By Mark Jenkins
During this publication, the technical rationalization of the character of analog sound construction is via the tale of its start and its next improvement by means of a number of designers, brands and performers. the person elements of analog sound construction are then tested intimately, with step-by-step examples of sound construction concepts. Then the trendy imitative analog tools are tested, back with designated directions for programming and utilizing them, and the ebook is done with appendices directory the most important device traces on hand, tricks on values and buying, different resources of data, and a discography of on hand recordings which provide sturdy examples of analog sound synthesis. The CD which accompanies the e-book supplies many examples of analog sound construction fundamentals in addition to extra complex concepts, and of the talents of the person tools linked to classical and with imitative analog sound synthesis. * an entire historical past of analog sound in a single paintings* Interviews with Legends and builders of of analog synthesizers* Audio CD of demo sounds and tuitional items to demonstrate the techniques mentioned within the booklet
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Additional info for Analog Synthesizers: Understanding, Performing, Buying- from the legacy of Moog to software synthesis
25 Analog Synthesizers Since white noise in an electrical circuit comprises random voltages, it can also be used as a source of random effects. But the random elements in white noise are arriving much too rapidly to be of much use in musical terms, so it’s necessary to pick and choose from them, as we see next. S A M P L E-A N D - H O L D The Technosaurus Selector sample-and-hold module. 26 The term ‘sample-and-hold’ is usually associated with the creation of random sound effects, though in fact this module can be used for much more.
A combination of richer waves such as sawtooth and thin pulse waves at various multiples of the basic frequency will be of more help, and will add in the overtones that give the instrument its rich sound. But other factors add to the original sound, such as the resonance from the wooden body of the instrument, which could be simulated with a sub-octave of a smoother sine wave. The overall loudness envelope is like that of a piano, starting instantaneously but dying away slowly, and is easy enough to set – but if the instrument is to sound as if it is being played with a plectrum, the sound of the plectrum also has to be added.
This means that, in order to work, the ring modulator needs two input signals, usually referred to as A and B. Now although the frequencies in the resulting output signals are mathematically related to those in the input signals, this does not mean that they are musically related, and in fact in most cases will be significantly ‘out of tune’ with the originals. When the original signals are also mixed back in, the result will usually be a dissonant, metallic or bell-like ‘clanging’ sound. Examples on the CD include Track 58, realized using the particularly versatile ring modulator of the Yamaha CS80, which has continuously variable voltagecontrollable parameters.