programming with max/msp - Virtual Sound

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LEARNING AGENDA 2T PREREQUISITES FOR THE CHAPTER • Contents of Chapter 1 (theory) LEARNING OBJECTIVES Knowledge • to learn about the theory behind adding waveforms (phase, ConstruCtive interferenCe, destruCtive interferenCe) • to learn about the theory and use of basiC additive synthesis, using both fixed and variable speCtra to produCe both harmoniC and non-harmoniC sounds • to learn about the relationship between phase and beats • to learn how to use wavetables, and how interpolation is implemented • to learn some theory to support basiC veCtor synthesis SKillS • to be able to differentiate between harmoniC and non-harmoniC sounds • to be able to reCognize beats upon hearing them • to identify the different segments of a sound envelope, and to desCribe their CharaCteristiCs CONTENTS • additive synthesis using both fixed and variable speCtra • harmoniC and non-harmoniC sounds • phase and beats • interpolation • veCtor synthesis ACTIVITIES • interaCtive examples TESTING • Questions with short answers • listening and analysis SUPPORTING MATERIALS • fundamental ConCepts • glossary • disCography from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
Chapter 2T - Additive and vector synthesis 2.1 FIXED SPECTRUM ADDITIVE SYNTHESIS A sound produced by an acoustic instrument, any sound at all, is a set of complex oscillations, all produced simultaneously by the instrument in question. Each oscillation contributes a piece of the overall timbre of the sound, and their sum wholly determines the resulting waveform. However, this summed set of oscillations, this complex waveform, can also be described as a group of more elementary vibrations: sine waves. Sine waves are the basic building blocks with which it is possible to construct all other waveforms. When used in this way, we call the sine waves frequency components, and each frequency component in the composite wave has its own frequency, amplitude, and phase. The set of frequencies, amplitudes, and phases that completely define a given sound is called its sound spectrum. Any sound, natural or synthesized, can be decomposed into a group of frequency components. Synthesized waveforms such as we described in Section 1.2 are no exception; each has its own unique sound spectrum, and can be built up from a mixture of sine waves. (Sine waves themselves are self-describing – they contain only themselves as components!). SPECTRUM AND WAVEFORM Spectrum and waveform are two different ways to describe a single sound. Waveform is the graphical representation of amplitude as a function of time. 1 In Figure 2.1, we consider the waveform of a complex sound in which the x-axis is time and the y-axis amplitude. We note that the waveform of this sound is bipolar, meaning that the values representing its amplitude oscillate above and below zero. A waveform graph is portrayed in the time domain, a representation in which instantaneous amplitudes are recorded, instant by instant, as they trace out the shape of the complex sound. amplitude � �� time in msec Fig. 2.1 The waveform of a complex sound 1 In the case of periodic sounds, the waveform can be fully represented by a single cycle. from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 2T 187
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Alessandro Cipriani • Maurizio Gi
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Alessandro Cipriani • Maurizio Gi
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CONTENTS Foreword by David Zicarell
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Electronic Music and Sound Design -
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Page 17 and 18: LEARNING AGENDA 1T PREREQUISITES FO
Page 19 and 20: 1.1 4 Theory sound or sounds that w
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Page 23 and 24: 1.2 8 Theory Let’s look at a tabl
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Page 27 and 28: 1.2 12 Theory By the same reasoning
Page 29 and 30: 1.2 14 Theory If the amplitude of a
Page 31 and 32: 1.2 16 Theory 8 140 the threshold o
Page 33 and 34: 1.2 18 Theory 1000 Hz was chosen as
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Page 37 and 38: 1.1 52 Practice Paragraph 1.1 - Fir
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Page 55 and 56: Interlude A PROGRAMMING WITH MAX/MS
Page 57 and 58: Interlude A - Programming with Max/
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Page 89 and 90: 3.2 300 Theory Paragraph 3.2 - Lowp
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Page 115 and 116: REFERENCES The decision was made to
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528 constructive interference, 190,
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530 multislider, 164, 179 multislid
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532 switch, 434, 468 T t (see trigg
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