Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 3 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny.

Slides:



Advertisements
Similar presentations
Envelope Detector Conventional DSB-AM signals are easily demodulated by an envelope detector It consists of a diode and an RC circuit, which is a simple.
Advertisements

Chapter Six: Receivers
Basic Tools for Understanding Synthesis. Synthesizer A musical instrument that produces waveforms, typically in the audio range of about 20 to 20,000.
Korg MS 10!! By Elizabeth Laberge!!. History It was made by the Japanese corporation Korg in It was the smallest and cheapest one they made at the.
Sound Synthesis Part II: Oscillators, Additive Synthesis & Modulation.
David Meredith Minim David Meredith
Chapter 4 DC to AC Conversion (INVERTER)
Modulation: CHORUS AND FLANGE  Just as a chorus is a group of singers, the chorus effect can make a single instrument sound like there are actually.
Active Filters: concepts All input signals are composed of sinusoidal components of various frequencies, amplitudes and phases. If we are interested in.
What makes a musical sound? Pitch n Hz * 2 = n + an octave n Hz * ( …) = n + a semitone The 12-note equal-tempered chromatic scale is customary,
EE2F2 - Music Technology 9. Additive Synthesis & Digital Techniques.
Synthesis. What is synthesis? Broad definition: the combining of separate elements or substances to form a coherent whole. (
Department of Electronics and Communication Engineering, Manipal Institute of Technology, Manipal, INDIA Filters.
Chapter 7 Principles of Analog Synthesis and Voltage Control Contents Understanding Musical Sound Electronic Sound Generation Voltage Control Fundamentals.
Classical Analog Synthesis. Analog Synthesis Overview Sound is created by controlling electrical current within synthesizer, and amplifying result. Basic.
Analog Synthesizers Yohahn Jo Systems Engineering Class of 2011.
SYED SYAHRIL TRADITIONAL MUSICAL INSTRUMENT SIMULATOR FOR GUITAR1.
Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 4 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny.
Sound Synthesis CE 476 Music & Computers. Additive Synthesis We add together different soundwaves sample-by-sample to create a new sound, see Applet 4.3.
Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 2 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny.
Overview of Adaptive Multi-Rate Narrow Band (AMR-NB) Speech Codec
Lecture 7 AM and FM Signal Demodulation
PH 105 Dr. Cecilia Vogel Lecture 13. OUTLINE  Timbre and graphs:  Time graph  Spectrum graph  Spectrogram  Envelope  scales  units  interval factors.
1 Manipulating Digital Audio. 2 Digital Manipulation  Extremely powerful manipulation techniques  Cut and paste  Filtering  Frequency domain manipulation.
Methods for Tone and Signal Synthesis R.C. Maher ECEN4002/5002 DSP Laboratory Spring 2002.
Harmonics and Overtones Waveforms / Wave Interaction Phase Concepts / Comb Filtering Beat Frequencies / Noise AUD202 Audio and Acoustics Theory.
EE2F2 - Music Technology 8. Subtractive Synthesis.
Advanced Lecture. Audio Distortion  Distortion is the name given to anything that alters a pure input signal in any way other than changing its magnitude.
Low-Pass Filter & High Pass Filter
Chapter 14: Amplifiers & Oscillators. Amplifiers: Overview Circuits which increase: voltage or current – Take small input signal to reproduce output waveform.
 Principles of Digital Audio. Analog Audio  3 Characteristics of analog audio signals: 1. Continuous signal – single repetitive waveform 2. Infinite.
Power Amplifiers Power Amplifiers are used in the transmitter
2 Outline Digital music The power of FPGA The “DigitalSynth” project –Hardware –Software Conclusion Demo.
Introduction to Frequency Selective Circuits
Oscillators and Filters Review Material for Makeup Exam.
PULSE MODULATION.
1 Live Sound Reinforcement Equalizers and other signal processing equipment.
Copyright © 2011 by Denny Lin1 Computer Music Synthesis Chapter 7 Based on “Excerpt from Designing Sound” by Andy Farnell Slides by Denny Lin.
Synthesis advanced techniques. Other modules Synthesis would be fairly dull if we were limited to mixing together and filtering a few standard waveforms.
Sensitivity System sensitivity is defined as the available input signal level Si for a given (SNR)O Si is called the minimum detectable signal An expression.
Physics 1251 The Science and Technology of Musical Sound Unit 4 Session 37 MWF Synthesizers Unit 4 Session 37 MWF Synthesizers.
Copyright 2004 Ken Greenebaum Introduction to Interactive Sound Synthesis Lecture 11: Modulation Ken Greenebaum.
Filtering. What Is Filtering? n Filtering is spectral shaping. n A filter changes the spectrum of a signal by emphasizing or de-emphasizing certain frequency.
Reason Devices Subtractor. Oscillators Select Waveform The Subtractor has two oscillators that can be used as sound sources for your patches Tuning Mix:
Copyright © 2011 by Denny Lin1 Computer Music Synthesis Chapter 6 Based on “Excerpt from Designing Sound” by Andy Farnell Slides by Denny Lin.
Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 1 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny.
Chapter 5: Electronic Music and Synthesizers Who uses electronic musical synthesizers? Each advance in electronic technology is followed by a concomitant.
Subtractive Sound Synthesis. Subtractive Synthesis Involves subtracting frequency components from a complex tone to produce a desired sound Why is it.
Why does a violin sound different from a horn? Several kinds of audible information Pitch Timbre Attack Decay Vibrato.
Resonance Enhancement of the intensity of a particular frequency component(s) with respect to the intensity of the other components that occurs when its.
Chapter 12 The Principles of Computer Music Contents Digital Audio Processing Noise Reduction Audio Compression Digital Rights Management (DRM)
Copyright © 2011 by Denny Lin1 Computer Music Synthesis Chapter 5 Based on “Excerpt from Designing Sound” by Andy Farnell Slides by Denny Lin.
Quiz 1 Review. Analog Synthesis Overview Sound is created by controlling electrical current within synthesizer, and amplifying result. Basic components:
Copyright 2004 Ken Greenebaum Introduction to Interactive Sound Synthesis Lecture 14: Envelopes Ken Greenebaum.
Acoustic Theory 3 Sound Creation and Manipulation.
Sampling BTEC Level 3 Extended Diploma in Music Technology Year 1 Sound Creation & Manipulation Modulation – LFOs & Envelopes.
Demodulation of DSB-SC AM Signals
Lecture 2: Filters.
Subtractive Synthesis
Copyright © 2011 by Denny Lin1 Computer Music Synthesis Chapter 3 Based on “Excerpt from Designing Sound” by Andy Farnell Slides by Denny Lin.
Digital Logic Design Lecture # 15 University of Tehran.
Synthesisers. A Synthesizer is an electronic sound generating device, that creates sounds using oscillators and filters. An Oscillator provides the sound.
TE4201-Communication Electronics 1 9. SSB Demodulation and Receivers SSB demodulation SSB demodulationSSB demodulationSSB demodulation BFO drift effect.
Oscillations SHM 1 Simple harmonic motion defined Simple harmonic motion is the motion of any system in which the position of an object can be put in the.
Harvestworks Part 1: ChucK basics Rebecca Fiebrink Princeton University 1.
Types of Synthesizers and How They Work
Measurement and Instrumentation
CS 591 S1 – Computational Audio -- Spring, 2017
CS 591 S1 – Computational Audio -- Spring, 2017
RC FILTERS Analog Electronics IE2030. FREQUENCY.
Presentation transcript:

Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 3 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny Lin

Copyright © 2011 by Denny Lin2 Filters Low Pass Filter: Allows frequencies below cutoff to pass through High Pass Filter: Allows frequencies above cutoff to pass through Band Pass Filter: Allows frequencies within a certain range to pass through; range is specified by its central frequency and its width is specified by the resonance value Voltage Controlled Filter: Similar to band pass filter, but the central frequency and resonance can be controlled by audio signals

Copyright © 2011 by Denny Lin3 Filters and Subtractive Synthesis Subtractive synthesis starts with a sound that is rich in harmonics, and then selectively subtract harmonics to get a desired sound Low pass, high pass, band pass, or voltage controlled filters can be used to remove undesirable harmonics, and the gain of the resulting waveforms can be modulated by an envelope generator

Copyright © 2011 by Denny Lin4 Phone voice using Subtractive Synthesis The frequency response of telephones is between 300Hz and 3000Hz Can reproduce the sound characteristics of a telephone by subtracting signals outside the telephone frequency response Effect of filter is intensified by placing filters in series (cascading)

Copyright © 2011 by Denny Lin5 Envelopes and generators Envelopes can be used to describe how a pitch or a sound amplitude changes over time An ADSR generator is often used to control sound amplitude changes of an oscillator The four components in an envelope generator are: –Attack –Decay –Sustain –Release Some older synthesizers added a Hold component: –ADSHR (Korg MS-20) –AHDSR ADSR generators can be made from both the line~ and vline~ objects Envelopes also be drawn and stored in arrays

Copyright © 2011 by Denny Lin6 Using the line~ generator The line and line~ objects take messages that have only two numbers: –Target level –Time in milliseconds New messages will over-ride a ramp in progress The audio version of the line object is line~ Can build ADSR envelopes when used with delay objects

Copyright © 2011 by Denny Lin7 ADSR Envelope and line~ messages AttackDecaySustainRelease A Gain D Gain A Delay D Delay A Time D Time S Time R Time Where D Elapsed = A Delay + A Time + D Delay and S Elapsed = D Elapsed + D Time + S Time A Gain A Time D Gain D Time 0 R Time A Delay D Elapsed S Elapsed trigger bang bang bang

Copyright © 2011 by Denny Lin8 An ADSR generator using line~

Copyright © 2011 by Denny Lin9 Using the vline~ generator The vline~ object has three inlets that take three parameters: –Target level –TIme in milliseconds –Delay value The left inlet can also take sequences of messages that contain target, time, and delay values. A sequence of messages can be used to specify an ADSR envelope The message: – , , –Ramp up to 0.8 in 1000ms after 5ms delay, ramp down to 0.5 in 1000ms after 1500ms delay, and ramp down to 0 in 500 ms after 3300ms delay All delay values are counted from the beginning of the message, so must take into account elapsed time performing previous instructions in the message

Copyright © 2011 by Denny Lin10 ADSR Envelope and vline~ message AttackDecaySustainRelease A Gain D Gain A Delay D Delay A Time D Time S Time R Time A Gain A Time A Delay, D Gain D Time D Elapsed, 0 R Time S Elapsed Where D Elapsed = A Delay + A Time + D Delay and S Elapsed = D Elapsed + D Time + S Time

Copyright © 2011 by Denny Lin11 An ADSR generator using vline~

Copyright © 2011 by Denny Lin12 Drawing and Storing an Envelope An envelope can be directly drawn by hand in an array graph This patch uses the line~ object to produce x-axis values from 0 to 99 in 4 seconds The audio envelope controls the amplitude of the oscillator

Copyright © 2011 by Denny Lin13 Controlling Sound Amplitude A slider can be used to control the gain when connected to the cold inlet of a multiplication object; output contains zipper noise Zipper noise can be eliminated using the line~ object Sound amplitude can be controlled by envelopes generated by line~, vline~, and read from an array by tabread4~