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...that the spectral envelope can change smoothly. If, for example, we use successive snippets of a vocal sample as input, we get a strikingly effective vocoder. The second technique, first described in =-=[Puckette]-=-, is to synthesize a carrier signal, c(t) = acos(nω1t) + bcos((n + 1)ω1t) where a + b = 1 and n is an integer, all three chosen so that (n + b) ∗ ω1 = ω2, so that the spectral center of mass of the tw...

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...ntion of subtractive synthesis. In recent years, formantgenerating systems have become more popular, starting with VOSIM [1] and continuing through FM formant generation [2], the FOF [3], and the PAF =-=[4]-=-. Sample-based ones [5, 6, 7] have usually used pitch information to make phase coherent cross-fades between segments of recorded speech and singing. ∗ CRCA, Cal(it) 2 , UCSD. Reprinted from Proceedin...

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...cos(ω0n) [ 1+βy(n − 1) ] , (29) s(n) = cos(θn)y(n). A similar structure is seen in the double-sided Discrete Summation Formula (DSF) algorithm [16], as well as in PhaseAligned Formant (PAF) synthesis =-=[17]-=-(whichisderivedfrom DSF) and phase-synchronous Modified FM [18, 19]. This heterodyne principle is very useful for generating resonant spectra and formants by setting θ = kω0, withk > 0 and an integer,...

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...ition data is send through a Teleo module to a patch in Max/MSP that performs the sound transformation. The sound transformation uses the “bong~” and “paf~” objects developed by Miller Puckette, [6], =-=[7]-=-. It keeps the rhythmic and dynamic attributes of the original sound, but gives the timbre a more and more synthetic like character as the handle is pulled downward. 2.3 The Sound Mixing Stand The sta...

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...und as a function of time. Bottom: the result of applying a simple non-linear function. turns a sinusoid into a spectrum with exponentially dropping partials, with the rate of rolloff determined by A =-=[3]-=-. Using primarily these three fundamental techniques, electronic musicians operate on a starting palette of sinusoids, white noise, and/or recorded sounds, to produce a huge variety of electronic soun...

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... gives rise to a spectrum of exponentially falling harmonics: h(b sin( ω n)) = G · 2 � 1 2 + H cos(ωn) + H2 cos(2ωn) + · · · where G and H are functions of the index b (explicit formulas are given in =-=[Puc95a]-=-). In both this and the Gaussian case above, the bandwidth (counted in peaks, i.e., units of ω) is roughly proportional to the index b, and the amplitude of the DC term (the apex of the spectrum) is r...

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...ions. A number of variations on the basicsmethods,sespeciallysofsFMssynthesissweresalsosdeveloped [7][8][9]. Further novel work on the areaswassthesdevelopmentsofsPhase-AlignedsFormants(PAF)ssynthesis=-=[10]-=-sinsthesmids1990s.sFinally,sdistortionstechniquesshavesrecentlysbeensusedsinsnew synthesis algorithms [11] and in audio effectss[12][13][14]. The main issue that distortion synthesis tries tosaddresss...