Creating sounds from scratch : a practical guide to music synthesis for producers and composers

Description

Creating Sounds from Scratch is a practical, in-depth resource on the most common forms of music synthesis. It includes historical context, an overview of concepts in sound and hearing, and practical training examples to help sound designers and electronic music producers effectively manipulate presets and create new sounds. The book covers the all of the main synthesis techniques including analog subtractive, FM, additive, physical modeling, wavetable, sample-based, and granular. While the book is grounded in theory, it relies on practical examples and contemporary production techniques show the reader how to utilize electronic sound design to maximize and improve his or her work. Creating Sounds from Scratch is ideal for all who work in sound creation, composition, editing, and contemporary commercial production. Cover Creating Sounds from Scratch Copyright Dedication Contents Acknowledgments Introduction About the Companion Website 1 How Did We Get Here? Introduction Electronic Music in the Twentieth Century Musique Concrète Tape-​Based Composition Electronic Music Synthesis Instruments Theremin Hammond Organ RCA Electronic Music Synthesizer The Rise of the Modern Synthesizer Moog Buchla Mellotron The Road to Polyphony Duophonic/​Duophony Paraphony/​Paraphonic Arrival of True Polyphony Musical Instrument Digital Interface Digitally Controlled Oscillator Synclavier Chowning and the FM Synthesizer Digital Sampling Wavetable Synthesis Korg M1 Workstation Conclusion Acknowledgments Bibliography 2 Understanding Sound and Hearing Introduction What Is Sound? Timbre—​Harmonic Structure Harmonics, Partials, and Overtones Natural Harmonic Series in Music Complex Waveforms Phase Pitch Doppler Shift Amplitude Timbral Shape Over Time Human Hearing Phantom Image Critical Bands Frequency Masking Loudness Loudness Relative to Harmonic Content Loudness vs. Duration Loudness Relative to Frequency Loudness Perception (RMS/​Peak) Missing Fundamental Conclusion 3 The Tools of the Trade Introduction Sound Generators Oscillator (VCO) Sine Wave Sawtooth Wave Noise Digital Playback Wavetable Synthesis Sample Replay/​Sampling Sound Modifiers Frequency-​Based Modifiers Low-​Pass Filter Sound Design 3.1—​Exploring Resonance and Self-​Oscillation Using Pink Noise High-​Pass Filter Bandpass Filter Notch Filter Shelving Filters Allpass Filter Time-​Based Effects Low-​Frequency Oscillator Sample-​and-​Hold Sync/​Free/​Retrigger Delay Keyboard Tracking Multiple LFOs? Envelope Generators Other LFO and EG Applications Voltage-​Controlled Amplifier Control Voltage Modifiers: Special Effects Distortion Delay-​Based Effects Echo Reverberation Acoustic Reverb: Halls, Studios, Cathedrals/​Churches, Chambers Mechanical: Plates and Springs Digital Reverbs: Algorithmic and Convolution Phaser Chorus and Flanger Ring Modulation Tuning—​Fine vs. Coarse Unison/​Voice Stacking Portamento/​Glissando Modulation Matrix Arpeggiator Pattern Sequencer Oscillator Sync Pitch Bend/​Modulation Wheel Instruments The Digital Hardware-​Based Synthesizer The Keyboard Controller The Sound Module Software Synthesizers Hybrid Synthesizers The MIDI Standard Structure of MIDI Data A Binary World The MIDI Channels Type of MIDI Messages Data Bytes Description of MIDI Messages MIDI Connections Beyond MIDI: Open Sound Control The Electronic Digital Studio for the Contemporary Composer and Producer The Computer The Audio Interface The Controller Monitoring System Microphones and Preamplifiers Microphone Types Synthesizers Portable vs. Home Studios 4 Subtractive Synthesis Introduction Sculpting Sound With Subtractive Synthesis Fundamentals of Working With Subtractive Synthesis Sound Design 4.1—​Synth Clarinet Sound Design 4.2—​1980s Classic Synth Strings Sound Design 4.3—​Synth Snare The Producer Point of View on Subtractive Synthesis Subtractive Synthesis Hardware and Software Sources and Options Which Subtractive Device or Software Synthesizer is Right for My Productions? Sonic Categories and Subtractive Patches Bass Sequencing and Production Techniques for Analog Bass Mixing the Analog Bass Pads Sequencing and Production Techniques for Analog Pads Mixing Subtractive Pads Strings and Brass Leads Sequencing and Production Techniques for Subtractive Leads Mixing the Subtractive Leads Exercises 5 Frequency Modulation Synthesis Introduction How FM works Algorithms Operators Operators and the Harmonic Series Principles of FM Sound Design Sound Design 5.1—​Constructing Sawtooth Wave in FM8 Sound Design 5.2—​Square Wave Sound Design 5.3—​Reed Pipe Organ/​Oboe Timbre Using FM8 Modulation Index Amplitude of Sidebands Multiple Carriers Noise, Distortion, and Feedback! Multiple Modulators Key Sync/​Key Tracking The Producer’s Point of View on FM Synthesizers Typical FM Synthesis Patches and Sonic Characteristics FM Synthesis Hardware and Software Sources and Options Sonic Categories and FM Patches Bass Mixing the FM Bass Electric Pianos Mixing the FM Electric Piano Mallets Mixing the FM Mallets Pads Mixing the FM Pads Organs Exercises 6 Additive Synthesis Introduction Instruments Resynthesis in Additive Synthesis Manipulating Resynthesized Sounds Spectral Synthesis Iris: Is it Sampling? Subtractive Synthesis? Spectral Synthesis? Yes The Producer Point of View on Additive Synthesis Sonic Categories and Additive Patches Pads Harmonics’ Envelope Harmonics’ Pitch Harmonics’ Pan Adding Other Sources To the Next Level With the Use of Effects The Basic Patch High Impact and Direct Liquid Distant and Ethereal Disruptive and Aggressive Exercises 7 Sample-​Based Synthesis Introduction Principles of Sample-​Based Synthesis Techniques for Custom Sample Sets Edit Mapping Pitch Groups Looping Release Samples and Control Being Creative Sound Design 7.1—​Sampled Piano Manipulation Digital Audio: What the Heck Is Sample Rate and What Are Bits? Digital Audio in Practice File Sizes The Producer Point of View on Sampling The Sampler for Music Production and for Sound Creation Creating an Acoustic Drum Library Understanding, Recording, and Managing Multisamples Preproduction Programming a Drum Library Mapping Fine-​Tuning the Samples Working With Groups Programming Envelopes and Modulations Adding Effects Creating Variations Through Round-​Robins and Random Sample Selection Random Sample Variation in Kontakt Round-​Robin Variations in Kontakt Tips on How to Sequence for Acoustic Drums Creating a Beatbox Drum Kit Editing the Samples Sample Parameters and Effects Creating Beatbox Patterns Working With Pitched and Sustained Samples Recording the Samples Programming Looping Programming Exercises 8 Physical Modeling Introduction Analog Modeling Physical Modeling in Hardware Physical Modeling in Software Platypus of Sound? Logic’s Sculpture as a Case Study The Producer Point of View Some of Our Favorite Physical Modeling Synthesizers Main Typologies of Physical Modeling Sounds Sound Design and Production Techniques for PM Patches Percussive Pluck Patches Compositional Considerations Pads Ambient and Cinematic Working on the Second Layer Effects and Final Touches Exercises 9 Wavetable Synthesis and Granular Synthesis Introduction Wavetable Synthesis Wavetable Types Lookup Table Vector Synthesis Linear Arithmetic Synthesis “Advanced” Wavetable Synthesis Granular Synthesis The Producer Point of View on Wavetable Synthesis and Granular Synthesis Wavetable Software Synthesizers for the Contemporary Producer Creating an Aggressive Pad Patch With a Wavetable Synthesizer Beginning and End Balancing A Bit of Filtering Modulation Matrix Effects Rhythmic Pads With the Arpeggiator Electronic Bass Using Wavetable Synthesis Combining Arpeggiator and Modulation Audio Effects Granular Software Synthesizers for the Contemporary Producer Real Time vs. Synthesizer Granular Software Synthesizers Building Granular Synthesizer Pads First Generator—​Layer A Second Generator—​Layer B Envelopes Modulation Effects Variations Exercises Index