Synthesizers and Subtractive Synthesis 1

Name: Synthesizers and Subtractive Synthesis 1 | Theory and Overview
Brand: Wiley
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Theory and Overview

Jean-Michel Réveillac(Herausgeber*in)

Wiley (Verlag)

1. Auflage

Erschienen am 15. Februar 2024

288 Seiten

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978-1-394-27670-7 (ISBN)

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Inhalt

Cover
Title Page
Copyright Page
Contents
Preface
Introduction
Chapter 1. Sound Synthesis
1.1. The art of creating sound
1.2. Some reminders
1.2.1. Sound: a bit of theory
1.2.2. Intensity
1.2.3. Pitch of a sound
1.2.4. Timbre
1.2.5. The ear
1.3. Sound typology
1.3.1. Sounds and periods
1.3.2. Simple and complex sounds
1.4. Spectral analysis
1.4.1. The sound spectrum
1.4.2. Sonogram and spectrogram
1.5. Waveforms
1.5.1. Sine wave
1.5.2. Square wave
1.5.3. Rectangular wave
1.5.4. Pulse wave
1.5.5. Triangular wave
1.5.6. Sawtooth wave
1.6. Timbre
1.6.1. Transient phenomena
1.6.2. Range
1.6.3. Mass of musical objects
1.6.4. Classification of sounds
1.7. Sound propagation
1.7.1. Dispersion
1.7.2. Interference
1.7.3. Diffraction
1.7.4. Reflection
1.7.5. Reverberation (reverb)
1.7.6. Absorption
1.7.7. Refraction
1.7.8. Doppler effect
1.7.9. Phase and beat
1.8. Noise
1.8.1. White noise
1.8.2. Pink noise
1.8.3. Red noise
1.8.4. Blue noise
1.8.5. Purple noise
1.8.6. Gray noise
1.8.7. Other noise
1.9. History of sound synthesis
1.10. Conclusion
Chapter 2. The Different Types of Synthesis
2.1. Subtractive synthesis
2.2. Additive synthesis
2.3. FM synthesis
2.4. Digital synthesis, sampling and wavetables
2.5. Physical modeling synthesis
2.6. Granular synthesis
2.7. Amplitude modulation synthesis
2.8. Phase distortion synthesis
2.9. Other types of sound synthesis
Chapter 3. Components, Processing Techniques and Tools
3.1. Oscillators
3.1.1. Voltage-controlled oscillators
3.1.2. Digitally controlled oscillators
3.1.3. Digital oscillators
3.1.4. Low-frequency oscillators
3.2. Filters
3.2.1. Low-pass filters
3.2.2. High-pass filters
3.2.3. Band-pass filters
3.2.4. Band-stop filters
3.2.5. Resonance
3.2.6. Other filters
3.3. The envelope generator
3.3.1. Attack
3.3.2. Decay
3.3.3. Sustain
3.3.4. Release
3.3.5. Other parameters
3.4. Amplifiers
3.5. Sample and hold
3.6. Ring modulator
3.7. Waveshaping
3.8. Special effects
3.8.1. Pitchbend
3.8.2. Glide
3.8.3. Keyboard tracking
3.8.4. Reverb and delay
3.8.5. Phaser, chorus and flanger
3.9. From monody to polyphony
3.10. Controllers
3.10.1. Modwheel
3.10.2. Breath controller
3.10.3. Expression switch and pedal
3.10.4. Keytar
3.10.5. Other controllers
Chapter 4. Work Environment
4.1. Materials
4.1.1. ARP 2600
4.1.2. The Minimoog
4.1.3. The Behringer Neutron
4.1.4. The Novation Bass Station II
4.1.5. The Arturia MatrixBrute
4.2. Software
4.2.1. Native Instruments Reaktor
4.2.2. VCV Rack 2
4.2.3. Cycling '74 Max/MSP
4.2.4. Pure Data
4.3. Conclusion
Chapter 5. CV/Gate and MIDI
5.1. CV/Gate
5.1.1. Overview
5.1.2. Operation
5.1.3. Note definition
5.1.4. Operation of the gate (or trigger)
5.2. Musical Instrument Digital Interface
5.2.1. MIDI version 1.0
5.2.2. MIDI Version 2.0
5.2.3. Principle
5.2.4. The hardware
5.2.5. The software
5.2.6. MIDI Control Change
5.2.7. Examples of MIDI transmission
5.2.8. MIDI implementation chart
5.2.9. General MIDI standard
5.2.10. The General MIDI 2 standard
5.2.11. The GS format
5.2.12. The XG format
5.2.13. MIDI file structure
5.2.14. An example of a MIDI file
5.3. MIDI CV/Gate converters
Conclusion
Appendix 1. General MIDI 1 and 2 Instruments
Appendix 2. MIDI Box, Merger and Patcher
Glossary
References
Index

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