In this installment of Simple Synthesis we’ll be looking at a technique that can achieve a wide variety of sonic results, while also having less computational overhead than a lot of more traditional synthesis approaches. Say hello to Wavetable Synthesis!
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How do you sync two sequencers to the same master clock while both run at different speeds? How do you generate a sub octave? In the this entry into the Simple Synthesis series you will learn about some of the various uses for gate and trigger signals, as well as a very important tool for manipulating… Read more »
A crossfader is exactly what you expect to find on any DJ mixer. It has an input on the left, an input on the right, and a fader is used to mix between them. In the modular world it’s more likely to be a knob than a fader, but its function is still the same…. Read more »
Sample and Hold modules (S&H) are sometimes overlooked, but they can be very versatile devices. Continue reading to find out how a module with only two inputs, one output and no knobs can drastically expand your modulation capabilities.
When an LFO is routed to modulate an oscillator’s pitch, the result is known as vibrato. Speed that LFO up to audio rate and you’ve got what’s called Frequency Modulation Synthesis, or FM for short. Although used in digital synths like the Yamaha DX7 since the 1980’s, FM synthesis has been a part of modular… Read more »
Amplitude modulation synthesis is a counterintuitive method of creating harmonic content. How can changing amplitude (a.k.a. volume) create sound? Continue reading to learn about amplitude modulation in the modular domain.
Wavefolding is a type of distortion synthesis where when the input amplitude exceeds the threshold, the peaks get cut off, similar to digital clipping. The difference is that in wavefolding, the curved amplitude peaks get inverted into a series of folds.
Subtractive synthesis is heavily reliant on different wave types to increase the variety of possible sounds. Decades ago, when synth makers were trying to find novel ways to get more milage out of their oscillators they decided upon an interesting solution: Oscillator Sync.
There’s a lot more to oscillators than a simple output frequency. Common oscillators generally only output a few basic waveforms, but there are several ways to expand your sonic palette.
Back in the 1960s, it didn’t take synth maker pioneers like Moog and Buchla very long to realize the fun and usefulness of modules that could step through patterns of programmed voltage values. They are called sequencers and they are simple devices with powerful implications.
One of the most powerful aspects of modular synthesis is the fact that almost everything can be modulated, making possible highly advanced sounds that change over time and can seem almost alive. Meet the LFO.
There are many ways to operate a modular synthesizer but one of the important methods of sound synthesis is called subtractive synthesis. To accomplish that you’re going need a filter.
At it’s best, electronic music can stimulate, energize, or hypnotize the conscious state of the the listener. To do that you’re going to need a few additional tools, or modules, to help shape your sound source into something that is more interesting and expressive.
You may have seen them on stage or on the internet, modular synthesizers look like a missing panel from a WWII era submarine and are operated by manipulating a grid of knobs through a web of patch cables. They are creators and manipulators of sound that are arranged as a set of modules where each… Read more »
In the last article, I discussed the beginnings of granular synthesis, the basic theory, and some of the applications of this synthesis technique. In this post, we will walk through a basic implementation of granular synthesis that focuses on independent pitch shifting and time stretching of an audio file. You won’t need more than a… Read more »