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Message: [QUOTE="Bombastus, post: 92314, member: 2178"] Modartt built Airteq by refining its pipe-organ model, so each virtual pipe can respond continuously to changes in air supply. Instead of treating airflow as a simple volume control, the engine lets changing air alter the sound-producing model itself. Pitch, timbre, instability, turbulence, and register can all move with it. Airteq begins with organ-pipe physics, but it is not trying to reproduce a fixed church instrument. Its 21 available stops become building blocks across five pipe slots, then move beyond normal organ behavior through air control and modulation. A patch can stay recognizably pipe-like or drift into a texture with no obvious acoustic counterpart. The important detail is where modulation lands. A conventional signal path can generate a stable waveform before filters, amplifiers, or effects reshape it. Airteq reaches further upstream, which is the useful idea behind [B][URL='https://goldmidi.com/community/threads/modartt-brings-airteq-pipe-modeling-synth-to-producers.77656/']Modartt’s pipe-modeling synth[/URL][/B] rather than merely another set of animated filters. [HEADING=2]Airteq starts with moving air, not a finished waveform[/HEADING] Dynamic Aerophone Modeling grew from the physical model used in Organteq, refined for continuous control over the air feeding each stop and pipe. Changing the Air parameter makes the model recalculate how a virtual pipe behaves under a different supply condition. The result can shift before downstream processing gets involved. Wind-instrument acoustics are complicated because a pipe is more than a resonant EQ curve. Pressure waves travel through a bore, interact with its geometry, lose energy, and couple back to the mechanism exciting the air column. A [B][URL='https://doi.org/10.1109/TASL.2009.2038671']digital waveguide model for wind instruments[/URL][/B] describes wave propagation through axisymmetric acoustic pipes while accounting for changing cross-section and losses at the walls. Airteq exposes musical controls rather than equations. Flute-like pipes, reeds, mixtures, stopped pipes, principals, and narrow string-type pipes do not all respond to airflow identically. Changing Air can therefore produce more than a brighter or louder version of one static tone. Pipe construction matters here. Stopped pipes in Airteq are modeled at half the length of comparable open-ended pipes and emphasize odd harmonics, while mixture stops trigger several ranks from a single key. Similar modulation can therefore produce very different spectra before reverb or other finishing stages enter the picture. [HEADING=2]Overblow, glissando and steady pitch change the source differently[/HEADING] Airteq gives its flue pipes three variable-air response families called Overblow, Glissando, and Steady Pitch. They are not cosmetic modes placed after synthesis. Each changes how the modeled pipe reacts as the air value moves away from its normal operating region. Overblow pipes are the least restrained. Modartt tunes them around a nominal Air value of 0.5, but their pitch becomes unstable as the supply changes. Low values can produce airy aeolian behavior, while high values can push the pipe into overblowing and an octave-like register change. Glissando pipes avoid those abrupt overblow and low-air aeolian regimes. Their pitch and timbre move more gently around the nominal value, which suits airflow modulation without forcing the source into a new register. Individual glissando stops can have their own pitch ranges, so the exact motion depends on the chosen pipe. Steady Pitch pipes take the opposite approach. Their pitch remains stable across the Air range while timbre changes strongly, letting you animate the source without letting note center wander. Sustained sounds can gain movement from pipe behavior instead of depending on detune or filter sweeps. [HEADING=2]Repeated notes can inherit motion from the previous note[/HEADING] One of Airteq’s less obvious behaviors appears when you repeat the same note. Modartt states that repeated-note timbre can change because the modeled air column may already be vibrating instead of starting from rest. The next trigger is not always beginning from an identical internal state. Static samples cannot naturally do this unless a developer records or scripts multiple states and decides when to switch between them. A physical model can carry its evolving state forward while it runs, so timing and previous excitation can influence the next response. Short repeated figures can gain variation without a round-robin pool choosing between prerecorded attacks. The effect becomes more noticeable when airflow itself is moving. An envelope can alter the supply, an LFO can keep it in motion, and performance control can disturb it again while notes are held or retriggered. Repeated notes can land at different points in that changing state, so identical MIDI notes need not produce identical behavior. The same principle lets one pipe stay controlled at one setting and become unstable at another without swapping samples or oscillators. Once an overblow pipe crosses into a different regime, or a steady-pitch pipe changes color while holding pitch, the movement belongs to the modeled source itself. [/QUOTE]

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