do not depend on the time sample n, may, indeed, be gathered in the expressions:
which enables to writer
To generalise the method, it is interesting to associate ue (n) with a coefficient bc0=1 in the case of a cylindrical pipe.
Both equations (19) and (20) above may then be written in the form;
Since the term
Consequently, the calculation of the acoustic pressure and the flow at the mouthpiece at a sampled time n, may be conducted by using sequentially the following equations:
Thus, the invention enables to solve in the time domain, the system of equations governing the physical modelization of the instrument, from a sampled formulation equivalent to the angular frequency response of the displacement of the reed, of the impedance relation and of the non-linear characteristic, which is translated into the system of equations (18), (19), (20), wherein:
By grouping the terms which do not depend on the time sample n, the method according to the invention enables, indeed, to determine the flow and the pressure at the input of the resonator by a sequential calculation of the equations (21) to (25), and to solve, in the time domain, the system of equations (9), (10), (11) governing the physical modelization of a clarinet-type reed instrument, in order to synthesise the sounds produced by such an instrument.
For exemplification purposes,
Three phases can be observed: the attack transient corresponding to sudden increase of γ and ζ, the steady state while γ and ζ diminish gradually, in a linear manner, up to the oscillation threshold, and the extinction transient.
In practice, the digital implementation of such a non-linear waveguide model, may be conducted with the use of elements available on the market for the gestural sensor. For instance, digital implementation is possible in language C in the form of an external <<clarinet>> object for the environment known under the trade name Max-MSP, driven from MIDI controls supplied by a controller Yamaha WX5�. This controller measures the pressure of the lips on the reed, which controls the parameter ζ, and the pressure of the breath, which controls the parameter γ. Such information received in MIDI format (therefore between 0 and 127) are re-standardised to correspond to the scale of the physical parameters. The waveguide is tuned from the information MIDI pitch controlled from the finger position which determines the length L of the pipe.
Still, as in a real instrument, the height changes in relation to the physical parameters such as γ, ζ, ωr and qr. Still, in reality, a musical instrument is not tuned perfectly for all the finger positions. The use of an all-pass filter for the implementation of the fractional part of the delay D is therefore not compulsory.
In practice, it appears that the playing sensations of such to a virtual instrument are quite comparable to those of a real instrument.
Still, the method which has just been described for the simulation of the sound of a clarinet-type reed instrument, may still be perfected.
We know, indeed, that the acoustic pressure at the mouthpiece is not the variable representative of the sound perceived. It is therefore interesting to calculate the external pressure which, for a cylindrical pipe, may be expressed as the time derivate of the outgoing flow:
wherefrom we may derive:
From the perception viewpoint, the term exp(−ik(ω)L) is negligible. The expression above may therefore be simplified and becomes:
Thus, from a digital viewpoint, the calculation, at each sampled time n, of the external pressure pext(n), is reduced to a simple differential between the sum of the internal pressure and of the flow, between the time n and the time n−1.
As shown in
For a cylindrical resonator, such modelization element II is of the type represented in
The linear part 3 includes a computing block 31 of the type represented in
The model is driven by the length L of the resonator and the non-linear part 2 implements a non-linear function 21 controlled by both parameters ζ and γ and having as input parameters the pressure pe(t) calculated by the linear part 3 and the displacement x(t) of the exciter 22 calculated, in the case of the clarinet by a reed model (m) in relation to the same pressure pe(t) at the mouthpiece.
From such pressure pe(t) and the flow ue(t) at the mouthpiece, computed respectively by the linear part 3 and the non-linear part 2, the bloc 4 computes the sound signal pext(t) emitted by the digital instrument thanks to the converter 5.
The method according to the invention has been described in detail for the simulation of a simple instrument, with cylindrical resonator, of the clarinet type.
Still, as will now be seen, the general diagram of
In particular, physical measurements have shown that the vibrations of a reed are more complex than a simple sine wave damped. It has therefore appeared that the simple model described above could be perfected in order to improve the quality of the sound produced, as perceived. To do so, we consider a very simplified reed model in the form of a free embedded string. Thus, the impedance model of a cylindrical pipe described above, which generates mainly odd harmonics, acts as a basis for the realisation of a multiple mode reed model complying with the same condition x(0)=0, which enables to keep the digital resolution diagram of the equations (21) to (25) specified above.
Since the value of the impedance is real for all the resonance peaks, its angular frequency response is a sum of cosine functions. On the other hand, it has been seen that the angular frequency response of a single mode reed model is a sine wave function. We shall therefore use, in the definition of the model, the transfer function between a damped sine wave and a damped cosine wave. While keeping the same notations, the Fourier transform of
Similarly, the Fourier transform of
The transfer function between y(t) and x(t) is then:
We may thus write the transmittance model in the form:
To determine the three unknown variables ωa, C, B, three conditions are set. The first condition consists in keeping the frequency of the first peak, which is the maximum peak. To do so, we select ωa=ωr or assuming that the frequency offset resulting from the quality factor qr can be negligible.
The second condition, satisfied by the single mode reed model, consists in imposing a unit value of the transmittance module for ω=0 in order to maintain X(ω)≈Pe(ω) at low frequencies.
The third condition is an imposed value of
Thanks to these three conditions, the transfer function thus realised reproduces the main characteristics of the single mode reed model.
Both first and second conditions lead to the system of equations:
Similarly to the case of the single mode reed, we shall prepare a digital model wherein the displacement of the reed at the sampled time
To fulfil such condition, we use an approximation of iω in the form iω≈fe(z−1)=fe(exp(i
Moreover, to add to the model an additional control parameter, we replace the coefficient B with a filter such as
The term
which leads to the differential equation
wherein the coefficients aa1, aa2, aaD2, aaD1 are defined by:
and the coefficients ba1, ba2, baD1 by:
We notice that equation (29), thus established, enables to determine the dimensionless displacement x(n) of the reed at the sampled time n, from previous times.
It appears therefore that, in the case of a multimode reed model, the digital calculation diagram of the sound may be the same as that of the single mode reed while replacing equation (21) with equation (29) which is another digital transcription of the model (m) of
For exemplification purposes,
On the same diagrams, we have superimposed, as doted lines, the transfer function and the angular frequency response of the single reed model as represented in
According to another development of the invention, we may also improve the sound model of clarinet in order to make it more natural by integrating a certain noise thereto, the system being thus more realistic. Since the noise is created by a turbulence at the reed before the beginning of the pipe, the noise is added to x(t). It appears on the other hand that, in practice, the level of noise depends on the pressure of the breath whereas its <<colour>> depends on the pressure of the lips on the reed. Indeed, from a physical viewpoint, the harder the reed is pressed, the smaller the opening between the reed and the pipe and the greater the turbulence. Therefore we shall use a simple noise model whose level is driven by γ and the brilliance driven by ζ.
For the digital implementation of such a noise model, we shall use a low-pass filter of a white noise. The transfer function of this filter is provided by
Both diagrams of
As already mentioned, the method according to the invention, as it has just been described in details, refers to the simulation of sounds produced by a reed and cylindrical resonator musical instrument of the clarinet type. But the invention is not limited to such an application and may, conversely, be subject to numerous developments.
Indeed, from the non-linear physical model, involving waveguides and schematised in
While keeping the properties of the model which has just been described, it is possible indeed, from the general diagram of
For exemplification purposes, we shall now describe certain developments of the basic model for cylindrical resonator, with reference to
Generally, on these diagrams which correspond to the computing block 31 in
A first improvement on the basic model which has just been described with reference to
To do so, we consider the formalism of the transmission line linking the acoustic pressure and flow, respectively to the input of the resonator (Pe(ω), Ue(ω)) and to its open end (Ps(ω), Us(ω)).
By noting
The equation (31) shows therefore that the impedance of a cylindrical resonator with terminal impedance may be obtained from the impedance of a cylindrical resonator without terminal impedance, while replacing:
Such a model enables to generate in cascade the input impedance of a conduit having any geometry and liable to be defined by a succession of elementary cylindrical conduits.
Consequently, the invention may be applied to the simulation of the vocal conduit.
But the invention may be subject to many other developments and the diagram of
It is thus that in a first development of the basic model, we shall build a model for conical resonator, usable, for instance, for the simulation of a saxophone.
If we designate by L the length of the pipe, R its input radius, θ its opening, the distance xe between the apex of the cone and the input is:
The input impedance, relative to the characteristic impedance
which may be written in the form:
The corresponding differential equations may be established by following a process similar to that which has been described above.
Thus, using the bilinear transform to approximate iω, the digital transfer function of a conical resonator is provided by:
By noting:
wherefrom the differential equation is derived:
wherein the coefficients bc0, bc1, bc2, bcD and bcD1 are defined by:
and the coefficients ac1, ac2, acD and acD1 are defined by:
Similarly, the invention may be applied to the case of short resonators which appear, for instance, in the mouthpiece of a brass instrument or in the bill of a reed instrument, or of a register hole or lateral hole.
To do so, it is admitted that the radius of the short resonator is sufficient enough to keep the loss model used until now.
This approximation of a short resonator will consist in approximating the impedance ZI(ω)=i tan(k(ω)I) for small values of k(ω)I.
We thus obtain the expression
In another development of the basic model for cylindrical resonator, the invention also enables to simulate a more complex resonator, by assembling elementary impedances representing, in the one hand, the conduit and, on the other hand, the bill of a reed instrument or the mouthpiece of a brass instrument.
In such a case, we shall model the mouthpiece or the bill by a Helmholtz resonator comprising a hemispheric cavity coupled with a short cylindrical pipe and a main resonator with conical pipe.
The input impedance of the resonator assembly may be expressed by:
This equation may be written in the form:
We may thus establish the equivalent calculation diagram represented in
Resolution methods similar to those which have been described previously, enable to express the equivalent digital model and the corresponding differential equations. The impedance of the short pipe may be modelled by using the approximation expressed by the previous equation (34). The impedance of the conical pipe is represented by the model corresponding to the differential equation (33). The admittance of the cavity
Considering the association of the hemispheric cavity and of the short pipe as a Helmholtz resonator having as a resonance frequency
The digital impedance of a brass-type resonator is thus provided by the expression:
which may be simplified in the form
wherefrom the differential equation may be derived
The invention may still be applied to the modelization of a cylindrical resonator with register holes. To that effect we use elements involving waveguides and corresponding respectively to a physical model of a cylindrical pipe with terminal impedance representing a pipe of length L1 between the mouthpiece and the register hole, a model of short pipe which represents the register hole of length h1 and the basic model for cylindrical pipe representing a pipe of length L2 between the register hole and the open end.
The terminal impedance of the first part of the pipe may be written:
By writing such expression in the form:
we may establish a general calculation diagram by waveguides represented on
In the limit case of a closed register hole, with two parts of the pipe having the same radius, we assume ZtCt(ω)=∞ and Z2=Zc
leading to Zs(ω)=iZc tan(k(ω)L2) and Zc(ω)=iZc tan(k(ω)(L1+L2)).
The total input impedance of the pipe may then be expressed by:
Using iω=fe(1−Z−1) in the impedance of the short pipe, the differential equation can be derived directly as previously.
Thus, the model for simulating the cylindrical resonator of the clarinet-type, obtained by direct transposition of the simplified equations of the physical behaviour of the instrument, may be adapted to the simulation of instruments with non-cylindrical resonator, such as saxophone, trumpet or other wind instruments.
But the invention is not limited to such an embodiment and to adaptations which have just been described since, without departing from the scope of the claims, it may be applied to the simulation of other types of instruments, for instance when a string is rubbed as with the violin or struck as with the piano.
Indeed, in the case of a string, it is known that using the formalism of mechanical transmission line, analogous to that of an acoustic transmission line, we establish analogous relations between the variables of the impedance relation. Said relations are the strength exerted on the mechanical element, and the speed of such an element resulting from such strength. Insofar as the quantity linked to the sound emitted is linked with the speed (i.e. the effect) in the mechanical case, by opposition to the acoustic case wherein the quantity linked with the sound emitted is the pressure (i.e. the cause), we prefer to describe the resonator in terms of admittance rather than impedance.
The equations of the mechanical transmission line between a point (b) and a point (e) are then:
The wave number k(ω) is expressed conventionally from the differential equation of the movement of a string under deflection and comprises, as in the acoustic case, propagation (delay), dissipation, dispersion parts (see for instance: C. Valette, C. Cuesta "M�canique de la corde vibrante", Herm�s, treatise on new technologies, s�rie M�canique. 1993).
If we assume that the end (b) of the string is fixed and the end (e) mobile, we have:
This relation forms the input admittance of a part of embedded-free string at the point where it is free, and is identical, within one multiplying constant, to the acoustic impedance of a cylindrical resonator. It may therefore be represented by a diagram analogous to that of
At the point where the interaction with the exciter is realised, we write the equations of continuity between both parts of string 1 and 2, by considering that the total strength exerted is the sum of the strengths exerted on each part, while the speeds of each part are equal.
Assuming that the complete string is fixed at both ends, this enables to express the input admittance of the string from a series combination of each part of the string, i.e., in terms of admittance:
Such a relation is identical, within one constant, to the parallel combination of two cylindrical acoustic resonators and may therefore be represented by the diagram of
For exemplification purposes,
It should be noted that, in the case of the violin, the contact point between the bow and the string is very close to one of the ends of the string. Consequently, it is possible to use the <<short pipe>> approximation for the admittance of either of both parts. Moreover, insofar as the losses expressed by k(ω) are very small in a string, it is also possible to neglect it for the short part. Thus, the admittance of a violin string at the contact point with the bow may be expressed in the same manner as the impedance of an acoustic conical resonator and can therefore be represented by the diagram of
As in the case of acoustic self-oscillating instruments, the admittance described in this basic model comprising a string with two fixed ends, may be refined in order to take into account additional physical phenomena. The method consists again in associating the admittances of different elements. Thus, it is possible with such an approach to build an input admittance of a resonator composed of two strings coupled by a harmonic table, i.e. whose the ends are not fixed any longer, but mobile. Indeed, in most notes of a piano, there are two or three strings tuned to very close frequencies, which are struck simultaneously by the same hammer. In such a case, the total admittance is expressed by an association of two admittances of identical strings, each of these admittances being composed of two parts of strings, one of these parts is expressed identically to the input impedance of a cylindrical pipe with terminal impedance. In the mechanical case, the terminal admittance corresponding to that of the sound board, may be expressed by combinations of localised elements similar to those employed to describe the mouthpiece or the bill (i.e. masses, springs, dampers), enabling to take into account one or several vibration modes of the sound board.
According to the invention, the formulation of the resonator en terms of mechanical admittance may be processed, for instance in an instrument where the string is struck as with the piano. In such a case, and as in the acoustic case, the speed of a string struck by a hammer such as that of a piano, may be expressed from the system with three coupled equations:
a non-linear characteristic expressing the strength in relation to the relative displacements and speeds of the hammer and of the string,
an equation of the dynamics of the hammer linking its acceleration to the strength exerted by the string thereon by reaction, which is analogous to the expression of the displacement of the reed in relation to pressure,
an admittance equation expressing the speed of the string in relation to the strength which is imposed thereupon, which is equivalent to the acoustic impedance relation.
The non-linear impact characteristic used here is known as the Hunt-Crossley characteristic. The exponent (p) ranges conventionally between 2 and 3, and is not an integer. yh(n) designates the displacement of the hammer, ys(n) that of the string. It should be noted that it is here a new way of writing the problem. Indeed, conventionally, the impedance relation used here is replaced with the differential equation of the movement of the string.
Such a simulation method of a string instrument may be implemented by a digital instrument whereof the model is schematised on
Ye(ω) designates the input admittance of the resonator;
MA is, in the case of an instrument where the string is struck, a model of hammer, expressing its speed from the strength f(t);
Vs(t) is the speed of the string and Vh(t) that of the hammer;
MV is a calculation model of the speed at the bridge which is then radiated by the sound board, from the strength and the speed of the string at the hammer-string contact point;
G is the non-linear characteristic, and groups the non-linear function and the calculation means of the displacements Yh(t) and Ys(t) from Vh(t) and Vs(t);
Vh(0) is the control parameter acting on the block MA, fixing the initial speed of the hammer at impact;
L is the control parameter of the note played. In the case of an instrument where the string is rubbed, G is the non-linear friction characteristic, whereof numerous models can be found in the literature and whereof the control parameters are the pressure of the bow on the string and its speed of displacement.
In a simplified model, the block MA may be deleted.
In the case of an instrument where the string is struck, the discrete time model involves, as for certain elements of the acoustic models, the bilinear transform to approximate the time derivation operators. By noting W (noted V in the acoustic case) all the independent terms of (n) of the differential equation linking the speed of the string vs(n) and the strength f(n), and vh(n) the speed of the hammer, the transcription of the system of equations above in terms of sampled signals is:
Taking into account that the exponent (p) is not an integer, there is no explicit solution to this system, contrary to the acoustic case. By substituting in the first equation the expressions of yh(n) and ys(n) obtained from the two last equations, we obtain a <<fixed point>> type equation:
Although there is no analytical solution, this type of equation is solved conventionally using iterative methods, the easiest being the so-called fixed point method. The regularity in the time domain of the strength f(n) enables to obtain very rapid convergence. Indeed, we observe that two or three iterations are sufficient.
The model is controlled, for the note played, by acting on the resonator (length, diameter, tension of the string). The dynamics are controlled by the initial speed of the hammer, obtained by fixing vh(n=0).
For exemplification purposes of realisation,
We have thus described in detail an application of the method according to the invention to the simulation of a string instrument. As for the wind instruments described previously and contrary to the methods known previously, the invention enables to dispense with away-waves and return-wave quantities.
Besides, it should be noted that the simulation model of a string instrument, illustrated in
It appears therefore that the invention may be generally extrapolated to the simulation of any instrument operating by non-linear coupling between an excitation source and a resonator.
For exemplification purposes,
As previously, the modelization element II includes a linear part 3 with a computing block (31) whose transfer function is, according to the instrument to be simulated, either the input impedance of the resonator Ze(ω) or the admittance Ye(ω) and one non-linear part 2 which implements a non-linear function 21.
The block 1 may be a gestural sensor supplying control parameters CL acting on the linear part 3 of the model, and control parameters CNL acting on the non-linear part 2.
According to the direction of the arrows indicated on the block 31 on
Conversely, when the transfer function of the computing block 31 is the admittance, the linear part 3 receives from right to left, from the non-linear part 2, a cause signal C and produces an effect signal E which is transmitted to the non-linear part 2 to produce a new cause signal C bound for the linear part 3.
The non-linear part 2 is associated with exciters 23 transforming respectively the cause and effect signals to produce the other variables involved in the non-linear characteristic H.
The block 4 includes calculation means of the sound to be emitted from the cause C and effect E signals, which is transmitted to a digital/analogue converter 5.
The invention thus enables to simulate all sorts of instrument and is not limited, besides, to the field of music.
Indeed, the method according to the invention could be also applied to the simulation of other oscillating phenomena, thanks to an adaptation of certain differential equations and a selection of other non-linear characteristics and of control parameters taking into account the physical characteristics of the phenomena to be simulated.
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Over the past few weeks, my local paper has printed important stories about the military. I wonder who is paying attention. There have been exceedingly disturbing reports about the increase in suicides among active and inactive military personnel. It seems that the military reported an average of more than one suicide per day for the […] [Read More]
Life in a War Zone: IraqiGirl and Dear Blue Sky
Last week, Nancy Bo Flood reviewed a powerful collection of essays, testimonies of life for children living in war zones. Most of the contributors were adults like Rene Colato Lainez who had lived through war as a child (he and his father fled El Salvador in the 1980s) or like David Yost have worked with […] [Read More]
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[This guest post seemed very timely for Waging Peace to publish since it tells a story of police racial and political profiling that happened right here in Albany, New York just this month. It fits in nicely with the articles that we've been sharing about such profiling. Steve puts a local face on the loss […] [Read More]
Profit war no more! (A Memorial weekend photo essay) pictures by Mabel Leon.
Dear readers, since pictures are worth a thousand words (or more) we share our photos of the Grannies for Peace, May 12th, silent march and vigil at the Tulip Fest. These photos are dedicated to the memory of all of our troops and all of the Afghan civilians who have died over the past 11 […] [Read More]
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Tomar Tu appears in 8 issues in this volume.
Issue #21
The Curse of the Alpha Lantern Part 1
April 1, 2008
Issue #22
The Curse of the Alpha Lantern Part 2
May 1, 2008
Issue #28
Eye of the Beholder Part 2
November 1, 2008
Issue #58
War of the Green Lanterns, Part Two
May 1, 2011
Issue #59
War of the Green Lanterns, Part Five
June 1, 2011
Issue #60
War of the Green Lanterns, Part Eight
July 1, 2011
Issue #62
Love is a Battlefield
September 2011
Issue #63
Now and Forever!
October 2011
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Med'an lists
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Those with hair, fur or the equivalent different from the norm. Can be natural or dyed.(list continuously updated)
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It suddenly occurred to me that comic book characters are some of the most racially diverse group around. I mean, they have people with blue skins, red skins, and even silver skins. And for some reason, there seems to be an over abundance of characte...
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Your Life Path number is the most important number in your personal Numerology! Learn how to figure out your number now. About My Life Path Number +
About Numerology
The Numerology Meaning of the Master Number 33
The Master Teacher
Positive Characteristics: The 33 is a humanitarian. It is understanding and knowledgeable, a mover and a shaker.
Negative Characteristics: As a Master number, when the positive potential of this number is not used properly, one tends to become preachy and care less about others, putting too much focus on one's personal agenda.
Learn more about all of the Master numbers -- 11, 22 and 33 -- with the Numerology of Master Numbers.


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StartUpHire is the place to find Manufacturing Technician jobs. Review the list of Manufacturing Technician career opportunities to the left. These Manufacturing Technician jobs represent some of the most rewarding careers available.
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This is a temporary position which may lead to a regular full-time job. We are hiring for two shifts; Shift 1: 6:00 am ? 2:30 pm Shift 2: 2:00 pm ? 10:30 pm. Training may occur on opposite shift. Nanosys is looking for several Chemical Manufacturing Technicians who will be5/25/2015 Milpitas, CA Save This Job
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Continuing to refine its Open and Save dialog enhancement utility, St. Clair Software has released Default Folder X 4.6.2 with fixes for a few bugs and compatibility issues. The update corrects a timing bug that caused intermittent failures when rebounding and switching to your default folder, fixes a bug that selected a file when an app asked to choose a folder, reduces the load on the graphics processor during the app's window animations and transitions, and fixes a compatibility issue with FileMaker Pro 13. ($34.95 new, $10 off for TidBITS members, free update, 11.2 MB, release notes)
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with our easy-to-use small ScanSnap Scanner line. Eliminate
paper piles by scanning documents, business cards, and receipts.
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There's a bug with 4.6.2 on 10.6.8 (I know, I'll upgrade someday). Default Folder does not recognize any open finder windows except the desktop. It remembers recent folders, but you lose the ability to mouse over a hidden window and select it.
There was a problem with the initial build of v4.6.2, but that was replaced with a corrected copy shortly afterwards. If you're running Mac OS 10.6 or 10.7 and downloaded a copy of 4.6.2 early Tuesday morning, you may have gotten the bad build. Just download a new copy and install it to fix the problem.
I apologize for the goof.
- Jon Gotow (the developer of Default Folder X)
I apologize for the goof.
- Jon Gotow (the developer of Default Folder X)
That did the trick. Productivity will be back to normal levels today - albeit Monday morning levels, but tomorrow will be awesome.
Thanks, again. It's so nice to have DF working again. It's been enhancing my open/save boxes since System 7, I think.


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2005 Hyundai Santa Fe Q&A
2005 Hyundai Santa Fe Question: Timing Belt and Water Pump
What should it cost to change the timing belt and water pump - MReynolds414
2 Answers
Answer 1
Please use the Repairpal estimator to find the cost to replace the timing belt on your 2005 Hyundai Santa Fe. here is a link to the estimator - http://repairpal.com/estimator?car_type_id=4395. Plus the cost of the water pump an a bit of additional labor for the water pump add-on. - Jim Taddei
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I understand that I should replace the water pump when I replace the timing belt. What should I expect to pay for having both of these done at the same time?
Hi, I have a Hyundai Santa Fe 2005 (3.5 GLS V6). It's milage is close to 120K. I guess I need to change the Timing belt. However, when I am approaching the repair shops for the same, they are insi...
does any other items have to be changed when the timing belt is changed like the water pump,ect.
If timing belt breaks, will it damages valves and other components, or will it just stop the car and belt replacement only?
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2011-2013 Hyundai Veloster JSP® Window Vent Visor/Deflector Rain Guards Set of 3
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Condition: Brand New
Manufacturer: JSP®
Color: Smoke
Application: 2011 - 2013 Hyundai Veloster
100% Brand new in box; 3 Pieces
Sleek Streamlined Appearance , dark tint / smoke for maximum sun protection
Crafted from high strength Acrylic for long durable product life .
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Easy install; Clean application area, and just peel & stick on with 3M tape
Keeps The Rain Out
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Decreased Wind Noise
Item exactly the same as shown in picture
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Since 1989, JSP® has built a solid reputation as the premium manufacturer of high quality rear spoilers and auto accessories. With the automotive styling aftermarket heading into the next millennium, JSP® is leading the next wave with innovative products and fresh thinking. JSP®'s Motorsport Division is focused on the sport compact market and has taken the R&D Team to the extremes of design and functionality. On top of designing new products, we're energizing our presence with jobbers and installers, bridging the gap between consumers and our distributors; and with the help of the Internet, fostering a community of JSP® enthusiasts. For more than two decades, the partnerships we've formed and relationships we've built have been the true mark of success for all of us . We look forward to serving you and your customers with the best service and products that you've come to expect and appreciate.
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Birds Eye®
Original recipe yields 4 servings
Amount per serving ({{servings}} total)
Based on a 2,000 calorie diet
Ready In
Using the Birds Eye Recipe Ready Chopped Green Peppers & Onions certainly makes cooking chili, or anything, quick and easy. I can recommend it. This recipe, however, is not for us. I prefer chil...
This was very easy and requires very little prep time...great for when you need to get dinner on the table in a hurry!
Modifications: I doubled the recipe and used the last reviewer's suggestion to replace beef with ground turkey. I also: -cooked the ground turkey in a deep pan and used fresh onions to cook tur...


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JO DAVIESS COUNTY, Illinois - The Jo Daviess County Sheriff's Department said a driver hit and killed a 88-year-old man who was kneeling on Highway 20 Monday night.
Deputies say they received a 911 call reporting Walter Ludwisiak Sr., was kneeling on the highway east of North Canyon Park Road around 8:30 p.m. While the caller was on the phone they alerted authorities a vehicle traveling west on the highway was approaching Ludwisiak.
That driver was unable to avoid hitting the man. Ludwisiak was pronounced dead at the scene. The driver's identity is being withheld, and the crash remains under investigation.
Cedar Rapids, Iowa News, Sports, and Weather
Driver Hits, Kills Man Kneeling on Illinois Highway
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A Journey into the Spiritual Quest of Who We Are - Book 2 - Why Were They Called Gods?Paperback
List price $23.47
You save $8.52 36% off
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- Publisher: In Search Of The Universal Truth
- Format: Paperback | 286 pages
- Dimensions: 140mm x 216mm x 15mm | 335g
- Publication date: 1 April 2005
- Illustrations note: black & white illustrations
Product description
Within this second Book you'll learn about the true beginning of how life began, well at least a story that is very rarely know and how these Star Beings took on the roles of making themselves GODS. You will also see how these Star Beings created the religions, to control the masses as they conquered these planets as they travel to. As Kiazer continues down this path of unlocking the Secrets of those Ancients beings of the past and as you travel with Kiazer, you'll see these Star Beings of the past, are not GODS, and that there are no GODS, but they are beings like us ever evolving to the next step of evolution and that there is no GODS other than ourselves. You'll also learn that these GODS are no longer among us... But there are Star Beings of the next generation, among us that is trying to fix, what some of their ancestors had created. At the same time you'll learn, Who You Really Are, which some of these so-called GODS didn't want you to know, who you are? They wanted to keep it away from you...
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LOVE IS..., HELLO, YELLOW BRICK ROAD and More Highlight Season 37 at San Francisco Gay Men's Chorus
Today, San Francisco Gay Men's Chorus (SFGMC) Artistic Director, Dr. Timothy Seelig, announced the lineup for their 37th season, Journey. Featuring three seasonal concerts with the 250 men of the chorus, Journey includes the festive seasonal show Home For the Holidays at the Nourse Theater on December 12 and 13, 2014; a fearless performance of new commissioned works in Love is... at Davies Symphony Hall on April 1 and 2, 2015; and a celebration of the fabulous music of Sir Elton John in Hello, Yellow Brick Road at Nourse Theatre, June 24 - 26, 2015. Beginning with the annual kick-off preview event, Crescendo at the Four Seasons Hotel on Sunday, September 28, the new season will also commemorate the 25th anniversary performance of Home for the Holidays at the Castro Theatre with three performances on December 24, 2014. In addition, SFGMC will take their legendary holiday performance to Wells Fargo Center for the Arts in Santa Rosa on December 6 and Peace United Church of Christ in Santa Cruz on December 7. Season tickets range in price from $100 - $160 and are available now by visiting www.SFGMC.org or by calling 415.865.3650. Single show tickets go on sale Tuesday, October 21, 2014.
"This season we embrace many old friends and welcome new ones as we present an amazing array of music," says Seelig. "Our Season 37 Journey celebrates significant anniversaries, presents world and Bay Area premieres, highlights significant moments in LGBT history and ends by kicking up our ruby slippers with an homage to the yellow brick road!"
The Journey kicks-off with the San Francisco Gay Men's Chorus (SFGMC) season preview, Crescendo - Brunch with the Boys on Sunday, September 28, 2014 at the Four Seasons Hotel (757 Market Street, San Francisco). The classic Sunday champagne brunch includes a preview of selections from the upcoming season, as well as silent and live auctions. Benefitting SFGMC, the event will pay tribute to Broadway legend Stephen Schwartz, who will also perform. Other honorees include GRAMMY winner Leslie Ann Jones/Skywalker Sound and the William and Flora Hewlett Foundation.
This year's holiday concert, Home for the Holidays, will feature the wildly talented and gorgeous male string quartet, Well-Strung at the Nourse Theatre (275 Hayes St, San Francisco) on Friday, December 12, 2014 and Saturday December 13, 2014 at 8 pm.
To commemorate the 25th anniversary of the festive, heart-warming Christmas Eve concerts at the Castro Theatre (429 Castro Street, San Francisco), SFGMC welcomes home Broadway super-star Lisa Vroman, San Francisco icon Donna Sachet and other surprise guests on Wednesday, December 24, 2014 at 5 p.m., 7 p.m. and 9 p.m.
The chorus will also be taking its holiday show to the North Bay, with a performance on Friday, December 6, 2014 at 8 p.m at Wells Fargo Center for the Arts (50 Mark West Springs Road, Santa Rosa). A portion of the proceeds from the performance will be donated to Face to Face Sonoma County AIDS Network.
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General Practitioner, Primary Care Doctor
Northeast Warren
12000 E 12 Mile Rd
Warren, MI 48093 Phone number & directions
12000 E 12 Mile Rd
Warren, MI 48093 Phone number & directions
License & Identifications
A medical license is required for a doctor to practice medicine in a particular state. Requirements vary by state but most require, at a minimum, post-graduate training in the doctor's specific specialty. An NPI number is a national identifier unique to an individual health care provider and is managed by the Center for Medicare & Medicaid Services (CMS).
Learn more about Dr. Kyla Henke:
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Dr. Kyla Henke practices General Practice near Warren, MI.
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Finally free of touring, the Beatles next sought to be free of themselves, hitting on the rather daft concept of recording as an alias band. The idea held for all of two songs, one coda, and one album sleeve, but was retained as the central organizing and marketing feature of the band's 1967 album Sgt. Pepper's Lonely Hearts Club Band. Hailed on its release as proof that popular music could be as rich an artistic pursuit as more high-minded media such as jazz and classical, the record's reputation and sense of ambition ushered in the album era. Its influence was so pervasive and so instructional regarding the way music is crafted and sold to the public that this is still the predominant means of organizing, distributing, and promoting new music four decades later, well after the decline of physical media.
The concept, of course, is that the record was to be recorded by the titular fictional band, a washed-up rock'n'roll group on the comeback trail. (This was actually the second concept earmarked for the Beatles' next LP; the original, a record of songs about Liverpool, was abandoned when its first two tracks were needed for the group's next single, "Strawberry Fields Forever"/ "Penny Lane".) Probably for the best, little of the fictional-band vision for the record made it through; what did last from that conceit are a few tangential ideas-- a satirical bent on popular entertainment and a curiosity with nostalgia and the past.
The record opens with a phony live performance by the Lonely Hearts Band, a sort of Vegas act-- the sort of thing that, in 1963, people thought the almost certainly soon-to-be-passé Beatles would be doing themselves in 1967. Instead, the Beatles had completed their shattering of the rules of light entertainment, even halting their own live performances, which they'd never again do together for a paid audience.
Even as they mocked this old version of a performing band, ironically Sgt. Pepper's and its ambitions helped to codify the rock band as artists rather than popular entertainers. In the hands of their followers, the notion of a pop group as a compact, independent entity, responsible for writing, arranging, and performing its own material would be manifested in the opposite way-- rather than holing up in the studio and focusing on records, bands were meant to prove in the flesh they could "bring it" live. Notions of authenticity and transparency would become valued over studio output. (To be fair, upstart bands had to gig in order to get attention and a reputation, while the Beatles, of course, could write, break, and rewrite their own rules; they had the luxury and freedom to take advantage of a changing entertainment world and could experiment with different, emerging models of how to function as a rock band in much the same way that Trent Reznor or Radiohead can today.)
The freedom from live performance didn't necessitate that Beatles songs now sounded practiced or rehearsed, and indeed they weren't. Instead, they were studio creations assembled in sections and pieces. As the band splintered, this practice would spill over into releasing song sketches on the White Album and inspire, in part through necessity, the lengthy song cycle at the close of Abbey Road. On Sgt. Pepper's, the most rewarding manifestation of this shift was the record's most forward-looking piece, "A Day in the Life". Complex in construction and epic in feel, "A Day in the Life" nevertheless seems enveloping and breezy to listeners. Indeed, the sustained, closing ringing chord of the song comes a mere 4:20 into the track.
"A Day"'s only best-in-show competitor was McCartney's "She's Leaving Home". (As on Revolver, the peaks here were a mold-breaking closer and classically inspired story-song). "A Day in the Life" has only grown in estimation, rightfully becoming one of the most acclaimed Beatles tracks. "She's Leaving Home", by contrast, has slid from view-- perhaps too maudlin to work on classic rock radio and too MOR for hipster embrace, it was nevertheless the other headline track on Sgt. Pepper's when it was released. The story of a runaway teen, it misses as a defiant generational statement in part because it's actually sympathetic to the parents in the song. In the second verse, McCartney defies expectations by not following the young girl on her adventure but keeping the track set in the home as her parents wake to find her goodbye letter.
In the end, we learn "She" left home for "fun"-- a rather churlish reason, and when paired with McCartney's simplistic sentiments in "When I'm 64" (the aging couple there will be happy to "scrimp and save"), the young girl seems more selfish than trapped. In fact, for a group whose every move was a generational wedge, and for such a modern record, the Beatles' Sgt. Pepper's is oddly conservative in places: "Being For the Benefit of Mr. Kite" takes inspiration from a Victorian-era carnival; "When I'm 64" is a music-hall parody that fantasizes about what it would be like to be the Beatles' grandparents' age; "Fixing a Hole" has a rather mundane domestic setting; the fantasy girl in "Lovely Rita" is a cop.
Lyrically, it's an atypical way to usher in the Summer of Love, but musically, the record is wildly inventive, built on double-tracking, tape effects, and studio technology. The dream-like haze of "Lucy in the Sky With Diamonds", the fairground, sawdust feel of "Mr. Kite", and the cavalcade of sound effects at the end of "Good Morning Good Morning" were the most demonstrative sounds on the record, but otherwise benign passages were also steeped in innovation, whether recording from the inside of a brass instrument or plugging instruments directly into the sound board instead of capturing them through mics.
Almost everything done on Sgt. Pepper's turned out to be new and forward-thinking, from the iconic record sleeve to the totemic ending to "A Day in the Life". There are very few moments in pop music history in which you can mark a clear before and after, in which almost everything changed. In the UK, it's arguably happened only five times, and on just four instances in the U.S. (Thriller here; acid house and punk there, and Elvis everywhere, of course); in both nations, the Beatles launched two of those moments.
In retrospect, it almost seems like this time the band itself was taken aback by its own accomplishments, not only shying from directly living up to Revolver via the smoke and mirrors of the Lonely Hearts Club Band but then never again throwing themselves into their work as a collective unit. Sgt. Pepper's, possibly as a corrective to the hushed tones with which it's been received for decades, has slipped in estimation behind a few of the band's other records, but it's easy to hear how it achieved that reputation in the first place. Even if John, Paul, George, and Ringo would arguably go on to best a handful of its moments, the amazing stretch of music created in 1966-67 was the peak of the Beatles as a working band.
[Note: Click here for an overview of the 2009 Beatles reissues, including discussion of the packaging and sound quality.]
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Featured Pre-Owned Sedans Salt Lake City UT 84111
Saab 9-5
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With a great selection of sedans available right now, you'll definitely find what you're looking for. Like the 2008 Saab 9-5. It delivers style and power in a single package! Treat yourself to a test drive in the 2010 Saab 9-3. It delivers plenty of…