(This example was generated by a commercial sample-based synthesizer,
driven by a MIDI representation of the score. Onset times and amplitudes
were measured from the "real" performance, and the onset times and amplitudes
of the MIDI notes were adjusted correspondingly.)
(At this example, a single wavetable oscillator generates the sound
throughout the whole phrase. The stored wavetable was created from the
spectrum of the C5 note of the "real" performance, measured at its peak
amplitude. The amplitude fluctuation of the synthesized sound is realized
using the measured amplitude curve of the "real" performance. The pitches
of the notes are constant values.)
(Same setup as with the previous example, except the frequency fluctuation
of the synthesized sound is also realized using the measured pitch curve
of the "real" performance.)
(At this example, a different wavetable is used for each different
pitches in the phrase, otherwise, the setup is the same as with the previous
example. The stored wavetable for each pitch was created from the spectrum
of the corresponding note of the "real" performance, measured at its peak
amplitude.)
(At this example, the Instrument Model of the CSIS Model is driven
by amplitude and frequency curves, which were measured from the "real"
performance.)
(This example was designed to illustrate that some simple approach
to create the control signals does not result in an acceptable performance.
The amplitude curve of this example was created by measuring the amplitude
curve of the first note in the "real" performance, and splicing together
as many instances of that as many notes in the phrase are. Even more, the
amplitude values between slurred notes in the resulted curve were increased
from zero to a relatively high level, to increase fidelity. Still, the
resulted performance is not satisfying.)