Just to refresh our memory, let's take the most common synthesizer waveform - the sawtooth wave - as an example.įigure 1: An idealised sawtooth waveform. For a simple harmonic oscillator, each of these sine waves has a frequency that is an integer multiple of the fundamental frequency, and we call these the 'harmonics' of the sound. In this, I showed that you could represent any waveform as a set of sine waves. The concept underlying additive synthesis is very simple, and I can best explain it by turning all the way back to Synth Secrets Part 1 (SOS May 1999). This month's Synth Secrets takes us into the murky world of Additive Synthesis. So now it's time to move on - to another realm of sound creation that is normally associated only with digital synths. Gordon Reid introduces a powerful method of synthesis that works by manipulating these individual harmonics.įor the past two months Synth Secrets has concentrated on frequency modulation, showing (I hope) that FM synthesis (or 'Cross Modulation' as it often used to be called) is as relevant to analogue synthesizers as it is to the digital synths that made it a household name.
Every pitched sound can be thought of as a collection of individual sine waves at frequencies related to the fundamental.
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