Bowed instruments are very cool to model because of the nonlinear slip of the bow against the string. A bit curious why bowing was not discussed or used in the example of a violin, just plucking. Do luthiers test violins more by plucking than bowing?
This is my own speculation, but I am a musician who specializes in synthesis so...
The Karplus Strong technique, a method for simulating string tones, has been around for a long time, since the 80s or so. KarplusStr has done bowing surprisingly well for a while. Plucking, not so much.
Long attack with a short decay/release gives a very convincing bowing sound on nicer synths, but once you increase the attack to create plucking sounds, the synthetic nature of the tone becomes far more obvious.
Not sure if that's news, Audio Modeling[1] has been doing that for quite a long time now. The big plus of physical modeling instead of sampling is disk size - instead of tens of GB of samples, you get a 15MB plugin.
It's much more difficult to use, though - you have to control lots of aspects of the simulation (using automation in DAW or MIDI controllers) to make it sound actually realistic.
OK I guess it seems like this is more of a tool for luthiers than for composers or music producers.
The first version of Pianoteq came back in 2006. There are apparently some exotic mid-90s synths with claims of being physically modeled too, don't know how accurate that is.
I currently use a raspberry pi with Pianoteq as sound output for my digital piano. It got a reluctant stamp of approval from my pianist son, although of course he prefers the physical response of even a poor acoustic piano.
https://www.youtube.com/watch?v=RKT-sKtR970
The Karplus Strong technique, a method for simulating string tones, has been around for a long time, since the 80s or so. KarplusStr has done bowing surprisingly well for a while. Plucking, not so much.
Long attack with a short decay/release gives a very convincing bowing sound on nicer synths, but once you increase the attack to create plucking sounds, the synthetic nature of the tone becomes far more obvious.
It's much more difficult to use, though - you have to control lots of aspects of the simulation (using automation in DAW or MIDI controllers) to make it sound actually realistic.
OK I guess it seems like this is more of a tool for luthiers than for composers or music producers.
[1] https://audiomodeling.com/
I currently use a raspberry pi with Pianoteq as sound output for my digital piano. It got a reluctant stamp of approval from my pianist son, although of course he prefers the physical response of even a poor acoustic piano.