11 Synthesis

Synthesis Techniques

Juan P Bello

Synthesis It implies the artificial construction of a complex body by

combining its elements. Complex body: acoustic signal (sound) Elements: parameters and/or basic signals

Motivations: Reproduce existing sounds Reproduce the physical process of sound generation Generate new pleasant sounds Control/explore timbre

Model / representation Sound

Synthesis

How can I generate new sounds?

FilterOscillator

Envelope

vibrato

Pitch

Trigger

Cutoff freq

GainSound

Networks of basic elements synthesis techniques

Two main types: linear and non-linear

Additive Synthesis It is based on the idea that complex waveforms can be created by

the addition of simpler ones. It is a linear technique, i.e. do not create frequency components

that were not explicitly contained in the original waveforms Commonly, these simpler signals are sinusoids (sines or cosines)

with time-varying parameters, according to Fouriers theory:

( )!=

+=0

2sin)(i

iii tfAts "#

Amp1(t)Freq1(t)

Amp2(t)Freq2(t)

AmpN(t)FreqN(t)

Additive Synthesis:

A Pipe Organ

Additive Synthesis Square wave: only odd harmonics. Amplitude of the nth harmonic= 1/n

Time-varying sounds

AmpFreq

Amp1(t)

Freq1(t)

AmpFreq

Amp2(t)

Freq2(t)

AmpFreq

AmpN(t)

FreqN(t)

According to Fourier, all sounds can be described and reproducedwith additive synthesis.

Even impulse-like components can be represented by using ashort-lived sinusoid with infinite amplitude.

Additive synthesis is very general (perhaps the most versatile). Control data hungry: large number of parameters are required to

reproduce realistic sounds

Examples

water

guitar

flute

transSMSstochdetorig

Is another linear technique based on the idea that sounds can begenerated from subtracting (filtering out) components from a veryrich signal (e.g. noise, square wave).

Its simplicity made it very popular for the designof analog synthesisers (e.g. Moog)

Subtractive Synthesis

fA Sound

GainParameters

ComplexWaveform Filter Amplifier

The human speech system The vocal chords act as an oscillator, the mouth/nose cavities,

tongue and throat as filters We can shape a tonal sound (oooh vs aaah), we can whiten the

signal (sssshhh), we can produce pink noise by removing highfrequencies

Source-Filter model Subtractive synthesis can be seen as a excitation-resonator or

source-filter model The resonator or filter shapes the spectrum, i.e. defines the spectral

envelope

Source-Filter model

Envelope estimation

Whitening of the signal Transformations

Analysis Processing Synthesis

Amplitude modulation Non-linear technique, i.e. results on the creation of frequencies

which are not produced by the oscillators. In AM the amplitude of the carrier wave is varied in direct

proportion to that of a modulating signal.

Ampm(t)

Freqm(t)

Ampc(t)

Freqc(t)

modulator carrier

bipolar unipolar

Bipolar -> Ring modulationUnipolar -> Amplitudemodulation

Let us define the carrier signal as:

And the (bipolar) modulator signal as:

The Ring modulated signal can be expressed as:

Which can be re-written as:

s(t) presents two sidebands at frequencies: c - m and c + m

Ring Modulation

)cos()( tAtccc

!=

)cos()( tAtmmm

!=

( ) ( )tAtAtsmmcc

!! coscos)( "=

!

s(t) =AcAm

2cos "

c#"

m[ ]t( ) + cos "c +"m[ ]t( )[ ]

Ring Modulation

freq

amp

fc

fc - fm fc + fm

Let us define the carrier signal as:

And the (unipolar) modulator signal as:

The amplitude modulated signal can be expressed as:

Which can be re-written as:

s(t) presents components at frequencies: c , c - m and c + m

Amplitude Modulation

)cos()( ttcc

!=

)cos()( tAAtmmmc

!+=

( )[ ] ( )ttAAtscmmc

!! coscos)( +=

!

s(t) = Accos "

ct( ) +

Am

2cos "

c#"

m[ ]t( ) + cos "c +"m[ ]t( )[ ]

Modulation index In modulation techniques a modulation index is usually defined such

that it indicates how much the modulated variable varies around itsoriginal value.

For AM this quantity is also known as modulation depth:

c

m

A

A=!

If = 0.5 then thecarriers amplitudevaries by 50% aroundits unmodulated level.

For = 1 it varies by100%.

> 1 causes distortionand is usually avoided

C/M frequency ratio

Lets define the carrier to modulator frequency ratio c/m (= c /m) for a pitched signal m(t)

If c/m is an integer n, then c, and all present frequencies, aremultiples of m (which will become the fundamental)

If c/m = 1/n, then c will be the fundamental

When c/m deviates from n or 1/n (or more generally, from aratio of integers), then the output frequencies becomes moreinharmonic

Example of C/M frequency variation

Frequency Modulation Frequency modulation (FM) is a form of modulation in which the

frequency of a carrier wave is varied in direct proportion to theamplitude variation of a modulating signal.

When the frequency modulation produces a variation of lessthan 20Hz this results on a vibrato.

Ampm(t)

Freqm(t)

Ampc(t)

Freqc(t)

modulator carrier

Let us define the carrier signal as:

And the modulator signal as:

The Frequency modulated signal can be expressed as:

This can be re-written as

Frequency Modulation

!

c(t) = cos("ct)

!

m(t) = " sin(#mt)

( )( )tttsmc

!"! sincos)( +=

!

s(t) = Jk(")cos #

c+ k#

m( )t[ ]k=$%

%

&

If 0 then the FM spectrum contains infinite sidebands atpositions c km.

Frequency Modulation

k

Jk

The amplitudes of each pair ofsidebands are given by the Jkcoefficients which are functionsof

Modulation index

As in AM we define a FM modulation index that controls themodulation depth.

In FM synthesis this index is equal to , the amplitude of themodulator and is directly proportional to f.

As we have seen the value of determines the amplitude of thesidebands of the FM spectrum

Furthermore the amplitude decreases with the order k. Thus, although theoretically the number of sidebands is infinite, in

practice their amplitude makes them inaudible for higher orders. The number of audible sidebands is a function of , and is

approximated by 2+1 Thus the bandwidth increases with the amplitude of m(t), like in

some real instruments

C/M frequency ratio The ratio between the carrier and modulator frequencies c/m

is relevant to define the (in)harmonic characteristic of s(t).

The sound is pitched (harmonic) if c/m is a ratio of positiveintegers: c / m = Nc / Nm

E.g. for fc = 800 Hz and fm = 200 Hz, we have sidebands at600Hz and 1kHz, 400Hz and 1.2kHz, 200Hz and 1.4kHz, etc

Thus the fundamental frequency of the harmonic spectrumresponds to: f0 = fc / Nc = fm / Nm

If c/m is not rational an inharmonic spectrum is produced

If f0 is below the auditory range, the sound will not beperceived as having definitive pitch.

FM examples