Physical Modeling
Production Techniques
Physical modeling tries to imitate the behavior of real vibrating objects instead of only replaying a recording of them. The sound is generated by simulating things like strings, tubes, membranes, resonant bodies, impacts, and feedback paths.
That can make the result feel surprisingly organic. Even when the sound is synthetic, it often behaves in a way that reminds the ear of something physical.
What makes it different
In many synthesis methods, you shape a tone directly. With physical modeling, you often build a system and let the sound come out of how the system behaves.
That is why this method often feels good for plucked sounds, struck tones, resonances, metallic timbres, or instruments that respond in a more lifelike way to pitch and playing dynamics.
Why it is useful in practice
Physical modeling can create sounds that sit between percussion and pitch, or between acoustic and synthetic. That makes it useful when you want something more alive than a plain oscillator but more flexible than a recorded sample.
It often works well for:
- plucked strings
- mallet-like tones
- metallic textures
- resonant percussion
- unstable or expressive hybrid instruments
On this site, it also connects naturally to Comb Filter, Bitwig Grid, and more experimental sound-design workflows.
Why beginners should still care
You do not need to build a scientific simulation to benefit from physical-modeling ideas. The main lesson is simpler: sound can come from interaction, resonance, and feedback, not only from static oscillator shapes.
Once you hear that, a lot of unusual patches start making more sense. A short burst of noise exciting a resonator. A comb filter acting like a string. A feedback path turning into tone. These are all ways of thinking physically about sound.
A useful mindset
Physical modeling works best when you listen for behavior, not only for raw tone. Ask:
- does it feel struck, bowed, plucked, or resonant?
- does the decay feel natural or synthetic?
- does pitch change the character in a believable way?
- does the sound respond like an object or like a fixed waveform?
That makes this method less intimidating. You are not trying to recreate a perfect violin. You are learning how physical behavior can become musical character.
Also matches: modeled instruments, modeled resonators, physical modelling, physical modeling
Posts in this topic
In this video, I explain how to make a physical modeling synth in the Reason software. Physical modeling is a way of replicating real-world objects in a synth by modeling their resonances and frequencies. To start building the physical modeling synth, we need to introduce an exciter and use multiple bandpass filters. The resonance frequency of objects is specific to their material, and the frequencies of the overtone change with time. We need to introduce envelopes for each overtone that changes over time. We can use multiple partials and tune the frequencies of the bandpass filters to replicate specific objects' resonances. Loudness is also crucial, and we can use multiple envelopes for each harmonic. We can use a comp filter or use a ratio knob to target specific harmonics. Alternatively, we can introduce all harmonics and remove the ones we don't want. It's an intricate process, but the result is worth the effort.
In this video, I showcase my third iteration of a physical modeling piano preset I've crafted using Bitwig Studio, which you can download for free in the description. This version uses comp filters, noise bursts, and other techniques to create a more convincing piano sound than my previous attempts, with various adjustable knobs for mechanical noises and tuning effects. I'm open to feedback and encourage viewers to tweak the preset and share their improvements.
In this video, I show how to turn the Polymer synthesizer into a physical modeling synthesizer using the Carpular Strong Method. This involves adding an ADSR in polyphonic mode, increasing the noise to 100%, using the comp filter instead of the cell and key filter, and modulating the drive with an ADSR. I also show some additional options like modulating the damping of the comp filter with expressions and velocity, increasing the resonance limit, softening the attack with a longer attack time, and modulating the noise envelope. I also demonstrate how to use a stereo oscillator, add distortion, and use a high pass filter for lower tones. Finally, I show how to save this as a preset and recall it when needed.
In this video, I addressed some of the issues that viewers had with the noise and hiss in my previous recordings. I made some changes to my setup, removing limiters and EQs, and not using the limiter in my recording program. I then went on to discuss some small changes that could improve the 3.0 release of the beta version of the software. One of the suggestions I had was to add a search field at the top of the modules section for easy navigation. I also proposed adding a lock feature that would hide cables and lock the view for those building interfaces. I mentioned some issues I had with the beta, such as flickering red overlays, and the removal of hover information overlays. Overall, I expressed satisfaction with the beta release, mentioning its stability and lack of crashes. I also mentioned a YouTube channel that focuses on synthesis and shared my own physical modeling synth presets that can be downloaded. Finally, I talked about a generative track I created and made it available for download.
Physical modeling synthesis simulates the sound of real instruments by modeling their physical properties. In this lesson, we will explore how to create physical modeling sounds in the Bitwig Grid using different modules.
In this video, I discuss my preset called "Comb Guitar" which is available on my Patreon with the lowest tier. I show how it can sound like an acoustic guitar and I explain how the tonality, decay, pitch mod, and impulse responses can be used to change the sound. I also demonstrate how it can be used with Betwick Studio to create interesting guitar sounds. Lastly, I encourage viewers to check out my Patreon and download the preset.
The Comb-Filter in Bitwig Studio is a visual comb filter with flexible frequency and feedback controls that can add metallic physicality to synth sounds, making them resemble real instruments like a kalimba or guitar. Unlike other devices, it lacks automatic gain compensation, so users should use a limiter to avoid clipping, and its mix knob allows blending the dry signal. While key tracking can be tricky due to logarithmic scaling, using the Comb-Filter within Bitwig’s FX grid simplifies this by allowing direct frequency-to-key mapping.
This video demonstrates how to create realistic hi-hats, cymbals, and crash sounds in Bitwig Studio using a free native preset based on physical modeling principles, similar to Excite Cymbal plugins. The patch includes features like a stick simulation, dispersion feedback with low delay times, and a resonator made from stacked comb filters, with macros and EQ for versatile sound shaping. The presenter also highlights ways to sample these sounds and mentions alternatives like the open-source Excite plugins and pure data patches for deeper customization.
Resonarium is a free, open-source synthesizer focused on waveguide modeling, allowing users to create complex resonator-based sounds with varied exciter and filter options. Currently in alpha at version 0.0.1, it features a straightforward interface but is prone to bugs and heavy CPU usage when using multiple resonators. Users can experiment with impulses, noise, samples, or external audio, and while it has no manual yet, it is powerful for those interested in physical modeling synthesis.
In this video, I discuss different methods of synthesizing sounds inside the grid, including subtractive synthesis, additive synthesis, frequency modulation, physical modeling, and granular synthesis. I provide detailed tutorials on how to create your own oscillator and change the waveform over time using modules like steps, phaser, and value. I also demonstrate how to create an additive synthesizer by adding multiple sine waves with different frequencies and how to use a filter to modify the sound. Additionally, I show how to use granular synthesis and a resonator to create interesting sounds. Overall, the goal is to encourage viewers to create sounds for their projects rather than focusing on designing instruments. If you have any questions or comments, please leave them below, and don't forget to subscribe, like, and support the channel if you enjoy the content.
In this video, I introduce and explore RipplerX, a new and completely free open-source physical modeling plug-in that works across Mac, Windows, and Linux. It offers a simple, straightforward interface without effects or excessive modulation features, allowing users to focus on crafting sounds through its resonator configurations. I appreciate its low storage requirement and encourage viewers to try it out, highlighting the link in the description for easy download.
In this update video, I talk about how I have been busy with my daily job and preparing presets for the release of Bitwig Studio 3.0. I explain that my goal is to have a collection of good sounding presets ready for new users who want to explore what's possible with the grid. I showcase a piano emulation I created using filters and physical modeling synthesis, along with mechanical sounds from a friend's piano. I also introduce a new reverb called Kitsch-Verb and discuss using random modulation to create an organic feel. I share a work-in-progress version of the piano preset on my GitHub repository and provide a link in the description. I also mention that my friend, Skyance, has released a sample pack on a new website called Intimate Noise and I encourage viewers to check it out. Lastly, I ask for feedback on the piano preset and mention that I will be discussing other patches in upcoming videos.
In this video, I demonstrate how to create a trumpet or saxophone sound in Bitwig's grid using subtractive synthesis. I avoid using samples, wavetables, or physical modeling. The sound is shaped using pinch and bend modules, as well as a phaser, before going through a filter and an amplitude modulation module. I also add filtered noise to simulate the air going through the horn. To simulate the characteristics of different instruments, I use fixed frequencies in an EQ module. An impulse response and delay are used to simulate room and add space to the sound. The main trick of the preset is shaping the phase signal with pinch and bend modules, which creates trumpet-like harmonics from a sine wave. I use Bitwig's expression modulator to map timbre, pitch bend, and pressure to add expression to the sound. I show how to do this in a separate polygrid. It took some time to find the right modulation amounts and timings, but the result is a cool and realistic trumpet sound. The preset is available for Patreon and YouTube subscribers, while others can try out the techniques I demonstrated.
In this video, I explore the pitch shifter feature in Bitwig Studio 5.3, highlighting its potential beyond simple pitch shifting to create unique and experimental sound design. I demonstrate various techniques, such as modulating the grain rate and using phase modulation, which can produce interesting effects akin to physical modeling and FM synthesis. While not ideal for high-quality pitch correction, this tool shines in creative sound manipulation and offers endless possibilities for experimentation.