ABSTRACT
Loose modelling techniques inherited much of their ethos from analog synthesis. At the beginning of electronic music in the 1950s, composers ventured to synthesise sounds by superimposing a few sinusoidal waves (this is known today as additive synthesis). Although very exciting to begin with, at the end of the day electronic musicians realised that in order to fulfil their increasing quest for more sophisticated sounds they would need to stockpile many more sinusoids than they had expected (refer to section 3.1, in Chapter 3). Moreover, it had become evident that in order to achieve sounds with a minimum degree of acoustic coherence, each sinusoid would need to follow its own course in terms of amplitude, frequency and phase. The technical hindrance to producing good additive synthesis at the time forced composers to look for alternative synthesis methods (Dodge and Jerse, 1985).
