is trying to achieve the same result as Subtractive Synthesis, but approaches the method from a constructive philosophy, rather than carving. Rather than presenting a wall of harmonics and carving out the harmonic structure desired (Subtractive Synthesis), in additive synthesis multiple sine waves of varying levels and are combined together to build the harmonic structure desired. Simply put, instead of starting with everything you need and throwing away what you don’t need, you start with nothing and build harmonic structures from scratch.
The very connected process of Resynthesis is highly connected to Additive Synthesis. In essence, Resynthesis involves analyzing the harmonic structure of a sampled sound, and trying to recreate that structure. Additive Synthesis is essentially Resynthesis, excluding the fact that Resynthesis is the recreation of a specific existing sound, not a general instrument tone. Given this link, additive synthesis is quite often used in Resynthesis processes.
LA Synthesis was created by Roland as an attempt to utilize Wavetable Synthesis to create real-sounding instrument patches. They achieved this by cutting the waves on the wavetables in half and combining the complicated attack (first half) wave patterns with simple release (second half) wave patterns, thus emulating more of an acoustic environment.
FM synthesis is not very effective at recreating acoustics instruments, but is great for electronic and digital sounds, as well as harsh bell or cymbal-type sounds.
The main way Sample-Based Synthesis differs from other forms of synthesis is that it does not employ the use of oscillators. In their place, recorded samples are the sound source. These samples are lined up on a keyboard in different zones. Each sample is pitch-shifted (which changes its speed) to span about 5 notes until a new sample is needed (otherwise the sample begins to sound noticeably distorted).
Physical Modeling Synthesis is mathematical, and uses set algorithms to define the harmonic and acoustic characteristics of the sound being generated. This method is mostly used for creating real-sounding instruments, as it is programmed to make characteristic distinctions between various aspects of the instrument being created. For instance, the materials that make up the instrument, the size, the stiffness of a membrane, the volume of a reverberant object (in order to reproduce its resonant frequency), and many other fine details are factored into the algorithm that generates each sound’s different qualities using various forms of synthesis (dependent upon manufacturer).
This method is meant to emulate real instruments by recalling actual samples of those instruments upon striking the keyboard. These types of synthesizers can take up a lot of processing power due to the storage and instant recall of samples.
The philosophy behind granular synthesis is that sound can be broken down into very small fragments and combined together to create varying timbres and thus highly complex harmonically structured waveforms. These types of synthesizers take up even more processing power than sample-based synthesizers due to the micro sound-scale on which they operate.
Subtractive Synthesis is a very simple signal chain of an oscillator (sound source) running through a filter (EQ curve) which is then sent to an amplifier for gain staging and ADSR control. This method is very easy to achieve in both analog and digital realms and can be used to create numerous (possibly infinite) instruments, effects, and sounds.
In the modern computer-era, all of these forms of synthesis are present in countless programs. Many of these synthesis methods are combined or layered within single programs to accommodate the creation of unique synthesizers. In understanding these methods, experimenting, and combining them, you become the creative force behind sound-synthesis!
In this 4-hour course, Phil Mantione dives deep into the what, why and how of various methods and types of synthesis so you can effortlessly get the sounds out of your head and into your song. From essential basics to advanced creative concepts, you’ll not only learn the technical theory, but creative practical applications you can immediately apply to your own music.
Had some micro stuff, korg beats, keys, no bass, however the keys had 6 or 8 octaves so it was a fun round. then moved on to another synth, the arturia microbrute, I miss my arturia, though, because I was able to form mental images through the synthesizer. kind of like the sound-visualizers on the comp. da fuq. just shredding shit up, also couldn’t make sense of it, as I was arrested after the concert. piano at my grandma’s was fun, letting steve fill in the rests lol. she said i ought to play with someone, or for someone.. Cashew later Sam.
The main section of the book consists of a series of sample passages in Urdu and Hindi; each passage represents a stage i n the development of the language and has some aspect of language itself as its primary focus..." For more information see ; or the
Multimedia Hindi Urdu Lectures & Performances (Text, Images, Videos/Movies & Audio/Sound).