Vocable synthesis maps written phonetic symbols to physical model parameters so short words describe complex instrumental articulations

McLean’s vocable synthesis systems (Babble, then Mesh) connect discrete phonetics of typed words to continuous parameters of a physical model synthesiser. Vowels map to timbral/resonance parameters (drum tension, string length); consonants map to articulation parameters (mallet stiffness, movement direction). The result is that a musician can type a short word to describe a complex sound, grounding the notation in bodily articulatory intuition. Mesh uses a 2D waveguide mesh drum model; the word ‘kopatu’ encodes a full sequence of drum articulations. This addresses the live coder’s need for terse, expressive timbre notation under performance pressure.

Examples

In Mesh: vowels map to drum head tension/dampening; consonants to mallet properties and movement. ‘kopatu’ encodes: heavy stiff mallet outward, then light middle strike, then light edge strike — a full articulation in six characters.

Assessment

Explain why vocable synthesis is ‘terse’ in McLean’s sense, and what cognitive theory underpins the claim that consonant-vowel mappings feel natural. What distinguishes Mesh from Janer’s singing-driven synthesis?