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Topic: Additive synthesis

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Frequency modulation synthesis

Sound synthesis

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	COLOR THEORY-ADDITIVE COLOR SYNTHESIS
		Additive Color Synthesis is the method of creating color by mixing various proportions of two or three distinct stimulus colors of light.
		The distinguishing features of additive color synthesis are that it deals with the color effects of light rather than with pigments, dyes, or filters, and that the stimuli come from separate monochromatic sources.
		The most common example of additive color synthesis is the color television screen, (or RGB monitor), which is a mosaic of red, green, and blue phosphor dots; at normal viewing distances the eye does not distinguish the dots, but blends or adds their stimulus effects to obtain a composite color effect.
	www.bway.net /~jscruggs/add.html (288 words)

	Encyclopedia: Additive synthesis
		Since different instruments' timbre is composed of varying amounts of harmonics that change over time, with respect to a base tone, additive synthesis emulates this behavior similarly by creating a different amplitude envelope on each harmonic, as well as adding non-harmonic artifacts aiming to result in a realistic timbre recreation.
		Additive synthesis can also create non-harmonic sounds if the individual partials are not all having a frequency that is an integer multiple of the same fundamental frequency.
		It has been shown in Wavetable Synthesis 101, A Fundamental Perspective (http://www.musicdsp.org/files/Wavetable-101.pdf), that wavetable synthesis is equivalent to additive synthesis in the case that all partials or overtones are harmonic (that is all overtones are at frequencies that are an integer multiple of a fundamental frequency of the tone as shown in the equation above).
	www.nationmaster.com /encyclopedia/Additive-synthesis (1006 words)

	Additive synthesis: Definition and Links by Encyclopedian.com - All about Additive synthesis (Site not responding. Last check: 2007-10-16)
		Additive synthesis is a form of audio synthesis where the timbre of a tone or signal (generated by an audio synthesizer) is changed by adding waveforms (such as, but not necessarily harmonics) to the fundamental waveform, resulting in a more complex signal and a different-sounding tone.
		Additive synthesis usually begins with a simple signal of a distinct shape and frequency and adds waveforms from electronic oscillators by means of electronic mixers.
		Additive synthesis is in many ways synonymous with analog synthesis in electronic music.
	www.encyclopedian.com /ad/Additive-synthesis.html (115 words)

	Digital Music online course - Additive Synthesis Technique (Site not responding. Last check: 2007-10-16)
		Additive synthesis refers to the idea that complex tones can be created by the summation, or addition, of simpler ones.
		Additive synthesis has the advantage that the many micro-variations in the frequency and amplitude of individual partials, that make natural sounds so rich and lively, can be recreated.
		FFT is important for additive synthesis because it helps us to estimate the values for the oscillators that produce the partials of the synthesised sounds.
	x2.i-dat.org /~csem/UNESCO/4 (579 words)

	[No title]
		Additive synthesis is a technique which builds sounds from the bottom up, by incrementally adding simple waveforms together to achieve the desired resultss.
		This approach can be thought of as a hybrid of additive synthesis and subtractive synthesis, where the subtractive process controls the spectral properties of the individual groups, and the additive process combines different groups to obtain the overall desired result.
		Additive synthesis may be used to great effect to synthesize a single type of sound created by an instrument, but has difficulty in synthesizing changing sounds.
	www.cim.mcgill.ca /~clark/nordmodularbook/nm_additive.html (2687 words)

	Xavier Rodet, Philippe Depalle, Guillermo Garcia: New Possibilities in Sound Analysis and Synthesis (ISMA 95, Dourdan ... (Site not responding. Last check: 2007-10-16)
		Compared to signal models, such as additive synthesis, physical models have only recently received as much attention, because, partly due to their nonlinear nature, they are very complex to construct and handle.
		This is why we have developed a new additive synthesis method based on spectral envelopes and inverse Fast Fourier Transform, which we name FFT-1 and which provides a solution to the different difficulties that we have mentioned [9], [10].
		In the synthesis of musical sound as in many other fields of simulation, the concept of model is essential for a better comprehension and use of the properties of sound analysis and synthesis methods.
	mediatheque.ircam.fr /articles/textes/Rodet95b (7114 words)

	Types of Synthesis - The Sonic Spot
		Forms of granular synthesis are commonly used to independently change the pitch/frequency or duration attributes of digital audio without effecting the other.
		Wavetable synthesis in the form of envelopes and modulators are often combined with AM synthesis to add some variation to otherwise repetitive sounding output.
		Synthesis is accomplished by simulating the physical properties of a real or fictitious musical instrument mathmatically by defining exciters and resonators.
	www.sonicspot.com /guide/synthesistypes.html (930 words)

	Additive synthesis
		The concept behind additive synthesis may be recalled to discoveries by the French mathematician Jean Baptiste Joseph Fourier, which discovered a physical property of all sounds, in which every sound when represented as a mathematical function, can be broken into sine functions (sin(x)).
		In practice, the phase relationship between the harmonics is not generally audible and is therefore preferably to remove the odd function sin() to reduce the number of computations.
		More contemporary popular implementations of additive synthesis include the Kawai 5000 series of synthesizers in the 1990s and, more recently, software synthesizers such as the Camel Audio Cameleon and the VirSyn Cube.
	www.sciencedaily.com /encyclopedia/additive_synthesis (424 words)

	Sound, synthesis and audio reproduction: Sound synthesis
		Synthesis products are invariably used by people with little technical background and even with such knowledge, people lack interest in tinkering with obscure settings for hours to produce the instrument they want.
		Additive synthesis is, however, computationally expensive and nearly impossible to implement in analog form.
		Additive synthesis also takes a lot of programming time and is difficult to master; consequently it is not widely used.
	www.helsinki.fi /~ssyreeni/dsound/dsound-c-07 (11269 words)

	SYNTH SECRETS
		For the past two months Synth Secrets has concentrated on frequency modulation, showing (I hope) that FM synthesis (or 'Cross Modulation' as it often used to be called) is as relevant to analogue synthesizers as it is to the digital synths that made it a household name.
		So here is the basis of additive synthesis: because, at any given moment, you can describe any waveform in terms of the frequencies and amplitudes of its components, you can take the appropriate number of sine waves and mix them together at the appropriate frequencies and in the appropriate quantities to regenerate the waveform.
		If, in the analogue domain, additive synthesis were limited to monstrously over-endowed modular synths, you might think that this would be the end of our story.
	www.soundonsound.com /sos/jun00/articles/synthsec.htm (3321 words)

	Additive synthesis -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-16)
		Additive synthesis is a technique of audio synthesis which creates musical ((music) the distinctive property of a complex sound (a voice or noise or musical sound)) timbre.
		The concept behind additive synthesis may be recalled to discoveries by the French mathematician (French mathematician who developed Fourier analysis and studied the conduction of heat (1768-1830)) Jean Baptiste Joseph Fourier.
		A classic additive synthesizer was the (Click link for more info and facts about Synclavier) Synclavier.
	www.absoluteastronomy.com /encyclopedia/a/ad/additive_synthesis.htm (448 words)

	Additive Synthesis
		Additive synthesis attempts to apply this theorem to the synthesis of sound by employing large banks of sinusoidal oscillators, each having independent amplitude and frequency controls.
		While additive synthesis is very powerful and general, it has been held back from widespread usage due to its computational expense.
		The cost of additive synthesis can be greatly reduced by making special purpose VLSI optimized for sinusoidal synthesis.
	ccrma.stanford.edu /~jos/pasp/Additive_Synthesis.html (321 words)

	Current Research in Real-time Sound Morphing
		This synthesis algorithm is an area of ongoing research, and is available as open source Loris.
		Additive synthesis, on the other hand, represents each sound as a collection of sine wave components, or partials.
		Synthesis of noisy sounds analyzed and stretched in this way can be described as "wormy." In addition, the noisy character of a sound is carried in the phase contributions from these many short partials.
	www.cerlsoundgroup.org /RealTimeMorph (5056 words)

	SYNTH SECRETS
		So here is the basis of additive synthesis: because, at any given moment, you can describe any waveform in terms of the frequencies and amplitudes of its components, you can take the appropriate number of sine waves and mix them together at the appropriate frequencies and in the appropriate quantities to regenerate the waveform.
		If, in the analogue domain, additive synthesis were limited to monstrously over-endowed modular synths, you might think that this would be the end of our story.
		With its powerful additive engine it was, in theory, capable of all manner of sounds inaccessible from conventional analogue or digital synths.
	www.sospubs.co.uk /sos/jun00/articles/synthsec.htm (3305 words)

	Real-time Inverse Transform Additive Synthesis for Additive and Pitch Synchronous Noise and Sound Spatialization
		After a survey of inverse transform methods for the efficient synthesis of narrow-band and broad-band signals, a novel spectral line broadening technique is introduced for synthesis of pitch modulated noise signals.
		Additive "noise" from turbulence in blown instruments such as the flute or consonants in the voice.
		By the early 1990s workstations and desktop computers were fast enough for real-time implementations of additive synthesis with hundreds of partials (Freed, et al., 1993).
	www.cnmat.berkeley.edu /ICMC99/papers/InverseNoise/InverseNoiseICMC.html (2377 words)

	ipedia.com: Frequency modulation synthesis Article (Site not responding. Last check: 2007-10-16)
		Frequency modulation synthesis (or FM synthesis) is a form of audio synthesis where the timbre of a simple waveform is changed by frequency modulating it with a modulating frequency that is also in the audio range, resulting in a more complex waveform and a different-sounding tone.
		As a result, FM synthesis was the basis of some of the early generations of digital synthesizers from Yamaha, with Yamaha's flagship DX-7 synthesizer being ubiquitous throughout the 1980s.
		With the expiration of the Stanford University FM patent in 1995, FM synthesis is now part of the synthesis repertoire of most modern synthesizers, usually in conjunction with additive, subtractive and sometimes sampling techniques.
	www.ipedia.com /frequency_modulation_synthesis.html (419 words)

	Articles - Additive synthesis (Site not responding. Last check: 2007-10-16)
		The concept behind additive synthesis may be recalled to discoveries by the French mathematician Joseph Fourier.
		It has been shown in Wavetable Synthesis 101, A Fundamental Perspective, that wavetable synthesis is equivalent to additive synthesis in the case that all partials or overtones are harmonic (that is all overtones are at frequencies that are an integer multiple of a fundamental frequency of the tone as shown in the equation above).
		Group additive synthesis is a method to group partials into harmonic groups (of differing fundamental frequencies) and synthesize each group separately with wavetable synthesis before mixing the results.
	www.noist.com /articles/Additive_synthesis (431 words)

	sonorous codes \| atmogen - Visual Additive Synthesis
		It generates sounds on the base of images, which can be saved as audiofiles.
		atmogen is based on an additive synthesis method.
		Each oscillator of a project uses a global and adjustable waveform, which, in the simplest case, is a pure sine wave.
	www.sonorouscodes.net /atmogen_overview.html (411 words)

	[No title]
		Because there are so many synthesis forms, all of which are in theory (where you make provision for small matters like having an infinite number of certain components) mathmatically equivilent, it is possible to map from a sound representation using one hardware specific parameter set onto another.
		Subject: Re: Additive Synthesis > What we expect to acheive within a couple of years is a high > level graphical synthesiser interface which allows visual drag and drop, knob > twiddling editing of an 'abstract synthesiser'.
		Additive synthesis is also possible (with some limitations) in the Korg DSS1 were you can draw your own waves and on the EMAXII.
	www.ibiblio.org /emusic-l/back-issues/vol050/issue02.txt (2854 words)

	Additive Synthesis
		Additive synthesis attempts to apply this theorem to the synthesis of sound by employing large banks of sinusoidal oscillators, each having independent amplitude and frequency controls.
		While additive synthesis is very powerful and general, it has been held back from widespread usage due to its computational expense.
		The cost of additive synthesis can be greatly reduced by making special purpose VLSI optimized for sinusoidal synthesis.
	ccrma-www.stanford.edu /~jos/waveguide/Additive_Synthesis.html (319 words)

	Sine Wave Modulation Synthesis for Programmers
		Compare Additive Synthesis to the small bricks, and other forms of synthesis to the larger bricks, and you'll see that most computers just don't have the resources for generating hundreds of sine waves and being able to build sounds from them.
		Of course with this new Feedback Sine Wave you could obtain better results with additive synthesis too, but this is not enough because you still require a lot of waveforms to achieve complex sounds.
		Without going in-depth into FM synthesis and the use of its technical terms, it can basically be described as the output produced when one operator modulates the frequency of another.
	www.geocities.com /SiliconValley/Campus/8645/synth.html (2764 words)

	Kfuenf - Kawai K5 additive synthesizer
		Additive Sound Synthesis, that gives nearly infinite freedom in creating sounds.
		Using realtime Additive Synthesis, each sound of the Kawai K5 can consist of up to 126 harmonic sine waves.
		This simple but powerful technique, makes it possible to create complex waveforms for new and unique sounds or even recreate waveforms similar to natural sounds.
	www.kfuenf.org (596 words)

	Summing up Synthesis
		The DX7 was significant, not only because it pioneered a new form of synthesis, but also because it made extensive use of integrated circuits, and furthermore heralded the arrival of tiresome, unapproachable operating systems.
		The excellent thing about the way additive synthesis was implemented on the Kawai was that, aside from its relative ease of programming, it opened up the possibilities for sounds that changed and evolved, and interacted with the operator way beyond anything available on analogue synths.
		There is a limited implementation of additive synthesis on SimSynth, along the lines of a static additive style oscillator, which can then be filtered.
	www.brokengadget.co.uk /addsynth.htm (2624 words)

	Week II Lecture 2
		Additive synthesis is based on Fourier theory: we can produce complex waveforms by simply adding together sine waves.
		A vital element in additive synthesis instruments is the ability to specify independent amplitude envelopes for each frequency component.
		In designing new instruments using additive synthesis, it may be worth considering some general characteristics of real-world instruments.
	www.csis.ul.ie /staff/CiaranCasey/CS5631_Sound_synth/Wk2_Lec2.HTM (694 words)

	Performance, Synthesis and Control of Additive Synthesis on a Desktop Computer using FFT
		For this reason a reference implementation of additive synthesis was created using the digital oscillator method, commonly used in frequency synthesizers [Tierney et al.
		In order to put these two workstation implementations of additive synthesis in perspective, two other options will be considered-a DSP chip and a custom VLSI chip.
		algorithm for additive synthesis have indicated that the method provides excellent control over a wide range of sounds of high quality.
	cnmat.cnmat.berkeley.edu /%7Eadrian/FFT-1/FFT-1_ICMC93.html (2150 words)

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