The original sound that you hear in the patches is made by the oscillators, and is then fed through the synthesizers signal path. If you set oscillation to a genuinely low pitch, you would end up with gaps because the waveform is endlessly dependent on the speed pitch of the note. And so the different sounds are produced by the shape of the wave form, which is the product of oscillation.
Here're the standard wave form. For a sharp biting type sound, you need the saw wave. Its named as this because its shape is identical to those on a saw blade
To get a soft mild tone then you'll want the Sine Wave, which's shaped like a horizontal S; it has a smooth up and down shape to it.
A unique color of noise would produce noise although its not really a waveform
To get that sound that simulates a hollow reed you require the square wave. This's distinguishable by it's almost perfect square out-look.
A variance to the square-wave is the pulse-wave, even though it is only half as wide. It has the fascinating ability to have a modulated width. Maybe youve heard this as being related to as the Pulse Width Modulation.
To find a glad medium between the saw wave and sine wave you would need the triangle-wave, which's the shape of a triangle.
Most often a synthesizer has 2-3 oscillators. Being as that is the case, you can do a couple of fascinating stuff by mixing the waveforms together. Plus you can tune them so they're different from one another. It can be tuned in semitones, octaves or in cents. A swirling untuned sound is produced by many oscillators which are cents apart from one another. Cents is a hundredth of a semi-tone.
There is an oscillator recognise as a low frequency oscillator. Its frequencies are undetectable unless you physically tune it into a standard hearing range. Its job is to tone the pitch of the oscillator or the filter frequency. The start and stop of the waveform is quite evident because the LFOs are like the oscillators in that they all the same use regular wave forms. When utilized the right way for instance the sine-wave allows you to hear an increasing or decreasing sound of the wave shape. Animation and moving texture will be the end result for your synthesizer sound if done properly.
Here're the standard wave form. For a sharp biting type sound, you need the saw wave. Its named as this because its shape is identical to those on a saw blade
To get a soft mild tone then you'll want the Sine Wave, which's shaped like a horizontal S; it has a smooth up and down shape to it.
A unique color of noise would produce noise although its not really a waveform
To get that sound that simulates a hollow reed you require the square wave. This's distinguishable by it's almost perfect square out-look.
A variance to the square-wave is the pulse-wave, even though it is only half as wide. It has the fascinating ability to have a modulated width. Maybe youve heard this as being related to as the Pulse Width Modulation.
To find a glad medium between the saw wave and sine wave you would need the triangle-wave, which's the shape of a triangle.
Most often a synthesizer has 2-3 oscillators. Being as that is the case, you can do a couple of fascinating stuff by mixing the waveforms together. Plus you can tune them so they're different from one another. It can be tuned in semitones, octaves or in cents. A swirling untuned sound is produced by many oscillators which are cents apart from one another. Cents is a hundredth of a semi-tone.
There is an oscillator recognise as a low frequency oscillator. Its frequencies are undetectable unless you physically tune it into a standard hearing range. Its job is to tone the pitch of the oscillator or the filter frequency. The start and stop of the waveform is quite evident because the LFOs are like the oscillators in that they all the same use regular wave forms. When utilized the right way for instance the sine-wave allows you to hear an increasing or decreasing sound of the wave shape. Animation and moving texture will be the end result for your synthesizer sound if done properly.
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