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Charles Foster
Charles Foster

Synth Secrets Complete.pdf ##BEST##


Instead, -secrets-all-63-parts-sound-sound-site leads to this search results page with all synth secrets articles in order of publication: "Synth Secrets"?solrsort=ds_created asc&f[0]=im_field_subject:8106




Synth Secrets Complete.pdf



One of the more fundamental synth patches involves starting with a sawtooth driver source of marginally unstable frequency slightly linked to the velocity, with fairly open filtering although with the cutoff frequency varying now and then, related to a rudimentary amplitude envelope with a reasonably rapid attack and a somewhat snappy release.


Gordon Reid's classic 'synthesis explained' in-depth series ran in Sound On Sound every month, non-stop, over 5 years and is still used by Colleges and University courses as 'essential reading' when teaching the foundations of synthesis and sound design. We've collected all 63 episodes here, for ease and convenience.


In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?


Gordon Reid reveals some of the limitations of the 'classic' ADSR envelope with reference to a practical synthesis example, and explains some of the different types of envelopes found on 'classic' analogue synths, from AR envelopes right up to highly flexible digitally controlled EGs.


Last time, we examined the concept of modulation at low frequencies. This month, we speed things up a bit. The result is not just faster versions of the same modulation effects, but a new type of synthesis...


As explained last month, audio-frequency modulation of the amplitude of a signal can be a powerful synthesis tool. The possibilities expand still further when we consider what happens when you use one audio-frequency signal to modulate the frequency of another...


Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.


Every pitched sound can be thought of as a collection of individual sine waves at frequencies related to the fundamental. Gordon Reid introduces a powerful method of synthesis that works by manipulating these individual harmonics.


Having explored the way monophonic and duophonic analogue keyboards work, Gordon Reid puts away his Minimoog and Odyssey and descends into the complex world of polyphonic synths to a flourish of complex jazz chords.


Ever heard a synth talk? If you have, it's due to formant synthesis. Gordon Reid explores the theory of analogue formant synthesis, how it relates to the human voice and modern digital synths like Yamaha's FS1R.


Having dealt exhaustively with the mechanics of brass instruments and how to go about synthesizing them, we turn to instruments that use plucked strings to generate their sound, taking the complexities of the acoustic guitar as an example.


Having proved that subtractive synthesis of an acoustic guitar is completely impractical, Gordon Reid tries his hand at the electric variety, and deconstructs some past attempts to emulate the sound via analogue means.


Moving from last month's theoretical bass drum synth patch to its practical application on affordable analogue synths, we also take a look at how the world's most famous drum machines produce this fundamental rhythm sound.


If you thought synthesizing realistic bass drums was complex, that's nothing compared to snares. So how is it that the analogue snare sound is so well known? And how do you go about creating it? We find out...


Last month, we revealed just how hideously complex the sound-producing mechanism of the snare drum can be. Nevertheless, synthesizing the sound is not as hard as it seems, as we find out with the aid of a Roland SH101...


Having come up last month with a reasonably realistic cymbal patch, it's time to take the principles of synthesizing metallic percussion one stage further, and produce bell sounds. But there's more to this than you might think...


Surely the only convincing synth pianos are sample-based ones? A sound as rich and expressive as that of an acoustic piano is far too complex to be rendered by subtractive synthesis... isn't it? Let's find out...


As explained last month, synthesizing the sound of an acoustic piano is difficult, but it can be done reasonably realistically, as the 1986-vintage Roland JX10 shows. We find out how Roland managed it...


Analogue synths can't synthesize every sound, but the attempts made to replicate the sound of orchestral strings were so successful that so-called string machines became much-loved instruments in their own right. We begin a voyage into the world of synthesized strings...


Having looked at the mechanics of how a bowed string instrument generates its sound last month, it's time to put these principles into practice, using nothing more complex than a miniKorg 700 monophonic synth...


After putting all our bowed-string synthesis theory into practice on a Korg 700 last month, we found that the result was only acceptable as a string sound with a lot of wishful thinking. Can we improve on it?


The skilful articulation of a synthesized string patch can improve it no end, even one created using very basic building blocks, as we saw at the end of last month. But we can take this approach much further...


Long before Bob Moog built his first synth, there was the Hammond tonewheel organ; effectively an additive synthesizer, albeit electro-mechanical rather than electronic. So emulating a Hammond with an analogue synth shouldn't be too hard, right? Well...


So, you can synthesize a Hammond's tonewheel generator -- but what about its all-important effects? This month, we look at recreating the Hammond's percussion, vibrato, overdrive, and reverb -- and find that it's harder than you might think...


As with so much surrounding the Hammond organ, there's much more to the Leslie rotary speaker than meets the eye, and synthesizing its effects involves considerably more than just adding vibrato, as we find out in this installment.


When synthesizing sounds, the effects you place after your synth's output are often as important as the synth itself (just think of last month's Leslie). As we near the end of Synth Secrets, we consider how a digital effects processor works.


Some classic synth books: Learning Music With Synthesizers : Free Download, Borrow, and Streaming : Internet Archive - Practical Synthesis for Electronic Music volume 1 : Free Download, Borrow, and Streaming : Internet Archive - Practical Synthesis for Electronic Music volume 2 : Free Download, Borrow, and Streaming : Internet Archive


However, utilizing a combination of humans and technology can bring down the cost of audio description significantly and speed up turnaround time. In our workflow, certified human describers write high-quality descriptions, while advanced synthesized speech technology is used for the output. This option provides many benefits, including user control, more precise language, and faster production times. And, many blind and low vision viewers are accustomed to the more robotic output because they often use a screenreader that has a similar voice.


The cost of audio description can vary greatly depending on different factors. For instance, a company that provides traditional audio description with human voice actors will be more expensive than one that uses technology or synthesized speech.


2. On Wikipedia I must avoid "Original Research", even OR by synthesis. Here I feel more free (hope I am not mistaken). That sentence is evidently true under any reasonable interpretation of "classical" and "modern". Well, 2000 to 1000 b2k. That time, "space" was roughly "the 3-dimensional Euclidean space" (in modern language, of course). Nowadays it means something completely different. 350c69d7ab


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