Ashe37 wrote:well, if it has a white noise generator, it will cover the sonic spectrum quite well.
CS_TBL wrote:From the traditional synth models: FM has the widest amount of sound shaping possibilities. Dunno about the more recent ones, like the Neuron.
There's no practical limit as for how many oscillators/operators, filters, envelopes, LFOs, scalers and effects you might need. If you have a hundred of 'm all, you will be using them, just not for simple sawtooth->filter->envelope sounds.
CS_TBL wrote:Uhm, what do you mean with this: "..in order to cover a lot of sonic spectrum"?
Do you want white noise? Or do you want a synthesis model that can have zillions o' possible all-round sounds? Because for white'ish noise, one operator with a feedback loop is already enough. A fullFB[tri]->full->fullFB[tri]->out creates a more silky/white'ish noise, if you wish. If you want the zillions o' sounds, then FM is the most versatile one among the classic synth models.
So, as for the hundreds o' things, it depends on what you want with your sonic spectrum.
CS_TBL wrote:Uh, right, so you've been asking a question as for how to create noise?
briandc wrote:My understanding is that white noise contains all sounds within the audio spectrum that we hear. As such, a subtractive synth takes that noise (or a waveform that uses part of that noise) and filters out parts of it, leaving a particular tone.
briandc wrote:So in order to be able to replicate the largest possible number of sounds (from percussion to strings to piano to horn, etc) how many oscillators, filters etc are really necessary?
Solderman wrote:briandc wrote:My understanding is that white noise contains all sounds within the audio spectrum that we hear. As such, a subtractive synth takes that noise (or a waveform that uses part of that noise) and filters out parts of it, leaving a particular tone.
Problem is, your brain detects the randomness of noise versus the sustained repetition of tone, which a bandpass filter will not itself fully shape. Reason being is noise is all frequencies, but at varying amplitudes for any given moment, so the best a very tight bandpass filter, that is filtering noise, could give you is a tone varying very rapidly in amplitude. Better to use an actual tone source. In the case of using filters, a self-oscillating resonant filter is a common solution.briandc wrote:So in order to be able to replicate the largest possible number of sounds (from percussion to strings to piano to horn, etc) how many oscillators, filters etc are really necessary?
I find most naturally occurring sounds, when removed of their room reflections or other time-based effects, are either a series of distinct sounds or several basic sounds layered but fading out at different durations. A snare drum for instance, is a single pure tone and a noise source, each rapidly decaying in amplitude, but each at different decay times. So by replication, as long as you don't mean in real-time, the basic subtractive building blocks of your average subtractive monosynth(maybe with two filters in series at most, in addition) would be sufficient, but arranged as numerous sounds in an additive fashion.
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