Entries found for search: synthesis
analog synthesis : See subtractive synthesis.
additive synthesis : The generation of complex musical waveforms in electronic synthesizers by the linear addition of sine wave components whose frequency relationship is a harmonic series. See sample synthesis, sound synthesis, subtractive synthesis.
binaural synthesis : A type of recording-playback system where two microphone inputs are specially processed to simulate the frequency-dependent time delays that would occur between the ears on a human head. The binaural localization cues are preserved, and the listener is able to achieve localization of sounds as if s/he were actually at the site where the recording was made, despite the fact that binaural recording has no ability to accurate image the sound.. Also called dummy head recording.
FM synthesis : A sound synthesis technique which multiplies sine waves together in an attempt to generate complex waveforms more quickly (than additive synthesis), usuallytends to add ing several of these products together in an attempt to get its more effective results, which is why a 6-operator FM sounds better than a 4-operator FM as more products are being summed. See sound synthesis.
granular synthesis : A sophisticated form of additive synthesis, combining sound elements, called grains, which have a specific duration (typically 1-50ms), waveform, peak amplitude, and bell-curve amplitude envelopes. Hundreds or thousands of grains are combined per second to form an event. An event has such attributes as start time, duration, initial waveform, waveform slope, initial center frequency, frequency slope, bandwidth, bandwidth slope, initial grain density (number of grains per second), slope, initial amplitude, and amplitude slope. Essentially, a sound event is sliced into time screens that contain the amplitude and frequency dimensions of hundreds of events. These screens are assembled into books that define a complete sound object.
harmonic synthesis : A technique used by aural enhancers which creates new high-frequency harmonics not present in the original recording. Adding a small amount of carefully controlled distortion can make a sound quality appear cleaner and more detailed. This happens by sending some dry sound to a side-chain highpass filter. The output of the filter is processed dynamically to add phase-shift and create synthesized HF (only) harmonics related to the dry signal.
L/A synthesis : Linear Arithmetic synthesis. A sound synthesis method developed by Roland that creates new sounds by attaching the attack portion of a sampled waveform to a simpler waveform. Human sound recognition is heavily influenced by hearing the attack transient part of a sound, but simple waveforms require less storage than samples. By combining the two, L/A synthesis is capable of relatively sophisticated sounds with modest data storage requirements.
modulation synthesis . See phase distortion synthesis.
subtractive synthesis : The technique of arriving at a desired timbre by filtering waveforms rich in harmonics. Subtractive synthesis is the type generally used on analog synthesizers. This works well on good analogue synthesizerss, but when used on samples, reducing the number of harmonics usually just makes the sound flat and lifeless. Also called analog synthesis. See additive synthesis, sound synthesis.
sound synthesis : The process of electronically creating a sound with an oscillator. Types of sound synthesis include additive synthesis, subtractive synthesis, sample (playback) synthesis, FM synthesis, and physical modeling synthesis, VPM.
sample (playback) synthesis : The production of a sound where a digital oscillator plays back a digitally sampled recording of an actual sound, such as a note played on a trumpet or guitar.
resynthesis : A form of synthesis/sampling which is based on the analysis of sound data which is later used to reconstruct the sound, usually hundreds of sine waves which collectively build up the harmonic content of the sound, sometimes with the imposition of additional parameters and/or constraints, but all in real-time. This means that only small amounts of data need to be stored, unlike traditional sampling, and that any parameter of the sound can be infinitely changed. This new technology should allow the faithful recreation of any existing instrument and the creation of truly original sounds and textures. Material construction, acoustic response, perspective, morphing between sounds and transformations, such as blowing a piano, in any dimension will be possible.
physical modeling synthesis : A type of sound synthesis done by programming a computer to mathematically model the physics of a particular instrument. These models are sets of complex equations which describe the physical properties of the instrument (such as the shape of the bell, or type and density of the material) and the way in which a musician interacts with the instrument, such as plucking, bowing, strumming, blowing, etc.
phase distortion synthesis : A form of modulation synthesis in which the spectrum of a DCOís output signal is altered by modulating the DCOís clock frequency within each cycle, while the over-all frequency is kept constant. The oscillatorís clock frequency speeds up and slows down, producing rapid phase changes as the waveshape is alternately compressed and expanded (distorted) to fit within the regulated period. Popularized by the Casio CZ-series synthesizers.
synthesis : The process of electronically creating sounds on a synthesizer. The word synthesis has the implication of combining separate elements into a new whole, and is therefore, not necessarily to denote "synthetic" as in artificial. See sound synthesis.
wavetable synthesis : A method of generating waveforms through lookup tables. Digitized waveforms are organized in a bank, the wavetable, (or table) where they can be randomly accessed. In many wavetable synths, the resulting waveform is used in subtractive synthesis.
Prismatic Synthesis PRISM Parametric Resynthesis by Interpolated Signal models. Vaguely resembles certain aspects of Wavetable and physical-modeling synthesis, but it's actually something new. This process starts with the recording of one or more notes. These recordings are then separated into pitched and un-pitched (noise) components, each of which is analyzed to determine its power envelope and spectral characteristics. A pitch envelope is also derived from the pitched component. The spectral characteristics are represented by a series of filter coefficients, which can vary in time along with the pitch and power envelopes. Once the analysis is complete, the derived parameters are used as a model to reconstruct the original sound and manipulate it in any number of ways. This is unlike physical modeling, which is based on complex equations that describe the general acoustic behavior of certain types of instruments. PRISM is based on specific recordings. This technique is called Signal Modeling.
Characteristics: 1. PRISM sounds are not looped. The derived parameters allow a note to be held for any duration, regardless of the original recordingís length. 2. Sustained notes are not static. All the irregularities of the original human player can be modeled and applied to the synthesized sound. 3. PRISM instruments can also include the natural vibrato, tremolo, and release of the original sound, and the formants do not shift along with the pitches of the notes.
This system can smoothly interpolate between different sets of parameters, allowing seamless morphing between the timbral characteristics of notes played at soft and loud volumes, and low and high pitches, and even by completely different instruments. These activities can be placed under MIDI control.