Synthesizers and subtractive synthesis.

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Includes bibliographical references and index.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.Subtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds. Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available. After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.Online resource; title from PDF title page (John Wiley, viewed March 7, 2024).