Manual Peavy MuseBox (page 22 of 24) (English)

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A word about sound synthesis

English 22

B - Frequency Modulation (FM) synthesis

Invented at Stanford University, FM synthesis produces an

output signal by oscillating the frequency of a source oscilla-

tor's signal at such a high frequency that it starts to "modula-

te" and produce new tones in the process. This process can

generate fairly complex waveforms containing multiple fre-

quencies/sidebands with only two oscillators, requiring mini-

mal computations. FM Synthsis is particularly good at crea-

ting synthesized version of vibrating bars, hence its popularity

as a sound for use in Electric Pianos. The YAMAHA DX7 is the

best example of a popular FM synth.

C - Wavetable synthesis

This is a synthesis technique where the waveform of the

oscillator is stored as a table of values in a digital manner, and

then "read back" and processed in real-time by the synthesis

engine. As a result, quite complex and harmonically rich

waveforms can be stored in the synthesizer for combining

with subtractive synthesis techniques to make very expressive

sounds. One common addition to wavetable synthesis is that

each instrument waveform contains a loop region. This region

starts after the attack segment of the digital audio has played

and repeats while the instrument's note is sustained (i.e. while

a note is held). Then the release segment of digital audio

finishes off the note. Wavetable synthesis is a more limited

form of the more generalized Sampling synthesis, explained

later.

D -”Vector” synthesis

Vector synthesis was pioneered by the SCI Prophet VS and

made popular by the Korg Wavestation family. Vector

Synthesis was loosely based on substractive synthesis but

with the example of german PPG in mind, they created an

instrument able to crossfade waveforms in real time on a two

dimensional pattern in real-time with a joystick. The user had

access to 128 different digitally stored waveforms, 4 wave-

forms ("voices") could be mixed in real time. Then the result

went through a classical analog path with two LFOs per voice,

VCF, VCAs and enveloppes (loopable envelopes to create

really interesting soundscapes). The resulting sound had the

life and motion of rich and complex digital textures combined

with the warmth of analog filters and amps to finalize the

picture.

E - Additive synthesis

Additive synthesis can be found in different instruments, the

first one being the famous tonewheel organ and its equally

famous drawbars used to add or withdraw harmonics from

the overall sound. A rotating shaft with electromagnetic pic-

kups created different harmonics that were added together in

varying proportion using the organ "stops" to create the desi-

red timbre.

The idea of Additive Synthesis is to build a complex waveform

from its basic elements. It works by mixing (summing) one or

more simple waveforms, such as sine waves at different fre-

quencies together to create a more complex waveform.

Theoretically, it is possible create any sound by adding enou-

gh sine waves of different frequencies together using some-

ting called the Fourier series. In real life however, sounds

evolve and change in subtle ways making the creation of

complex sounds using simple elements a huge technological

challenge. However, Additive Synthesis has made an impact

on the world of synthesis as the computations necessary

tomake complex sounds have become less burdensome

thanks to faster CPUs. Perhaps the most famous Additive

Synths came from Kawai in their K series and the PPG

Waveterm.

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