This edition has been revised to incorporate new chapters on hardware controllers and rhythm-based synthesis, including arpeggiators and step sequencers, and expanded coverage of new technology in physical modeling and granular and additive synthesis
, as well as new illustrations and online videos, which replace the CD.
The collision sound of the sword against the shield, as well as that of the sword against the sword of the enemy, was implemented by combining granular synthesis, additive synthesis, ring modulation, and a prerecorded sample.
This is especially so because the additive synthesis module is not the most efficient technique to utilize in computer games due to the relatively large use of CPU compared to other techniques.
Additive Synthesis is a method in which a composite waveform is formed by summing sinusoidal components, for example, harmonics of a tone, to produce a sound (Moorer, 1985) .
This concept of constructing a complex sound out of sinusoidal terms is the basis for additive synthesis, also called as Fourier synthesis for the aforementioned reason.
Stefania Serafin's catalog of the "Computer generation and manipulation of sounds" is, doubtless, a perfectly adequate description of the various techniques of additive synthesis
, FM synthesis, granular manipulation, and the spectral and physical modelling of sounds.
 The Dyad System approach to additive synthesis has been expanded since the earlier articles and is described here in detail.
The Generating Dyad approach to additive synthesis yields a singularly rich variety of timbres that significantly increases the potential for a highly varied prolongation of the Generating Dyad.
The module entitled "Sound Synthesis" contains tracks about additive synthesis
, subtractive synthesis, non-linear synthesis, and, curiously, a history of computer music.
The basic conception of timbre used by the spectral composers is also strongly influenced by certain electronic music techniques, particularly additive synthesis. This method involves the summation of component frequencies (produced by sine tones) in order to build up complex composites.
That is why this technique can be metaphorically referred to as "instrumental additive synthesis." Example 2 shows Grisey's selection of component frequencies and his assignment of them to instruments.
The real-time synthesis unit performs additive synthesis
with frequency modulation on sixty-four simultaneous oscillators at 44.1 kHz (future extension to 128 oscillators).