additive synthesis


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additive synthesis

[¦ad·ə·div ′sin·thə·səs]
(engineering acoustic)
A method of synthesizing complex tones by adding together an appropriate number of simple sine waves at harmonically related frequencies.
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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.
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) [4].
In addition to this, the concepts of additive synthesis have also existed since the introduction of the organ where different pipes of varying pitch are combined to create a sound or timbre.
However, a popular approach to the additive synthesis system is to use frequencies that are integer multiples of the fundamental frequency, which is known as harmonic additive synthesis.
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.
2] 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.
5] OSCILM and related unit generators can be emulated by ordinary "brute force" additive synthesis in other software synthesis languages simply by summing the appropriately driven number of OSCILI signals.
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.
That is why this technique can be metaphorically referred to as "instrumental additive synthesis.
The real-time synthesis unit performs additive synthesis with frequency modulation on sixty-four simultaneous oscillators at 44.