University:
Massachusetts Institute of Technology
Course:
21M.380 | Music and Technology: Sound Design
Academic year:

2024
Views:

29

Pages:

3
Author:

Barti7q5

21M.380 Music and Technology Sound Design Lecture №14 Additive synthesis 1 Review 1.1 ED assignment • Award for liveliest script in terms of sound design goes to and , , • Let’s listen to some submissions: – Group A – Group B – Group C – Group D – Group E 1.2 QZ1 • Let’s listen to Pd patch from p.1 • A harmonic spectrum tends to be perceived as a single source (key point!) • [vline~] can also control frequency (not just amplitude) • Input to [osc~] always controls frequency! • Let’s build that counter from question 4.1 together! 2 Overview of synthesis techniques • Additive (Farnell 2010, ch. 17) • Wavetables (ibid., ch. 18) • Waveshaping (ibid., ch. 19) • Modulation (AM and FM) (ibid., ch. 20) • Granular (ibid., ch. 21) 1 of 3 3 Additive synthesis • Fourier series: Any periodic signal can be reconstructed as a sum of (co)sine signals • Question: Which limitations might this synthesis approach have? – Periodic sounds are by definition harmonic; what about inharmonic sounds? – Static spectrum – Requires lots of control data (amplitudes, frequencies, but also phase of all partials!) • Phase-alignment of partials can be important (demo Farnell 2010, fig. 17.2) • Generalize to dynamically changing sounds via STFT and resynthesis with envelopes • Generalize to inharmonic sounds through frequency envelopes over time (in addition to amplitude envelopes) • Demo: Partial-tracer in Pd: Help Browser... 4.data.structures 14.partialtracer.pd – Try with voice.wav (inharmonic dynamic spectrum) – Re-synthesis at different speeds – Re-drawing traced partials • Trick to reduce amount of control data needed: Discrete summation synthesis • Using additive synthesis to create a band-limited impulse – Impulse is an important archetypal signal – Contains all frequencies (like white noise), but instantaneously – E.g., impulse response of a room (like in everyday life: hitting something to learn what it sounds like) – E.g., impulse train as sound source (e.g., car engine) 4 Application: Bell synthesis • Dicuss concept of modes (string, pipes, membranes, bars, bells) • Which frequencies occur? Are they harmonic? • What about the envelopes? Do they relate? 2 of 3 5   (2,0) (2,1) (3,1) (3,1 ) (4,1) (4,1 ) Hum (1:1) Prime (2:1) Tierce (12:5) Quint (3:1) Nominal (4:1) Deciem (5:1) Exercise: Railroad crossing warning bell for train drive-by • Farnell (2010, ch. 29) determines partial frequencies by spectral analysis of a recording. • We’ll try to do it by assuming the characteristic modes of a bell (fig. 1). • Make the fundamental frequency adjustable References and further reading Benson, Dave (2008). Music: a Mathematical Offering. url: https://homepages. abdn.ac.uk/mth192/pages/html/music.pdf (visited on 03/07/2015). Farnell, Andy (2010). Designing Sound. Cambridge, MA and London: MIT Press. 688 pp. isbn: 978-0-262-01441-0. mit library: 001782567. Hardcopy and electronic resource. 3 of 3 Figure 1. Characteristic modes of a bell (after Benson 2008, p. 130)

Lecture 14 Outline: Additive Synthesis

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