Additive Synthesis:
This builds sounds by adding together waveforms into a composite sound. Instrument sounds are simulated by matching their natural harmonic overtone structure.
 |
| Examples of additive sound synthesis plus notes on potential design ideas based on these. |
Subtractive Synthesis:
This is based on filtering harmonically rich waveforms. Subtractive synthesisers approximate instrumental sounds by an oscillator (producing sawtooth waves, square waves), followed by a filter, followed by an amplifier which is being controlled by an ADSR. The combination of simple modulation routings (such as pulse with modulation and oscillator sync), along with the lowpass filter, is responsible for the "classic synthesiser" sound commonly associated with "analog synthesis".
Example: when a human speaks, sings or makes other vocal noises, the vocal folds act as an oscillator and the mouth and throat as a filter. Consider the difference between singing "oooh" and "aaah" at the same pitch. The sound generated by the vocal folds is much the same in either case - a sound that is rich in harmonics. The difference between the two comes from the filtering applied with the mouth and throat. By changing the shape of the mouth, the frequency response of the filter is changing, removing (subtracting) some of the harmonics.
FM Synthesis:
Frequency modulation synthesis is a process that usually involves the use of at least two signal generators (sine-wave oscillators, commonly referred to as "operators" in FM-only synthesisers) to creative and modify a voice. Often, this is done through the analog or digital generation of a signal that modulates the tonal and amplitude characteristics of a base carrier signal. FM synthesis is especially valuable for metallic or clangorous noises such as bells, cymbals, or other percussion.
 |
| Examples of FM sound synthesis plus notes on potential design ideas based on these. |
No comments:
Post a Comment