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Topic: Subtractive synthesis

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	Synthesis - Wikipedia, the free encyclopedia
		Synthesis (from the Greek words syn = plus and thesis = position) is commonly understood to be an integration of two or more pre-existing elements which results in a new creation.
		In dialectics, synthesis is the final result of attempts to reconcile the inherent contradiction between thesis and antithesis.
		Along with the similar concept of integration, synthesis is generally considered to be an important element of modern philosophy, particularly in the various emerging ideas often considered to be holistic (as opposed to 'reductionistic').
	en.wikipedia.org /wiki/Synthesis (239 words)

	Synthesizer - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-10-21)
		Subtractive synthesizers use a simple acoustic model that assumes an instrument can be approximated by a simple signal generator (producing sawtooth waves, square waves, etc...) followed by a filter which represents the frequency-dependent losses and resonances in the instrument body.
		FM synthesis is fundamentally a type of additive synthesis and the filters used in subtractive synthesizers were typically not used in FM synthesizers until the mid-1990s.
		Physical modelling synthesis is the synthesis of sound by using a set of equations and algorithms to simulate a physical source of sound.
	www.leessummit.us /project/wikipedia/index.php/Keyboard_synthesizer (3226 words)

	Subtractive synthesis - Wikipedia, the free encyclopedia
		Subtractive synthesis is a method of subtracting overtones from a sound via sound synthesis, characterised by the application of an audio filter to an audio signal.
		Subtractive synthesis is historically associated with analogue voltage controlled synthesizers such as the moog or the minimoog due to the simple circuitry required to generate the most common source signals: square waves, pulse waves, sawtooth waves and triangle waves.
		An easy and familiar way to understand the basis of subtractive synthesis is to consider our own personal "synthesizer" - when we speak, sing or make other vocal noises the vocal chords act as an "oscillator" and the mouth (and throat) as the "filter".
	en.wikipedia.org /wiki/Subtractive_synthesis (674 words)

	Subtractive synthesis: Definition and Links by Encyclopedian.com - All about Subtractive synthesis (Site not responding. Last check: 2007-10-21)
		Subtractive synthesis is a form of audio synthesis where the timbre of a tone or signal is changed by subtracting waveforms from it.
		Subtractive synthesis is usually (but not exclusively) associated with analogue voltage controlled synthesizers such as the moog or the minimoog.
		Subtractive synthesis can produce very natural changes in a recorded sound, owing to the intuitive way in which it works.
	www.encyclopedian.com /su/Subtractive-synthesis.html (338 words)

	COLOR THEORY-SUBTRACTIVE COLOR
		This subtractive action is the basis of photographic filters, almost all films and color papers, and photomechanical reproduction in color.
		The complementary colors are the control colors of subtractive color synthesis; thus, the dyes in color filters and emulsions, and the inks (process colors) used in photomechanical reproduction are cyan, magenta, and yellow.
		The complementary colors permit subtractive control of each of the three primaries individually; like additive synthesis, this corresponds with the three-color theory of vision.
	www.bway.net /~jscruggs/sub.html (246 words)

	Subtractive synthesis - Wikipedia
		A form of audio synthesis where the timbre of a tone or signal (generated by an audio synthesizer) is changed by subtracting waveforms (such as, but not necessarily harmonics) from the seed waveform, resulting in a less complex signal and a different-sounding tone.
		Subtractive synthesis usually begins with a sample as its seed wave form and subtracts the overtones through filters.
		Subtractive synthesis is typically associated with digital synthesis.
	nostalgia.wikipedia.org /wiki/Subtractive_synthesis (112 words)

	Encyclopedia: Subtractive synthesis
		Subtractive synthesis is a method of sound synthesis characterised by the application of an audio filter to a source signal.
		An ADSR envelope is a parameter used in synthesizers, including those that produce sound by subtractive synthesis, to control the sound produced.
		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.
	www.nationmaster.com /encyclopedia/Subtractive-synthesis (1467 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Although physical modelling synthesis, synthesis wherein the sound is generated according to the physics of the instrument, has superseded subtractive synthesis for accurately reproducing natural instrument timbres, the subtractive synthesis paradigm is still ubiquitous in synthesizers with most modern designs still offering low-order allpass filters following the oscillator stage.
		One of the easiest synthesis systems is to record a real instrument, and then play back its recordings at different speeds to produce different tones.
		Most analog synthesizers produce their sound using subtractive synthesis, which means filters and amplifiers are used to manipulate a square or saw-tooth wave produced by an oscillator.
	www.online-encyclopedia.info /encyclopedia/s/sy/synthesizer.html (1504 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)

	Synthesizer
		John Chowning of Stanford University is generally considered to be the first researcher to conceive of producing musical sounds by causing one oscillator to modulate the pitch of another.
		By cascading operators and programming their envelopes appropriately, almost any subtractive synthesis effect can be simulated.
		FM is also well-suited for making sounds that subtractive synthesizers have difficulty producing, such as complex plucked-string and bell timbres.
	www.brainyencyclopedia.com /encyclopedia/s/sy/synthesizer.html (3019 words)

	Subtractive synthesis -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		Subtractive synthesis is a method of (Click link for more info and facts about sound synthesis) sound synthesis characterised by the application of an (Click link for more info and facts about audio filter) audio filter to a source signal.
		Typically, the complexity of the source signal and the (Click link for more info and facts about cut-off frequency) cut-off frequency and resonance of the filter are controlled in order to simulate the natural ((music) the distinctive property of a complex sound (a voice or noise or musical sound)) timbre of a given instrument.
		It was created with a (A small digital computer based on a microprocessor and designed to be used by one person at a time) personal computer program designed to emulate an analogue subtractive synthesizer.
	www.absoluteastronomy.com /encyclopedia/s/su/subtractive_synthesis.htm (511 words)

	Subtractive synthesis
		Subtractive synthesis refers to using filters to shape the spectral envelope of a sound, forming another sound, usually preserving qualities of the original sound such as pitch, roughness, noisiness, or graniness.
		Already in wide use by the mid 1950s, subtractive synthesis reached a new height of popularity with the introduction of the voltage-controlled filter (VCF), which became widely available in the mid 1960s with the appearance of modular synthesizers.
		In this configuration, the louder portion of a note (loudness roughly controlled by the multiplier at the bottom) may also be made to sound brighter, using the filter, than the quieter parts; this can mimic the spectral evolution of strings or brass instruments over the life of a note.
	www-crca.ucsd.edu /~msp/techniques/v0.05/book-html/node141.html (229 words)

	BSc Report on musical instrument physical modelling,
		Not only does synthesis allow creation of sounds that we are familiar with, such as those that we associate with a traditional instrument like a piano, or violin, but new sounds can also be produced different in timbre.
		Synthesis applications are continually advancing in popularity, capabilities and refinement, In the time since this project was conceived, as many as five new software synthesisers have been released.
		Although offline synthesis processes certainly have their uses and are capable of producing sounds similar in quality to real time methods.
	www.headjog.co.uk /report (7650 words)

	Station Information - Subtractive synthesis
		Subtractive synthesis is technique which creates musical timbres by filtering complex waveforms generated by oscillators.
		Subtractive synthesis is usually (but not exclusively) associated with analogue voltage controlled synthesizers such as the moog or the minimoog.It can produce very natural changes in a sound, owing to the intuitive way in which it works.
		The cut-off frequency and resonance of the filter may be modulated by an envelope to create a more dynamic sound.
	www.stationinformation.com /encyclopedia/s/su/subtractive_synthesis.html (396 words)

	CS4117: Synthesis Overview
		Subtractive synthesis is the prominent method in analog synthesizers and, of course, has its digital counterpart.
		Additive synthesis is, however, computationally expensive and near impossible to implement in analog form.
		However, since the synthesis procedure bears absolutely no resemblance to the formation of sound in nature, the method is poorly suited to general simulation of acoustical instruments.
	www.csis.ul.ie /ccmcm/cs4117/synth0.htm (10093 words)

	419 Notes (Site not responding. Last check: 2007-10-21)
		Analog synthesis, is a method for creating sounds with a synthesizer that uses analog circuitry.
		type of synthesis in which a sound is created by taking a waveform rich in harmonics and filtering out unwanted harmonics.
		type of synthesis in which a sound is created by adding together sine waves of different frequencies to produce the final sound.
	www.mtsu.edu /~jakins/4190/4190introanalog.html (133 words)

	Lecture Notes
		Additive synthesis is using the addition of sine waves to produce a given timbre.
		In fact, when digital sampling came along, it was such a sensation, because the additive synthesis, was pretty much a failure, except in the laboratory.
		Subtractive synthesis is the technique most widely used for analog or virtual analog synthesis.
	www.colorado.edu /physics/phys1240/phys1240_fa04/lecture14a.htm (1541 words)

	[No title]
		In the usual subtractive synthesis approach, a complex waveform is incrementally whittled away to produce the wanted sound.
		Compare this to the situation in subtractive synthesis where the output noise can be less than the noise level of the input waveform, due to the filtering.
		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.
	www.cim.mcgill.ca /~clark/nordmodularbook/nm_additive.html (2687 words)

	Basic Sound Synthesis - Part 1
		The type of synthesis to be discussed is Subtractive Synthesis, as found on virtually all analogue machines from the Moog onwards.
		The harmonic structure is then altered by removing certain harmonics (hence 'Subtractive Synthesis') but allowing the rest to pass on to an amplifier so that the volume of the signal can he altered.
		The basic use of a filter is therefore to subtract harmonics from a wave but most synthesizers include one other main function which actually boosts a band of frequencies.
	www.fortunecity.com /emachines/e11/86/synth1.html (1104 words)

	Jordan Rudess' Community Forums - Sound synthesis question...
		Main (and initial) synthesis goal is to recreate natural sounds from artificial and basics waveforms.
		Subtracive synthesis uses Filters to subtract harmonic frequencies by a starting point, called usually CutOff and let pass other frequences depending on which kind of filter you are using.
		Subtractive synthesis pretty much forms the basis of every major type of synthesis these days.
	www.jordanrudess.com /forum/showthread.php?t=2640 (928 words)

	[No title]
		Synthesis is one of the more misunderstood aspects of modern music technology.
		Subtractive synthesis works by taking a source that is rich in harmonics, such as a 'sawtooth', square or pulse wave and selectively attenuating or removing these harmonics to obtain the desired timbre.
		It is mostly subtractive, characterised by biting treble sounds, warm basses, with frequently a tendency to pitch drift.
	www.ronlebar.com /synthesi.htm (2933 words)

	Synthesis - Open Encyclopedia (Site not responding. Last check: 2007-10-21)
		Synthesis is commonly understood to be an integration of two or more pre-existing elements which results in a new creation.
		In the world of Electronic Design Automation, synthesis refers to the process of converting a digital design written in a Hardware Description Language (HDL) into a low-level implementation consisting of primitive logic gates.
		Most large intrgrated circuits designed today are written in an HDL and "compiled" using a synthesis product.
	open-encyclopedia.com /Synthesis (211 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.
		Subtractive synthesis is the prominent method in analog synthesizers, so it’s only natural there would be an all‐digital implementation.
		The idea behind FM synthesis is that quite rich and deliciously time‐variable timbres can be created by modulating the frequency of a carrier sine oscillator by another, the modulator.
	www.helsinki.fi /~ssyreeni/dsound/dsound-c-07 (11269 words)

	Percussion Synthesis
		For FM synthesis, I went right to the source: an algorithm given by John Chowning in "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation", Journal of the Audio Engineering Society, September 1973 (over a year before I was born!).
		With FM synthesis, I was able to create sounds with a lot of frequencies, while only using two oscillators and envelopes (and a few other scalar parameters).
		FM synthesis provides an simple way to generate a lot of frequencies from only a few parameters, although it was hard to figure out how to control.
	ccrma-www.stanford.edu /~sdill/220A-project/drums.html (3848 words)

	SUBTRACTIVE SYNTHESIS/Masters of Art/The Drawing Place (Site not responding. Last check: 2007-10-21)
		In short, "Subtracrive Color Synthesis" is man's way of emulating the natural phenomenon of "Additive Color Synthesis".
		Subtractive Synthesis is used by painters, illustrators, animators, designers, printers or anyone who uses pigment colors, i.e., paints, inks and etc.
		Like additive synthesis, subtractive synthesis has three primary colors and three secondary colors; and both systems achieve additional colors by combining pairs of colors...but, they have their differences too.
	www.thedrawingplace.com /ma_color_subtractive.html (125 words)

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