Sure...if a given sound has a transient attack and then a relatively sustaining portion after the attack, one can often do the following to create small, but useful (character-preserving) samples, with say, for example, a plucked string.code green wrote:Ian, think you could elaborate a bit on these two? I know what harmonic synthesis is, and I know what transients are...but not sure what you're getting at in this context, except that it sounds intriguing.aeon wrote:harmonic resynthesis of loops...splicing of transients....
Sample the pluck and its sustain. Chop off the attack and save for later. Isolate a steady portion of the sustain - it isn't necessary to loop it, but it can help to normalize the volume such that it no longer has any decay. Use an analysis tool to do a FFT on the sustain portion. With the information regarding its partial/harmonic structure and their amplitudes, use a synthesis tool to recreate the sustain via additive synthesis. Done well, this sustain should sound musical as compared to the original, if not close. Depending on the instrument in question, you may have to add bandpass noise. Once recreated, this additive sound should be quite easy to loop in a very small amount of memory. Once looped, splice the attack portion back on, and use your sampler's engine to recreate amplitude envelopes, any harmonic fade as the sustain decays, etc.
It takes some work, but it was a method I used (with the help of my Mac) 20 years ago to get a great-sounding rubbed wine glass ensemble that was extensively multisampled into an Akai S900.
Software tools like Antares INFINITY will even do that work for you, with more or less success than doing it by hand.