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A word about sound synthesis

English 21

A - Analog (or Subtractive) synthesis

Called “Analog” because it was the synthesis you could find on

most of the first analog synthesizers, Analog synthesis starts

out with a waveform rich in harmonics, such as a saw or

square wave, and uses filters to make the finished sound sub-

tracting harmonics, which is why it is accurately referred to

has Subtractive synthesis.

Here are the main substracti-

ve synthesis components :

Oscillators: The device crea-

ting a waveform is usually

called an oscillator. The first

synthesizers used analog

electronic oscillator circuits

to create waveforms. These

units are called VCO's (Voltage Controlled Oscillator). More

modern digital synthesizers use DCO's instead (Digitally

Controlled Oscillators). A simple oscillator can create one or

two basic waveforms - most often a sawtooth-wave - and a

squarewave. Most synthesizers can also create a completely

random waveform - or "noise". These waveforms are very sim-

ple and completely artificial - they hardly ever appear in the

nature. But you would be surprised to know how many diffe-

rent sounds can be achieved by only using and combining

these waves.

Filters: To be able to vary the basic

waveforms to some extent, most syn-

thesizers use filters. A filter is an elec-

tronic circuit that removes harmonics

fromthe original waveform. The Filter

section of a synthesizer may be a VCF

(Voltage Controlled Filter) or DCF

(Digitally Controlled Filter). If you

remove all the harmonics from a com-

plex waveform, you end up with a

pure sine wave. Filters come in the

following types:

•Low-PassFiltersallowlowfrequenciestopassthroughunaf-

fected and filters out (or blocks

out) the higher frequencies.

This is controlled by a parame-

ter labelled as "Cut-Off

Frequency" (or "Cutoff" or

"Frequency").

•High-PassFilters(orHPF).AHPFdoestheoppositeofaLPF.

A High-Pass Filter allows the higher frequencies to pass

through unaffected and filters out (blocks-out) the lower fre-

quencies.

The Cutoff Frequency determi-

nes the position in the harmo-

nic spectrum where the filter

will begin to filter (or cutoff)

the higher overtones (ie fre-

quencies) : some overtones

will be removed - and the

waveform will become more

"rounded". If the Cutoff is set to

a high position, then the timbre will be bright. If the Cutoff is

set to a low position, then the timbre will be dull. In other

words the filter controls the brightness of the sound.

Resonance is where the frequencies at the Cutoff position are

boosted (made louder). When a little resonance is introduced,

the frequencies around the Cutoff are boosted and the filter

begins to exaggerate the frequencies around the cutoff point.

With a lot of resonance, the frequencies around the Cutoff are

emphasized to the point where the filter will produce a dis-

tinct tone, or it will start to "sing" with a pronounced tone at

the cutoff frequency.

Amplifiers and Envelopes: The amplifier section on a syn-

thesizer may be labeled as VCA (Voltage Controlled Amplifier) or

DCA (Digitally Controlled Amplifier). An Amplifier will control

the volume of the waveform in real-time, or give it an

"Envelope" so the sound is controlled in amplitube over time.

Nowadays, there are many variations of envelopes available.

However, the most common envelope has 4 parameters: (1)

Attack time, (2) Decay time, (3) Sustain level, and (4) Release

time. This is usually called ADSR Envelope.Envelopes can also

be used to control other sections of a synthesizer.

LFOs: LFOs, or Low Frequency Oscillators are separate

oscillators in a synthesizer that can be used to control

things like the Filter or Amplitube Enveloped. Tremolo

is a common example of an LFO controlling volume,

where as Vibrato is a good example of an LFO control-

ling the pitch of a sound.

The MiniMoog is a great example of an Analog Synth.

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