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For more information, check out the Wikipedia entries on Fourier Analysis and Additive Synthesis. Details on this process exceed the scope of this article.
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Any other waveform, including the other simple waveforms described below, can be created by adding up a series of sine waves. Technical note: The sine wave is the most basic, pure waveform, with a contour described by a trigonometric function called the sine function. Common sounds similar to a sine wave include whistling, air blowing across the opening of an empty bottle, and a ringing tuning fork. Sine waves look similar to a gentle wave in a bowl of water, moving up and down with no abrupt starts or stops. To make it easier for you, the parts you can skip will be safely contained in these sturdy boxes. If you're not a math person, that's okay, you can skip over the stuff that doesn't make sense. Technical note: Topics in music synthesis sometimes call for a little bit of math. There are four different types of basic wave shapes, or waveforms, illustrated here. A common way of saying "cycles per second" is "Hertz," abbreviated "Hz." Basic waveforms An oscillator generating a signal that repeats at 880 cycles per second will have the same pitch as the A an octave above middle A. For example, an oscillator generating a signal that repeats at the rate of 440 cycles per second will have the same pitch as middle A on a piano. When the frequency of an oscillator is doubled, the pitch of the sound it generates moves an octave up. People generally hear an increase in the frequency of a sound wave as an increase in pitch. The length of a singal cycle of a waveform is the span of time it takes for that waveform to repeat. Frequency is measured in cycles per second.
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The rate at which a sound wave moves in and out is called the frequency. If a speaker cone moves in and out according to the graph above, it will make the sound of a bass drum. This movement creates a pressure wave in the air which we hear as sound. When the graph reads 1, the speaker cone is pushed all the way out, when it reads -1, the cone is pulled all the way in.
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Time domain graphs are kind of like instructions for speakers about how to move in and out. This is called a time domain representation of audio. The difference is that you're wiggling a rope, whereas the oscillator is wiggling an audio signal.Īudio signals are often represented on a graph where the horizontal x-axis represents time and the vertical y-axis represents the pressure of the signal. If you tie one end of a rope to a doorknob, stand back a few feet, and wiggle the other end of the rope up and down really fast, you're doing roughly the same thing as an oscillator. Signals from oscillators and other sources are used to control the movement of the cones in our speakers, which make real sound waves which travel to our ears. An oscillator generates a consistent, repeating signal. The first such device we'll consider is called an oscillator. During the course of this article we'll explore a number of devices that create and modify signals used to synthesize sound. Sound synthesis is the art of creating signals that, when turned into sound waves by a speaker, people find interesting.
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These waves move our ear drums in and out, and we experience this as sound. Unlike waves in the ocean, which move up and down, pressure waves move forward and back.
![lmms triple oscillator tutorial lmms triple oscillator tutorial](http://www.gaby.de/z80/gfx/series.gif)
Sounds are pressure waves which travel through air, or another medium, to our ears.
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The examples provided with this article were created with and tested on PureData 0.40.1 for Mac OS X.Īll of the PureData examples are collected in this zip file. It's available for Linux, Mac OS X, and Windows.
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You can download PureData by clicking here. It's a good idea to read this article with PureData open in the background, building and learning as you go. PureData is a powerful, free, cross-platform, open source music synthesis tool. The text of this article is accompanied by illustrations, audio examples, and links to working demonstrations in PureData. This article is intended as a good place to start learning a place to acquire vocabulary without technical training. Most electronic music literature assumes a linguistic and conceptual vocabulary which is opaque and inaccessible to the beginner. I hope this article will help interested musicians and composers access the academic tools and literature associated with electronic music. The principles discussed are not unique to any specific synthesis platform, but are applicable to music synthesis in general. Each of the basic components of synthesizers are explained, along with descriptions and examples of how these components are chained together to make interesting sounds. This article is a (relatively) brief introduction to the principles of music synthesis. First published November, 2006 Table of Contents