Pulsed noise in self-sustained oscillations of musical instruments

A theory of bow and breath noise generation has been tested by analyzing recorded cello tones and by simulation using physical models of the cello and clarinet. For the synthesis to be successful, the listener´s perceptions of noise and sound must fuse. Evidence is presented that the noise must be pulse modulated in a period synchronous way, as is shown for voiced fricatives. A method is described which is practical for enhancing naturalness of synthesis from physical models. No additional control parameters are required. Changes in the noise sound follow in a predictable way control changes in bowing, breath, and embouchure parameters in the simulations