2645:
3359:
3599:
3273:
3039:
3027:
4678:
2709:
182:, if their frequencies are integer multiples of the fundamental frequency) of the sound. In other words, the fundamental frequency alone is responsible for the pitch of the note, while the overtones define the timbre of the sound. The overtones of a piano playing middle C will be quite different from the overtones of a violin playing the same note; that's what allows us to differentiate the sounds of the two instruments. There are even subtle differences in timbre between different versions of the same instrument (for example, an
4047:
25:
2892:
3006:, who published his eight years worth of research in 1863. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. He supported the idea that perception of sound derives from signals from nerve cells of the basilar membrane and that the elastic appendages of these cells are sympathetically vibrated by pure sinusoidal tones of appropriate frequencies. Helmholtz agreed with the finding of
2987:
2973:
216:
4673:{\displaystyle {\begin{aligned}y&=y(nT)=\sum _{k=1}^{K}r_{k}(nT)\cos \left(2\pi \int _{0}^{nT}f_{k}(u)\ du+\phi _{k}\right)\\&=\sum _{k=1}^{K}r_{k}(nT)\cos \left(2\pi \sum _{i=1}^{n}\int _{(i-1)T}^{iT}f_{k}(u)\ du+\phi _{k}\right)\\&=\sum _{k=1}^{K}r_{k}(nT)\cos \left(2\pi \sum _{i=1}^{n}(Tf_{k})+\phi _{k}\right)\\&=\sum _{k=1}^{K}r_{k}\cos \left({\frac {2\pi }{f_{\mathrm {s} }}}\sum _{i=1}^{n}f_{k}+\phi _{k}\right)\\\end{aligned}}}
2904:
2695:
149:. When humans hear these frequencies simultaneously, we can recognize the sound. This is true for both "non-musical" sounds (e.g. water splashing, leaves rustling, etc.) and for "musical sounds" (e.g. a piano note, a bird's tweet, etc.). This set of parameters (frequencies, their relative amplitudes, and how the relative amplitudes change over time) are encapsulated by the
6359:
equivalent to LSR but give a quite different formulation, solving algorithm and synthesis scheme. Sagayama clarified the duality of LPC and CSM and provided the unified view covering LPC, PARCOR, LSR, LSP and CSM, CSM is not only a new concept of speech spectrum analysis but also a key idea to understand the linear prediction from a unified point of view. ...
730:
5192:
2855:(1984), is known to use a similar approach which was independently developed during 1966–1979. These methods are characterized by extraction and recomposition of a set of significant spectral peaks corresponding to the several resonance modes occurred in the oral cavity and nasal cavity, in a viewpoint of
3094:
that the human vocal cords function like a fire siren to produce a harmonic-rich tone, which is then filtered by the vocal tract to produce different vowel tones. By the time, the additive
Hammond organ was already on market. Most early electronic organ makers thought it too expensive to manufacture
6507:
When a solid object is struck, scraped, or engages in other external interactions, the forces at the contact point causes deformations to propagate through the body, causing its outer surfaces to vibrate and emit sound waves. ... A good physically motivated synthesis model for objects like this is
6474:
A different approach, with a long history of use in physical modeling sound synthesis, is based on a frequency-domain, or modal description of vibration of objects of potentially complex geometry. Modal synthesis , as it is called, is appealing, in that the complex dynamic behaviour of a vibrating
6358:
6. Composite
Sinusoidal Modeling(CSM) In 1975, Itakura proposed the line spectrum representation (LSR) concept and its algorithm to obtain a set of parameters for new speech spectrum representation. Independently from this, Sagayama developed a composite sinusoidal modeling (CSM) concept which is
2963:
were input into the synthesizer, which then used a system of cords and pulleys to generate and sum harmonic sinusoidal partials for prediction of future tides. In 1910, a similar machine was built for the analysis of periodic waveforms of sound. The synthesizer drew a graph of the combination
2668:
By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis.
2538:
more broadly may mean sound synthesis techniques that sum simple elements to create more complex timbres, even when the elements are not sine waves. For example, F. Richard Moore listed additive synthesis as one of the "four basic categories" of sound synthesis alongside
3360:
437:
2656:
It is possible to analyze the frequency components of a recorded sound giving a "sum of sinusoids" representation. This representation can be re-synthesized using additive synthesis. One method of decomposing a sound into time varying sinusoidal partials is
4988:
6475:
object may be decomposed into contributions from a set of modes (the spatial forms of which are eigenfunctions of the particular problem at hand, and are dependent on boundary conditions), each of which oscillates at a single complex frequency. ...
2512:
1105:
3983:
942:
3274:
3600:
2256:
2184:
1909:
2599:
can be as general as time-varying additive synthesis, but requires less computation during synthesis. As a result, an efficient implementation of time-varying additive synthesis of harmonic tones can be accomplished by use of
1499:
1730:
5991:
Bonada, J.; Celma, O.; Loscos, A.; Ortola, J.; Serra, X.; Yoshioka, Y.; Kayama, H.; Hisaminato, Y.; Kenmochi, H. (2001). "Singing voice synthesis combining
Excitation plus Resonance and Sinusoidal plus Residual Models".
6829:"Odd Laboratory Tests Show Us How We Speak: Using X Rays, Fast Movie Cameras, and Cathode-Ray Tubes, Scientists Are Learning New Facts About the Human Voice and Developing Teaching Methods To Make Us Better Talkers"
42:
4859:
2051:
waveforms) in which the individual overtones need not have frequencies that are integer multiples of some common fundamental frequency. While many conventional musical instruments have harmonic partials (e.g. an
4977:
2244:
1264:
1718:
725:{\displaystyle {\begin{aligned}y(t)&={\frac {a_{0}}{2}}+\sum _{k=1}^{\infty }\left\\&={\frac {a_{0}}{2}}+\sum _{k=1}^{\infty }r_{k}\cos \left(2\pi kf_{0}t+\phi _{k}\right)\\\end{aligned}}}
2779:) constituting desired phrase, can be smoothly connected by interpolating matched partials and formant peaks, respectively, in the inserted transition region between different samples. (See also
2255:
4993:
4052:
3302:
A speech synthesis system that controlled amplitudes of harmonic partials by a spectrogram that was either hand-drawn or an analysis result. The partials were generated by a multi-track optical
1173:
442:
1729:
41:
5187:{\displaystyle {\begin{aligned}\theta _{k}&={\frac {2\pi }{f_{\mathrm {s} }}}\sum _{i=1}^{n}f_{k}+\phi _{k}\\&=\theta _{k}+{\frac {2\pi }{f_{\mathrm {s} }}}f_{k}\\\end{aligned}}}
4039:
5278:
3821:
2257:
3769:
321:
can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis.
1731:
159:
is the technique that is used to determine these exact timbre parameters from an overall sound signal; conversely, the resulting set of frequencies and amplitudes is called the
4746:
43:
2364:
948:
3838:
3439:
The first synthesizer product that implemented additive synthesis using digital oscillators. The synthesizer also had a time-varying analog filter. RMI was a subsidiary of
788:
379:
2676:(SMS), and the Reassigned Bandwidth-Enhanced Additive Sound Model. Software that implements additive analysis/resynthesis includes: SPEAR, LEMUR, LORIS, SMSTools, ARSS.
1966:
7446:
1628:
777:
5219:
2354:
2006:
1781:
2632:
frequency-domain representation it is also possible to efficiently synthesize sinusoids of arbitrary frequencies using a series of overlapping frames and the inverse
1339:
309:. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a
3723:
1601:
1369:
2315:
2214:
2033:
1695:
1571:
271:
244:
1544:
3693:
3672:
5776:
2612:
Group additive synthesis is a method to group partials into harmonic groups (having different fundamental frequencies) and synthesize each group separately with
2234:
1668:
1648:
1288:
1197:
422:
402:
3489:
A bank of digital oscillators with arbitrary waveforms, individual frequency and amplitude controls, intended for use in analysis-resynthesis with the digital
2756:
7532:
3627:
A commercial digital synthesizer workstation capable of polyphonic, digital additive synthesis of up to 128 sinusodial waves, as well as combing PCM waves.
2066:
1791:
5457:
5419:
125:
Additive synthesis most directly generates sound by adding the output of multiple sine wave generators. Alternative implementations may use pre-computed
1387:
7323:
3594:
A commercial digital synthesizer that enabled development of timbre over time by smooth cross-fades between waveforms generated by additive synthesis.
3386:
An off-line system for digital spectral analysis and resynthesis of the attack and steady-state portions of musical instrument timbres by David Luce.
3771:, it suffices to directly sample the continuous-time expression to get the discrete synthesis equation. The continuous synthesis output can later be
3178:
The following is a timeline of historically and technologically notable analog and digital synthesizers and devices implementing additive synthesis.
6311:. Vol. 11. Acoustics, Speech, and Signal Processing, IEEE International Conference on ICASSP '86. (published April 1986). pp. 1261–1264.
7638:
2835:
Later, in early 1980s, listening tests were carried out on synthetic speech stripped of acoustic cues to assess their significance. Time-varying
174:
is 261.6 Hz"), even though the sound of that note consists of many other frequencies as well. The set of the remaining frequencies is called the
5665:
193:
Additive synthesis aims to exploit this property of sound in order to construct timbre from the ground up. By adding together pure frequencies (
2769:) consisting of purely harmonic partials can be appropriately transformed into desired form for sound modeling, and sequence of short samples (
2725:
had a resynthesis feature where samples could be analyzed and converted into "timbre frames" which were part of its additive synthesis engine.
7244:
3644:
equations are used in place of the continuous-time synthesis equations. A notational convention for discrete-time signals uses brackets i.e.
3256:
An electronic additive synthesizer that was commercially more successful than
Telharmonium. Implemented sinusoidal additive synthesis using
6508:
modal synthesis ... where a vibrating object is modeled by a bank of damped harmonic oscillators which are excited by an external stimulus.
4753:
4875:
2551:, which also have pipes producing non-sinusoidal waveforms, can be considered as a variant form of additive synthesizers. Summation of
1724:
Example of harmonic additive synthesis in which each harmonic has a time-dependent amplitude. The fundamental frequency is 440 Hz.
2628:
can be used to efficiently synthesize frequencies that evenly divide the transform period or "frame". By careful consideration of the
6222:
1204:
7035:
7542:
7454:
7357:
6993:
6765:
6714:
6532:
6466:
6400:
5584:
5544:
5512:
5465:
3378:
3067:
that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by
7301:
3413:
5394:
3772:
7216:
7764:
7631:
5601:
3417:
2317:. This is the case whether the partial is harmonic or inharmonic and whether its frequency is constant or time-varying.
1111:
6812:. Carnegie Institution of Washington: Year Book. Vol. 35. Washington: Carnegie Institution of Washington. pp.
5791:
3261:
2250:
Example of inharmonic additive synthesis in which both the amplitude and frequency of each partial are time-dependent.
6573:
2810:
Additive synthesis is used in electronic musical instruments. It is the principal sound generation technique used by
6170:
Remez, R.E.; Rubin, P.E.; Pisoni, D.B.; Carrell, T.D. (1981). "Speech perception without traditional speech cues".
3071:, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his
34:
6731:
5816:
McAulay, R. J.; Quatieri, T. F. (August 1986). "Speech analysis/synthesis based on a sinusoidal representation".
5418:. Proceedings of the International Computer Music Conference (ICMC-87, Tokyo), Computer Music Association, 1987.
2832:
research, harmonic additive synthesis was used in 1950s to play back modified and synthetic speech spectrograms.
197:) of varying frequencies and amplitudes, we can precisely define the timbre of the sound that we want to create.
5447:
5328:
7836:
7659:
7624:
5289:
3991:
5943:
5230:
3546:
2801:
1969:
7426:(Bachelor of Science (Honours) thesis). Unit for the History and Philosophy of Science, University of Sydney
7331:
3782:
2644:
2286:(with respect to time) of the argument of the sine or cosine function. If this frequency is represented in
7736:
7703:
6258:
5863:
A System for Sound
Analysis/Transformation/Synthesis based on a Deterministic plus Stochastic Decomposition
5725:
5626:
3100:
2658:
2552:
2544:
3736:
3218:
The first polyphonic, touch-sensitive music synthesizer. Implemented sinuosoidal additive synthesis using
2672:
Additive analysis/resynthesis has been employed in a number of techniques including
Sinusoidal Modelling,
7805:
7749:
7664:
6113:"The interconversion of audible and visible patterns as a basis for research in the perception of speech"
3776:
3444:
2860:
2673:
2320:
In the most general form, the frequency of each non-harmonic partial is a non-negative function of time,
306:
94:
6643:
5340:
The term "additive synthesis" refers to sound being formed by adding together many sinusoidal components
3566:
7754:
7744:
7669:
5843:
4689:
3555:, digital additive synthesizer that has been called the first true digital synthesizer. Also known as:
3464:
3405:
3139:, in which he categorically lists three methods of forming of musical tone-colours, in sections titled
2741:
2629:
2507:{\displaystyle y(t)=\sum _{k=1}^{K}r_{k}(t)\cos \left(2\pi \int _{0}^{t}f_{k}(u)\ du+\phi _{k}\right).}
1100:{\displaystyle b_{k}=r_{k}\sin(\phi _{k})=-2f_{0}\int _{0}^{P}y(t)\sin(2\pi kf_{0}t)\,dt,\quad k\geq 1}
6416:
Morrison, Joseph Derek (IRCAM); Adrien, Jean-Marie (1993). "MOSAIC: A Framework for Modal
Synthesis".
6350:
Proceedings of the 18th
International Congress on Acoustics (ICA 2004), We3.D, Kyoto, Japan, Apr. 2004
6342:
3978:{\displaystyle y(t)=\sum _{k=1}^{K}r_{k}(t)\cos \left(2\pi \int _{0}^{t}f_{k}(u)\ du+\phi _{k}\right)}
3467:
937:{\displaystyle a_{k}=r_{k}\cos(\phi _{k})=2f_{0}\int _{0}^{P}y(t)\cos(2\pi kf_{0}t)\,dt,\quad k\geq 0}
6392:
6381:
6037:
5911:(PhD thesis). Dept. of Electrical and Computer Engineering, University of Illinois Urbana-Champaign.
5657:
3617:
3124:
2740:
have been implemented on the basis of additive analysis/resynthesis: its spectral voice model called
5887:"PARSHL: An Analysis/Synthesis Program for Non-Harmonic Sounds Based on a Sinusoidal Representation"
2949:, as they were called already in the 19th century. The analysis of tide measurements was done using
2581:
Additive synthesis can be implemented using a bank of sinusoidal oscillators, one for each partial.
7252:
6002:
5917:
5756:
3480:
2950:
2930:
2840:
119:
6604:
5415:
PARSHL: An
Analysis/Synthesis Program for Non-Harmonic Sounds Based on a Sinusoidal Representation
3309:
7726:
7418:
6813:
5886:
5409:
5304:
3452:
3431:
3091:
2938:
2882:
2748:
2279:
334:
3055:
was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically
1934:
7699:
7391:
6418:
5997:
5912:
5751:
5689:
5576:
5504:
3522:
3400:
2633:
2625:
1606:
741:
318:
166:
In the case of a musical note, the lowest frequency of its timbre is designated as the sound's
130:
6948:
6343:"Linear Statistical Modeling of Speech and its Applications -- Over 36-year history of LPC --"
5433:
5353:
5197:
2323:
1975:
1750:
7679:
7275:
6828:
6630:
5294:
3458:
3167:
3096:
3056:
3038:
3026:
3003:
2955:
2909:
2540:
1702:
1698:
1309:
780:
294:
170:. For simplicity, we often say that the note is playing at that fundamental frequency (e.g. "
167:
6940:
6709:. Berkeley and Los Angeles, USA: University of California Press. pp. 110–114, 285–286.
6089:"Sample-based singing voice synthesizer by spectral concatenation: 6. Concatenating Samples"
5564:
5492:
3698:
3461:
1576:
1344:
7815:
7689:
7583:
6803:
6494:
6179:
6124:
6009:
5932:
SPEAR Sinusoidal
Partial Editing Analysis and Resynthesis for Mac OS X, MacOS 9 and Windows
3292:
3052:
2805:
2297:
2192:
2011:
1673:
1549:
249:
222:
7141:(Thesis thesis). Cambridge, Massachusetts, U.S.A.: Massachusetts Institute of Technology.
3087:
have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis.
1520:
8:
7797:
7787:
7711:
6454:
6233:
3677:
3647:
3584:
3552:
3511:
3440:
3064:
2978:
2960:
2708:
2596:
2590:
2243:
126:
7476:
7043:
6807:
6787:
6733:
Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik
6598:
6559:
6459:
Numerical Sound Synthesis: Finite Difference Schemes and Simulation in Musical Acoustics
6183:
6128:
1747:
More generally, the amplitude of each harmonic can be prescribed as a function of time,
7774:
7716:
6867:
6680:
6435:
6320:
6203:
6147:
6112:
5772:
5706:
2844:
2662:
2219:
1717:
1653:
1633:
1273:
1182:
407:
387:
219:
Schematic diagram of additive synthesis. The inputs to the oscillators are frequencies
7165:"The Harmonic Tone Generator: One of the First Analog Voltage-Controlled Synthesizers"
1968:
should vary slowly relative to the frequency spacing between adjacent sinusoids. The
7810:
7759:
7674:
7538:
7089:
7087:
Vail, Mark (1 November 2002). "Eugeniy Murzin's ANS – Additive Russian synthesizer".
6989:
6941:
6761:
6710:
6569:
6528:
6462:
6396:
6324:
6309:
ICASSP '86. IEEE International Conference on Acoustics, Speech, and Signal Processing
6195:
6152:
5580:
5565:
5540:
5508:
5493:
5461:
5380:
4862:
3528:
3095:
the plurality of oscillators required by additive organs, and began instead to build
2918:
2745:
2291:
2057:
325:
282:
6207:
3002:
applied Fourier's theory to sound in 1843. The line of work was greatly advanced by
2179:{\displaystyle y(t)=\sum _{k=1}^{K}r_{k}(t)\cos \left(2\pi f_{k}t+\phi _{k}\right),}
1904:{\displaystyle y(t)=\sum _{k=1}^{K}r_{k}(t)\cos \left(2\pi kf_{0}t+\phi _{k}\right)}
7721:
7142:
6921:
6894:
6859:
6670:
6427:
6338:
6312:
6304:
6262:
6187:
6142:
6132:
6027:
5825:
5698:
5299:
3297:
3090:
In 1938, with significant new supporting evidence, it was reported on the pages of
2848:
2823:
1929:
210:
156:
145:. Instead, they consist of a sum of pure sine frequencies, each one at a different
7361:
7164:
7066:
6983:
5608:
3123:
to describe different types of electronic organs in a 1948 paper presented to the
2567:
Modern-day implementations of additive synthesis are mainly digital. (See section
1494:{\displaystyle y(t)=\sum _{k=1}^{K}r_{k}\cos \left(2\pi kf_{0}t+\phi _{k}\right),}
7782:
7420:(inter)facing the music: The history of the Fairlight Computer Musical Instrument
6755:
6704:
6522:
6307:(1986). "Duality theory of composite sinusoidal modeling and linear prediction".
3641:
3325:
3265:
3227:
2864:
2780:
2556:
70:
7611:
7183:
6316:
5634:
2891:
7212:
6898:
6619:
The London, Edinburgh, and Dublin Philosophical Magazine and Journal of Science
6555:
6480:
5829:
5746:
Rodet, X.; Depalle, P. (1992). "Spectral Envelopes and Inverse FFT Synthesis".
3410:
An electronic, harmonic additive synthesis system invented by James Beauchamp.
3068:
3016:
2922:
1303:
428:
310:
278:
206:
160:
85:
7830:
7120:
7105:
6594:
5635:"Wavetable Matching Synthesis of Dynamic Instruments with Genetic Algorithms"
5536:
3730:
3589:
3525:
to create samples from interactively drawn amplitude envelopes of harmonics.
3516:
3351:
3339:
3251:
3246:
3163:
3159:
3007:
2926:
2760:
2726:
2044:
1379:
The simplest harmonic additive synthesis can be mathematically expressed as:
1267:
183:
141:
The sounds that are heard in everyday life are not characterized by a single
115:
6760:. Cambridge, United Kingdom: Cambridge University Press. pp. 251, 258.
6191:
3103:
meeting, the head field engineer of Hammond elaborated on the company's new
2744:(EpR) model is extended based on Spectral Modeling Synthesis (SMS), and its
2729:, launched in 1987, utilized the additive analysis/resynthesis model, in an
7558:
7528:
6675:
6376:
6372:
6156:
5560:
5488:
3213:
49:
A bell-like sound generated by additive synthesis of 21 inharmonic partials
7537:. Upper Saddle River, N.J., U.S.A.: Prentice Hall. pp. 177–178, 186.
6925:
6789:
On the sensations of tone as a physiological basis for the theory of music
6738:
On the sensations of tone as a physiological basis for the theory of music
6199:
6137:
5413:
3570:
7647:
7509:
6792:. London, United Kingdom: Longmans, Green, and co. pp. xii, 175–179.
6169:
3726:
3622:
3331:
3060:
2934:
2878:
2852:
2843:
were synthesized additively as pure tone whistles. This method is called
2829:
2797:
1630:
are the amplitude, frequency, and the phase offset, respectively, of the
187:
7616:
7146:
5730:
Proceedings of the 1990 International Computer Music Conference, Glasgow
5451:
2986:
2964:
waveform, which was used chiefly for visual validation of the analysis.
2925:, who published an extensive treatise of his research in the context of
6871:
6706:
Hermann von Helmholtz and the foundations of nineteenth-century science
6439:
6288:[Simple Speech Synthesis method by Composite Sinusoidal Wave].
5710:
3223:
3155:
3084:
3080:
2811:
2722:
2648:
Sinusoidal analysis/synthesis system for Sinusoidal Modeling (based on
2548:
2283:
2263:
1737:
1295:
111:
58:
6684:
6031:
5968:
3010:
from 1787 that certain sound sources have inharmonic vibration modes.
2972:
2763:
for formant processing). Using these techniques, spectral components (
6850:
Comerford, P. (1993). "Simulating an Organ with Additive Synthesis".
6388:
5572:
5500:
4854:{\displaystyle f_{k}={\frac {1}{T}}\int _{(n-1)T}^{nT}f_{k}(t)\ dt\,}
3695:
can only be integer values. If the continuous-time synthesis output
3541:
3335:
3303:
3257:
3219:
3076:
2999:
2856:
2048:
1341:, and all components with frequencies higher than some finite limit,
1176:
290:
286:
215:
194:
146:
142:
107:
103:
7036:"Leslie Speakers and Hammond organs: Rumors, Myths, Facts, and Lore"
6863:
6740:] (in German) (1st ed.). Leipzig: Leopold Voss. pp. v.
6658:
6524:
The Evolution of Applied Harmonic Analysis: Models of the Real World
6431:
5702:
2903:
84:
The timbre of musical instruments can be considered in the light of
6568:] (in French). Paris, France: Chez Firmin Didot, père et fils.
5947:
4972:{\displaystyle y=\sum _{k=1}^{K}r_{k}\cos \left(\theta _{k}\right)}
2737:
302:
298:
277:
Harmonic additive synthesis is closely related to the concept of a
179:
175:
171:
99:
89:
7245:"PROG SPAWN! The Rise And Fall of Rocky Mount Instruments (Retro)"
5931:
1371:, are omitted in the following expressions of additive synthesis.
6493:
Doel, Kees van den; Pai, Dinesh K. (2003). Greenebaum, K. (ed.).
3342:. A similar instrument that utilized electronic oscillators, the
2847:. Also the composite sinusoidal modeling (CSM) used on a singing
2836:
2775:
2765:
3154:
A typical modern additive synthesizer produces its output as an
2714:
Concatenation with spectral envelope interpolation (on Vocaloid)
5979:
5944:"Loris Software for Sound Modeling, Morphing, and Manipulation"
5354:"Synth Secrets, Part 14: An Introduction To Additive Synthesis"
3079:, and was criticized for low purity of its partial tones. Also
2694:
151:
74:
6088:
5909:
The Reassigned Bandwidth-Enhanced Method of Additive Synthesis
5861:
5381:"Table of Musical Notes and Their Frequencies and Wavelengths"
7139:
Physical correlates of nonpercussive musical instrument tones
7012:
Moog, Robert A. (October–November 1977). "Electronic Music".
6964:
Acoustic and MIDI orchestration for the contemporary composer
6527:. trans. New York, USA: Birkhäuser Boston. pp. 114–115.
5818:
IEEE Transactions on Acoustics, Speech, and Signal Processing
5661:
2287:
1291:
1259:{\displaystyle \phi _{k}=\operatorname {atan2} (b_{k},a_{k})}
783:
of the waveform and is equal to the reciprocal of the period,
314:
5748:
Proceedings of the 93rd Audio Engineering Society Convention
7504:
Leider, Colby (2004). "The Development of the Modern DAW".
2053:
78:
7034:
Olsen, Harvey (14 December 2011). Brown, Darren T. (ed.).
6290:
Proceedings of Acoustical Society of Japan, Autumn Meeting
5723:
6269:[Speech Synthesis by Composite Sinusoidal Wave],
6111:
Cooper, F. S.; Liberman, A. M.; Borst, J. M. (May 1951).
6026:(PhD thesis). Barcelona, Spain: Pompeu Fabra University.
3113:"the final tones were built up by combining sound waves"
6409:
5990:
5980:
ARSS: The Analysis & Resynthesis Sound Spectrograph
5593:
2687:
Additive re-synthesis using timbre-frame concatenation:
2595:
In the case of harmonic, quasi-periodic musical tones,
431:
of a periodic function is mathematically expressed as:
6839:(4). New York, USA: Popular Science Publishing: 32–33.
6827:
Lodge, John E. (April 1938). Brown, Raymond J. (ed.).
5599:
2060:). Inharmonic additive synthesis can be described as
7360:. Electronic Music Studios (Cornwall). Archived from
6809:
Year book - Carnegie Institution of Washington (1936)
6232:. Haskins Laboratories, New Haven, CT. Archived from
5741:
5739:
5233:
5200:
4991:
4878:
4756:
4692:
4050:
3994:
3841:
3785:
3739:
3701:
3680:
3650:
2367:
2326:
2300:
2222:
2195:
2069:
2014:
1978:
1937:
1794:
1753:
1676:
1656:
1636:
1609:
1579:
1552:
1523:
1390:
1347:
1312:
1276:
1207:
1185:
1114:
951:
791:
744:
440:
410:
390:
337:
252:
225:
5602:"Wavetable Synthesis 101, A Fundamental Perspective"
5526:
5524:
6110:
5687:P. Kleczkowski (1989). "Group additive synthesis".
3111:in contrast to the original Hammond organ in which
1168:{\displaystyle r_{k}={\sqrt {a_{k}^{2}+b_{k}^{2}}}}
7207:
7205:
7203:
7201:
6749:
6747:
6380:
5736:
5272:
5213:
5186:
4971:
4853:
4740:
4672:
4033:
3977:
3815:
3763:
3717:
3687:
3666:
3640:In digital implementations of additive synthesis,
2933:. Around 1876, William Thomson (later ennobled as
2929:in 1822. The theory found an early application in
2506:
2348:
2309:
2228:
2208:
2178:
2027:
2000:
1960:
1903:
1775:
1689:
1662:
1642:
1622:
1595:
1565:
1538:
1493:
1363:
1333:
1282:
1258:
1191:
1167:
1099:
936:
771:
724:
416:
396:
373:
265:
238:
7392:"Fairlight Computer – Musical Instrument (Retro)"
5521:
3451:, in 1971, using digital technology developed by
2559:have also been classified as additive synthesis.
7828:
7158:
7156:
6977:
6975:
6973:
6781:
6779:
6777:
6486:
5448:"Additive Synthesis (Early Sinusoidal Modeling)"
5329:"Additive Synthesis (Early Sinusoidal Modeling)"
3334:-like scores using multiple multi-track optical
2639:
7294:
7198:
7011:
6744:
6302:
6283:
6271:Speech Committee of Acoustical Society of Japan
6257:
5815:
5777:"Speech Processing Based on a Sinusoidal Model"
5770:
5726:"Analytical tools for group additive synthesis"
5655:
5326:
4748:is the discrete-time varying amplitude envelope
3330:An additive synthesizer that played microtonal
2649:
7523:
7521:
7519:
7184:"Additive Synthesis of Harmonic Musical Tones"
6729:
6415:
5686:
5407:
5322:
5320:
3493:(AFB) also constructed at EMS. Also known as:
319:Frequencies outside of the human audible range
7632:
7499:
7497:
7351:
7349:
7317:
7315:
7175:
7153:
7029:
7027:
6970:
6961:
6843:
6785:
6774:
6723:
6589:
6587:
6585:
6223:"Sinewave Synthesis Instruction Manual (VAX)"
6106:
6104:
6102:
5632:
2700:Concatenation with crossfades (on Synclavier)
2273:
6914:Proceedings of the Royal Musical Association
6698:
6696:
6694:
6603:. New York: The Macmillan Company. pp.
6514:
6086:
6080:
5984:
5855:
5853:
5745:
5460:, Department of Music, Stanford University.
5408:Smith III, Julius O.; Serra, Xavier (2005).
2576:
2569:
2238:
1712:
1708:
7516:
7238:
7236:
7234:
7132:
7130:
7007:
7005:
6955:
6932:
6905:
6753:
6650:
6611:
6284:Sagayama, S.; Itakura, F. (October 1979).
6277:
6251:
5317:
2607:
102:. Each partial is a sine wave of different
7639:
7625:
7494:
7438:
7410:
7346:
7312:
7112:
7097:
7058:
7042:. Hammond Organ in the U.K. Archived from
7024:
6912:Douglas, A. (1948). "Electrotonic Music".
6663:Proceedings of the Royal Society of London
6582:
6446:
6364:
6296:
6099:
5884:
5422:, Department of Music, Stanford University
3635:
3443:, which had released the first commercial
2730:
7646:
7383:
7267:
7181:
7162:
6981:
6849:
6703:Cahan, David (1993). Cahan, David (ed.).
6691:
6674:
6331:
6146:
6136:
6001:
5916:
5850:
5755:
5445:
5269:
5210:
4850:
4737:
4034:{\displaystyle t=nT=n/f_{\mathrm {s} }\,}
4030:
3812:
3760:
3714:
3684:
3663:
3521:An all-digital synthesizer that used the
3170:, which became popular around year 2000.
2573:for the underlying discrete-time theory)
2562:
2294:form, then this derivative is divided by
1957:
1077:
914:
7380:Includes a demonstration of DOB and AFB.
7276:"Jean Michel Jarre: 30 Years of Oxygene"
7231:
7188:Journal of the Audio Engineering Society
7127:
7080:
7014:Journal of the Audio Engineering Society
7002:
6939:Douglas, Alan Lockhart Monteith (1957).
6669:(185–189). Taylor and Francis: 371–373.
6520:
6024:Spectral processing of the singing voice
5639:Journal of the Audio Engineering Society
5600:Robert Bristow-Johnson (November 1996).
5273:{\displaystyle \theta _{k}=\phi _{k}.\,}
3075:. It was pneumatic and utilized cut-out
2859:. This principle was also utilized on a
2643:
2619:
1783:, in which case the synthesis output is
214:
110:that swells and decays over time due to
6966:. Oxford, UK: Elsevier. pp. 53–54.
6938:
6911:
6802:
6656:
6554:
6492:
6461:, Chichester, UK: John Wiley and Sons,
6375:. In Giovanni de Poli; Aldo Piccialli;
6356:(published April 2004): III–2077–2082.
6337:
6214:
6163:
5378:
5351:
3184:Research implementation or publication
2056:), some have inharmonic partials (e.g.
293:equal to integer multiples of a common
7829:
7559:"Kawai K5000 | Vintage Synth Explorer"
7503:
7444:
7416:
7355:
7321:
7067:"A brief history of optical synthesis"
7064:
6962:Pejrolo, Andrea; DeRosa, Rich (2007).
6757:The Cambridge History of Western Music
6593:
6495:"Modal Synthesis For Vibrating Object"
6452:
6370:
6070:
6055:
6044:Excitation plus resonances voice model
6021:
5809:
5764:
5439:
5401:
3816:{\displaystyle T=1/f_{\mathrm {s} }\,}
2839:frequencies and amplitudes derived by
2791:
2584:
2530:
7620:
7447:"Fairlight: A 25-year long fairytale"
7163:Beauchamp, James (17 November 2009).
7033:
6826:
6702:
6220:
5885:Smith III, Julius O.; Serra, Xavier.
5859:
5559:
5530:
5487:
5395:"Fundamental Frequency and Harmonics"
2262:Problems listening to this file? See
1736:Problems listening to this file? See
324:A waveform or function is said to be
7527:
7453:. IMAS Publishing UK. Archived from
7182:Beauchamp, James W. (October 1966).
7136:
7086:
6292:. Vol. 3-2-3. pp. 557–558.
6087:Bonada, Jordi; Loscos, Alex (2003).
5906:
3764:{\displaystyle f_{\mathrm {s} }/2\,}
2755:(SPP) technique similar to modified
2358:
2043:Additive synthesis can also produce
1785:
1381:
6754:Christensen, Thomas Street (2002).
6373:"The missing link: modal synthesis"
5724:B. Eaglestone and S. Oates (1990).
3210:New England Electric Music Company
3115:. Alan Douglas used the qualifiers
2817:
2659:short-time Fourier transform (STFT)
313:component (one with frequency of 0
13:
7169:Prof. James W. Beauchamp Home Page
7065:Holzer, Derek (22 February 2010).
6947:. London, UK: Macdonald. pp.
6943:The Electrical Production of Music
6885:"Institute News and Radio Notes".
6625:. Taylor & Francis: 490. 1875.
6383:Representations of Musical Signals
5153:
5038:
4600:
4024:
3806:
3746:
3137:The electrical production of music
2038:
2008:should be significantly less than
1650:th harmonic partial of a total of
652:
500:
23:
14:
7848:
7605:
7389:
7273:
7118:
7103:
6985:Magic Music from the Telharmonium
5866:(PhD thesis). Stanford University
4741:{\displaystyle r_{k}=r_{k}(nT)\,}
3019:'s sound analyzer and synthesizer
7445:Street, Rita (8 November 2000).
7417:Twyman, John (1 November 2004).
7326:[EMS Story - Part One].
7242:
7219:from the original on 9 June 2011
6730:Helmholtz, von, Hermann (1863).
6561:Théorie analytique de la chaleur
6273:(published October 1979), S79-39
5969:SMSTools application for Windows
5668:from the original on 6 June 2011
5453:Spectral Audio Signal Processing
5379:Mottola, Liutaio (31 May 2017).
3193:Synthesizer or synthesis device
3037:
3025:
2985:
2971:
2902:
2890:
2707:
2693:
2253:
2242:
1727:
1716:
1374:
57:Problems playing this file? See
39:
7576:
7551:
7469:
7368:
7251:(December 2001). Archived from
6988:. Lanham, MD: Scarecrow Press.
6878:
6820:
6796:
6786:von Helmholtz, Hermann (1875).
6548:
6453:Bilbao, Stefan (October 2009),
6064:
6049:
6015:
5973:
5962:
5936:
5925:
5900:
5878:
5836:
5717:
5680:
5649:
5633:Andrew Horner (November 1995).
3988:and sampling at discrete times
3725:is expected to be sufficiently
2786:
1087:
924:
281:which is a way of expressing a
7322:Cosimi, Enrico (20 May 2009).
5784:The Lincoln Laboratory Journal
5553:
5481:
5387:
5372:
5345:
5290:Frequency modulation synthesis
5250:
5244:
5177:
5171:
5131:
5119:
5083:
5077:
5012:
5006:
4961:
4955:
4931:
4925:
4888:
4882:
4838:
4832:
4806:
4794:
4773:
4767:
4734:
4725:
4709:
4703:
4645:
4639:
4570:
4564:
4502:
4499:
4493:
4477:
4436:
4427:
4356:
4350:
4324:
4312:
4266:
4257:
4186:
4180:
4132:
4123:
4086:
4077:
4064:
4058:
3945:
3939:
3894:
3888:
3851:
3845:
3711:
3705:
3660:
3654:
3135:can be found in his 1957 book
2471:
2465:
2420:
2414:
2377:
2371:
2343:
2337:
2122:
2116:
2079:
2073:
1995:
1989:
1954:
1948:
1847:
1841:
1804:
1798:
1770:
1764:
1533:
1527:
1400:
1394:
1253:
1227:
1074:
1049:
1040:
1034:
994:
981:
911:
886:
877:
871:
834:
821:
598:
573:
551:
526:
454:
448:
368:
356:
347:
341:
297:. These sinusoids are called
200:
163:of the original sound signal.
136:
1:
6600:The Science of Musical Sounds
6566:The Analytical Theory of Heat
6556:Fourier, Jean Baptiste Joseph
5732:. Computer Music Association.
5533:Foundations of Computer Music
5446:Smith III, Julius O. (2011).
5310:
3180:
2802:Electronic musical instrument
2640:Additive analysis/resynthesis
2216:is the constant frequency of
1703:frequency of the musical note
7330:(in Italian). Archived from
6117:Proc. Natl. Acad. Sci. U.S.A
5790:(2): 153–167. Archived from
3127:. The contemporary wording
3101:Institute of Radio Engineers
2674:Spectral Modelling Synthesis
7:
7584:"Kawai K5000R & K5000S"
6982:Weidenaar, Reynold (1995).
6371:Adrien, Jean-Marie (1991).
6317:10.1109/ICASSP.1986.1168815
5567:The Computer Music Tutorial
5495:The Computer Music Tutorial
5283:
3828:
3777:digital-to-analog converter
3173:
3149:Other forms of combinations
2992:Tone-generator utilizing it
2937:) constructed a mechanical
2861:physical modeling synthesis
2679:
2650:McAulay & Quatieri 1988
2616:before mixing the results.
2543:, nonlinear synthesis, and
2520:
1918:
1507:
374:{\displaystyle y(t)=y(t+P)}
10:
7853:
7213:"RMI Harmonic Synthesizer"
6899:10.1109/JRPROC.1940.228904
5830:10.1109/TASSP.1986.1164910
5658:"Group Additive Synthesis"
5531:Moore, F. Richard (1995).
3602:Jon Appleton - Sashasonjon
3500:in The New Sound of Music
2870:
2821:
2795:
2742:Excitation plus Resonances
2736:Also a vocal synthesizer,
2588:
2274:Time-dependent frequencies
1961:{\displaystyle r_{k}(t)\,}
204:
35:Additive synthesis example
7796:
7773:
7735:
7698:
7655:
7612:Digital Keyboards Synergy
7506:Digital Audio Workstation
7324:"EMS Story - Prima Parte"
7137:Luce, David Alan (1963).
6521:Prestini, Elena (2004) .
6060:Spectral peak processing"
5844:"McAulay-Quatieri Method"
3779:. The sampling period is
3775:from the samples using a
3189:
3166:, such as in the case of
3125:Royal Musical Association
2577:Oscillator bank synthesis
2278:In the general case, the
1709:Time-dependent amplitudes
1623:{\displaystyle \phi _{k}}
1546:is the synthesis output,
772:{\displaystyle f_{0}=1/P}
16:Sound synthesis technique
7477:"Computer Music Journal"
7106:"Oscillator Bank (1959)"
6657:Thomson, Sir W. (1878).
6504:. Natick, MA: AK Peter.
6285:
6266:
5214:{\displaystyle n>0\,}
4865:instantaneous frequency.
3486:Digital Oscillator Bank
3198:
3192:
3186:
3183:
3053:electronic amplification
2841:linear predictive coding
2753:spectral peak processing
2608:Group additive synthesis
2349:{\displaystyle f_{k}(t)}
2001:{\displaystyle r_{k}(t)}
1776:{\displaystyle r_{k}(t)}
1701:of the waveform and the
120:low frequency oscillator
7358:"EMS: The Inside Story"
7356:Hinton, Graham (2002).
6833:Popular Science Monthly
6595:Miller, Dayton Clarence
6192:10.1126/science.7233191
5664:, Stanford University.
5305:Harmonic series (music)
3636:Discrete-time equations
3453:North American Rockwell
3406:Harmonic Tone Generator
3346:, and its input device
3190:Company or institution
3187:Commercially available
3092:Popular Science Monthly
2883:Tide-predicting machine
2749:concatenative synthesis
2570:Discrete-time equations
2547:. In this broad sense,
2280:instantaneous frequency
1670:harmonic partials, and
1334:{\displaystyle a_{0}/2}
88:to consist of multiple
73:technique that creates
7376:The New Sound of Music
6887:Proceedings of the IRE
6852:Computer Music Journal
6676:10.1098/rspl.1878.0062
6419:Computer Music Journal
5860:Serra, Xavier (1989).
5690:Computer Music Journal
5274:
5215:
5188:
5066:
4973:
4914:
4869:This is equivalent to
4855:
4742:
4674:
4628:
4553:
4476:
4416:
4306:
4246:
4112:
4035:
3979:
3877:
3817:
3765:
3719:
3718:{\displaystyle y(t)\,}
3689:
3668:
3523:fast Fourier transform
3401:University of Illinois
2653:
2634:fast Fourier transform
2626:fast Fourier transform
2563:Implementation methods
2508:
2403:
2350:
2311:
2230:
2210:
2180:
2105:
2029:
2002:
1962:
1905:
1830:
1777:
1691:
1664:
1644:
1624:
1597:
1596:{\displaystyle kf_{0}}
1567:
1540:
1495:
1426:
1365:
1364:{\displaystyle Kf_{0}}
1335:
1284:
1260:
1193:
1169:
1101:
938:
773:
726:
656:
504:
418:
398:
375:
274:
267:
240:
131:fast Fourier transform
28:
7837:Sound synthesis types
7765:Karplus–Strong string
7302:"Allen Organ Company"
6893:(10): 487–494. 1940.
6804:Russell, George Oscar
6138:10.1073/pnas.37.5.318
5656:Julius O. Smith III.
5327:Julius O. Smith III.
5295:Subtractive synthesis
5275:
5216:
5189:
5046:
4974:
4894:
4861:is the discrete-time
4856:
4743:
4675:
4608:
4533:
4456:
4396:
4286:
4226:
4092:
4036:
3980:
3857:
3818:
3766:
3720:
3690:
3669:
3491:Analysing Filter Bank
3436:Harmonic Synthesizer
3247:Hammond Organ Company
3168:software synthesizers
3145:Subtractive synthesis
3133:subtractive synthesis
3051:In Helmholtz's time,
3004:Hermann von Helmholtz
2647:
2620:Inverse FFT synthesis
2541:subtractive synthesis
2509:
2383:
2351:
2312:
2310:{\displaystyle 2\pi }
2282:of a sinusoid is the
2231:
2211:
2209:{\displaystyle f_{k}}
2181:
2085:
2030:
2028:{\displaystyle f_{0}}
2003:
1963:
1906:
1810:
1778:
1699:fundamental frequency
1692:
1690:{\displaystyle f_{0}}
1665:
1645:
1625:
1598:
1568:
1566:{\displaystyle r_{k}}
1541:
1496:
1406:
1366:
1336:
1302:Being inaudible, the
1294:is the four-quadrant
1285:
1261:
1194:
1170:
1102:
939:
781:fundamental frequency
774:
727:
636:
484:
419:
399:
376:
295:fundamental frequency
268:
266:{\displaystyle r_{k}}
241:
239:{\displaystyle f_{k}}
218:
168:fundamental frequency
27:
7816:Software synthesizer
7660:Frequency modulation
7588:www.soundonsound.com
7563:www.vintagesynth.com
7451:Audio Media magazine
7378:(TV). UK: BBC. 1979.
7121:"Spectrogram (1959)"
6221:Rubin, P.E. (1980).
6075:Phase locked vocoder
5907:Fitz, Kelly (1999).
5410:"Additive Synthesis"
5231:
5198:
4989:
4876:
4754:
4690:
4048:
3992:
3839:
3783:
3737:
3699:
3678:
3648:
3449:Allen Computer Organ
3445:digital church organ
3293:Haskins Laboratories
3109:"subtractive system"
2961:Fourier coefficients
2947:harmonic synthesizer
2941:. It consisted of a
2897:Harmonic synthesizer
2806:Software synthesizer
2757:phase-locked vocoder
2721:New England Digital
2553:principal components
2365:
2324:
2298:
2220:
2193:
2067:
2012:
1976:
1935:
1792:
1751:
1674:
1654:
1634:
1607:
1577:
1550:
1539:{\displaystyle y(t)}
1521:
1388:
1345:
1310:
1274:
1205:
1183:
1112:
949:
789:
742:
438:
408:
404:and for some period
388:
335:
250:
223:
7798:Digital synthesizer
7306:fundinguniverse.com
7255:on 25 December 2011
7215:. Synthmuseum.com.
7046:on 1 September 2012
6926:10.1093/jrma/75.1.1
6659:"Harmonic analyzer"
6230:Internal Memorandum
6184:1981Sci...212..947R
6129:1951PNAS...37..318C
6022:Loscos, A. (2007).
4863:backward difference
4821:
4339:
4169:
3928:
3688:{\displaystyle n\,}
3667:{\displaystyle y\,}
3585:New England Digital
3547:Digital Synthesizer
3441:Allen Organ Company
3234:no known recordings
2979:Helmholtz resonator
2956:integrating machine
2931:prediction of tides
2792:Musical instruments
2751:is processed using
2614:wavetable synthesis
2602:wavetable synthesis
2597:wavetable synthesis
2591:Wavetable synthesis
2585:Wavetable synthesis
2531:Broader definitions
2454:
1162:
1144:
1030:
867:
7775:Analog synthesizer
7737:Physical modelling
5270:
5211:
5184:
5182:
4969:
4851:
4789:
4738:
4670:
4668:
4307:
4152:
4031:
3975:
3914:
3813:
3761:
3715:
3685:
3664:
3141:Additive synthesis
3129:additive synthesis
3065:resonance chambers
2921:was discovered by
2845:sinewave synthesis
2654:
2536:Additive synthesis
2504:
2440:
2346:
2307:
2226:
2206:
2176:
2047:sounds (which are
2025:
1998:
1958:
1901:
1773:
1687:
1660:
1640:
1620:
1593:
1563:
1536:
1491:
1361:
1331:
1280:
1256:
1189:
1165:
1148:
1130:
1097:
1016:
934:
853:
769:
722:
720:
414:
394:
371:
275:
263:
236:
67:Additive synthesis
29:
7824:
7823:
7811:Scanned synthesis
7750:Digital waveguide
7665:Linear arithmetic
7544:978-0-13-303231-4
7457:on 8 October 2003
7090:Keyboard Magazine
6995:978-0-8108-2692-2
6767:978-0-521-62371-1
6716:978-0-520-08334-9
6638:Missing or empty
6534:978-0-8176-4125-2
6468:978-0-470-51046-9
6455:"Modal Synthesis"
6402:978-0-262-04113-3
6387:. Cambridge, MA:
6239:on 29 August 2021
6178:(4497): 947–950.
6093:Proc. of SMAC 03
5586:978-0-262-68082-0
5546:978-0-262-68082-0
5514:978-0-262-68082-0
5467:978-0-9745607-3-1
5159:
5044:
4843:
4787:
4606:
4361:
4191:
3950:
3729:; below half the
3674:and the argument
3633:
3632:
3350:were realized by
3032:sound synthesizer
2943:harmonic analyzer
2919:Harmonic analysis
2910:Harmonic analyzer
2545:physical modeling
2528:
2527:
2476:
2292:angular frequency
2290:, rather than in
2271:
2270:
2258:
2229:{\displaystyle k}
1926:
1925:
1745:
1744:
1732:
1663:{\displaystyle K}
1643:{\displaystyle k}
1515:
1514:
1283:{\displaystyle k}
1192:{\displaystyle k}
1163:
631:
479:
417:{\displaystyle P}
397:{\displaystyle t}
283:periodic function
44:
7844:
7745:Banded waveguide
7670:Phase distortion
7641:
7634:
7627:
7618:
7617:
7599:
7598:
7596:
7594:
7580:
7574:
7573:
7571:
7569:
7555:
7549:
7548:
7525:
7514:
7513:
7501:
7492:
7491:
7489:
7487:
7481:
7473:
7467:
7466:
7464:
7462:
7442:
7436:
7435:
7433:
7431:
7425:
7414:
7408:
7407:
7405:
7403:
7387:
7381:
7379:
7372:
7366:
7365:
7353:
7344:
7343:
7341:
7339:
7328:Audio Accordo.it
7319:
7310:
7309:
7298:
7292:
7291:
7289:
7287:
7271:
7265:
7264:
7262:
7260:
7240:
7229:
7228:
7226:
7224:
7209:
7196:
7195:
7179:
7173:
7172:
7160:
7151:
7150:
7134:
7125:
7124:
7116:
7110:
7109:
7101:
7095:
7094:
7084:
7078:
7077:
7075:
7073:
7062:
7056:
7055:
7053:
7051:
7040:The Hammond Zone
7031:
7022:
7021:
7009:
7000:
6999:
6979:
6968:
6967:
6959:
6953:
6952:
6946:
6936:
6930:
6929:
6909:
6903:
6902:
6882:
6876:
6875:
6847:
6841:
6840:
6824:
6818:
6817:
6800:
6794:
6793:
6783:
6772:
6771:
6751:
6742:
6741:
6727:
6721:
6720:
6700:
6689:
6688:
6678:
6654:
6648:
6647:
6641:
6636:
6634:
6626:
6615:
6609:
6608:
6591:
6580:
6579:
6552:
6546:
6545:
6543:
6541:
6518:
6512:
6511:
6499:
6490:
6484:
6479: (See also
6478:
6450:
6444:
6443:
6413:
6407:
6406:
6386:
6368:
6362:
6361:
6347:
6335:
6329:
6328:
6300:
6294:
6293:
6286:複合正弦波による簡易な音声合成法
6281:
6275:
6274:
6255:
6249:
6248:
6246:
6244:
6238:
6227:
6218:
6212:
6211:
6167:
6161:
6160:
6150:
6140:
6108:
6097:
6096:
6084:
6078:
6068:
6062:
6053:
6047:
6035:
6019:
6013:
6007:
6005:
5988:
5982:
5977:
5971:
5966:
5960:
5959:
5957:
5955:
5946:. Archived from
5940:
5934:
5929:
5923:
5922:
5920:
5904:
5898:
5897:
5895:
5893:
5882:
5876:
5875:
5873:
5871:
5857:
5848:
5847:
5840:
5834:
5833:
5813:
5807:
5806:
5804:
5802:
5796:
5781:
5771:McAulay, R. J.;
5768:
5762:
5761:
5759:
5743:
5734:
5733:
5721:
5715:
5714:
5684:
5678:
5677:
5675:
5673:
5653:
5647:
5646:
5630:
5624:
5623:
5621:
5619:
5613:
5607:. Archived from
5606:
5597:
5591:
5590:
5570:
5557:
5551:
5550:
5528:
5519:
5518:
5498:
5485:
5479:
5478:
5476:
5474:
5443:
5437:
5431:
5429:
5427:
5405:
5399:
5398:
5391:
5385:
5384:
5376:
5370:
5369:
5367:
5365:
5349:
5343:
5342:
5337:
5335:
5324:
5300:Speech synthesis
5279:
5277:
5276:
5271:
5265:
5264:
5243:
5242:
5220:
5218:
5217:
5212:
5193:
5191:
5190:
5185:
5183:
5170:
5169:
5160:
5158:
5157:
5156:
5146:
5138:
5118:
5117:
5102:
5098:
5097:
5076:
5075:
5065:
5060:
5045:
5043:
5042:
5041:
5031:
5023:
5005:
5004:
4978:
4976:
4975:
4970:
4968:
4964:
4954:
4953:
4924:
4923:
4913:
4908:
4860:
4858:
4857:
4852:
4841:
4831:
4830:
4820:
4812:
4788:
4780:
4766:
4765:
4747:
4745:
4744:
4739:
4724:
4723:
4702:
4701:
4679:
4677:
4676:
4671:
4669:
4665:
4661:
4660:
4659:
4638:
4637:
4627:
4622:
4607:
4605:
4604:
4603:
4593:
4585:
4563:
4562:
4552:
4547:
4526:
4522:
4518:
4517:
4516:
4492:
4491:
4475:
4470:
4426:
4425:
4415:
4410:
4389:
4385:
4381:
4380:
4379:
4359:
4349:
4348:
4338:
4330:
4305:
4300:
4256:
4255:
4245:
4240:
4219:
4215:
4211:
4210:
4209:
4189:
4179:
4178:
4168:
4160:
4122:
4121:
4111:
4106:
4040:
4038:
4037:
4032:
4029:
4028:
4027:
4017:
3984:
3982:
3981:
3976:
3974:
3970:
3969:
3968:
3948:
3938:
3937:
3927:
3922:
3887:
3886:
3876:
3871:
3826:Beginning with (
3822:
3820:
3819:
3814:
3811:
3810:
3809:
3799:
3770:
3768:
3767:
3762:
3756:
3751:
3750:
3749:
3724:
3722:
3721:
3716:
3694:
3692:
3691:
3686:
3673:
3671:
3670:
3665:
3607:
3606:
3605:
3603:
3425:1974 or earlier
3367:
3366:
3365:
3363:
3298:Pattern Playback
3286:1950 or earlier
3281:
3280:
3279:
3277:
3262:magnetic pickups
3181:
3099:ones. In a 1940
3041:
3029:
2989:
2975:
2959:. The resulting
2906:
2894:
2849:speech synthesis
2824:Speech synthesis
2818:Speech synthesis
2733:implementation.
2711:
2697:
2522:
2513:
2511:
2510:
2505:
2500:
2496:
2495:
2494:
2474:
2464:
2463:
2453:
2448:
2413:
2412:
2402:
2397:
2359:
2355:
2353:
2352:
2347:
2336:
2335:
2316:
2314:
2313:
2308:
2266:
2260:
2259:
2251:
2246:
2239:
2235:
2233:
2232:
2227:
2215:
2213:
2212:
2207:
2205:
2204:
2185:
2183:
2182:
2177:
2172:
2168:
2167:
2166:
2151:
2150:
2115:
2114:
2104:
2099:
2034:
2032:
2031:
2026:
2024:
2023:
2007:
2005:
2004:
1999:
1988:
1987:
1967:
1965:
1964:
1959:
1947:
1946:
1920:
1910:
1908:
1907:
1902:
1900:
1896:
1895:
1894:
1879:
1878:
1840:
1839:
1829:
1824:
1786:
1782:
1780:
1779:
1774:
1763:
1762:
1740:
1734:
1733:
1725:
1720:
1713:
1696:
1694:
1693:
1688:
1686:
1685:
1669:
1667:
1666:
1661:
1649:
1647:
1646:
1641:
1629:
1627:
1626:
1621:
1619:
1618:
1602:
1600:
1599:
1594:
1592:
1591:
1572:
1570:
1569:
1564:
1562:
1561:
1545:
1543:
1542:
1537:
1509:
1500:
1498:
1497:
1492:
1487:
1483:
1482:
1481:
1466:
1465:
1436:
1435:
1425:
1420:
1382:
1370:
1368:
1367:
1362:
1360:
1359:
1340:
1338:
1337:
1332:
1327:
1322:
1321:
1289:
1287:
1286:
1281:
1265:
1263:
1262:
1257:
1252:
1251:
1239:
1238:
1217:
1216:
1198:
1196:
1195:
1190:
1174:
1172:
1171:
1166:
1164:
1161:
1156:
1143:
1138:
1129:
1124:
1123:
1106:
1104:
1103:
1098:
1070:
1069:
1029:
1024:
1015:
1014:
993:
992:
974:
973:
961:
960:
943:
941:
940:
935:
907:
906:
866:
861:
852:
851:
833:
832:
814:
813:
801:
800:
778:
776:
775:
770:
765:
754:
753:
731:
729:
728:
723:
721:
717:
713:
712:
711:
696:
695:
666:
665:
655:
650:
632:
627:
626:
617:
609:
605:
601:
594:
593:
566:
565:
547:
546:
519:
518:
503:
498:
480:
475:
474:
465:
423:
421:
420:
415:
403:
401:
400:
395:
380:
378:
377:
372:
305:, or generally,
272:
270:
269:
264:
262:
261:
245:
243:
242:
237:
235:
234:
211:Fourier analysis
157:Fourier analysis
81:waves together.
46:
45:
26:
7852:
7851:
7847:
7846:
7845:
7843:
7842:
7841:
7827:
7826:
7825:
7820:
7806:Analog modeling
7792:
7783:Graphical sound
7769:
7731:
7694:
7651:
7648:Sound synthesis
7645:
7608:
7603:
7602:
7592:
7590:
7582:
7581:
7577:
7567:
7565:
7557:
7556:
7552:
7545:
7526:
7517:
7502:
7495:
7485:
7483:
7479:
7475:
7474:
7470:
7460:
7458:
7443:
7439:
7429:
7427:
7423:
7415:
7411:
7401:
7399:
7388:
7384:
7374:
7373:
7369:
7364:on 21 May 2013.
7354:
7347:
7337:
7335:
7320:
7313:
7300:
7299:
7295:
7285:
7283:
7282:(February 2008)
7272:
7268:
7258:
7256:
7241:
7232:
7222:
7220:
7211:
7210:
7199:
7180:
7176:
7161:
7154:
7135:
7128:
7117:
7113:
7102:
7098:
7085:
7081:
7071:
7069:
7063:
7059:
7049:
7047:
7032:
7025:
7010:
7003:
6996:
6980:
6971:
6960:
6956:
6937:
6933:
6910:
6906:
6884:
6883:
6879:
6864:10.2307/3680869
6848:
6844:
6825:
6821:
6801:
6797:
6784:
6775:
6768:
6752:
6745:
6728:
6724:
6717:
6701:
6692:
6655:
6651:
6639:
6637:
6628:
6627:
6617:
6616:
6612:
6592:
6583:
6576:
6553:
6549:
6539:
6537:
6535:
6519:
6515:
6502:Audio Anecdotes
6497:
6491:
6487:
6469:
6451:
6447:
6432:10.2307/3680569
6414:
6410:
6403:
6369:
6365:
6345:
6336:
6332:
6301:
6297:
6287:
6282:
6278:
6268:
6256:
6252:
6242:
6240:
6236:
6225:
6219:
6215:
6168:
6164:
6109:
6100:
6085:
6081:
6073:, p. 44, "
6069:
6065:
6058:, p. 44, "
6054:
6050:
6041:
6020:
6016:
5989:
5985:
5978:
5974:
5967:
5963:
5953:
5951:
5950:on 30 July 2012
5942:
5941:
5937:
5930:
5926:
5905:
5901:
5891:
5889:
5883:
5879:
5869:
5867:
5858:
5851:
5842:
5841:
5837:
5814:
5810:
5800:
5798:
5794:
5779:
5773:Quatieri, T. F.
5769:
5765:
5744:
5737:
5722:
5718:
5703:10.2307/3679851
5685:
5681:
5671:
5669:
5654:
5650:
5631:
5627:
5617:
5615:
5614:on 15 June 2013
5611:
5604:
5598:
5594:
5587:
5558:
5554:
5547:
5529:
5522:
5515:
5486:
5482:
5472:
5470:
5468:
5444:
5440:
5425:
5423:
5406:
5402:
5393:
5392:
5388:
5377:
5373:
5363:
5361:
5350:
5346:
5333:
5331:
5325:
5318:
5313:
5286:
5260:
5256:
5238:
5234:
5232:
5229:
5228:
5199:
5196:
5195:
5181:
5180:
5165:
5161:
5152:
5151:
5147:
5139:
5137:
5113:
5109:
5100:
5099:
5093:
5089:
5071:
5067:
5061:
5050:
5037:
5036:
5032:
5024:
5022:
5015:
5000:
4996:
4992:
4990:
4987:
4986:
4949:
4945:
4944:
4940:
4919:
4915:
4909:
4898:
4877:
4874:
4873:
4826:
4822:
4813:
4793:
4779:
4761:
4757:
4755:
4752:
4751:
4719:
4715:
4697:
4693:
4691:
4688:
4687:
4667:
4666:
4655:
4651:
4633:
4629:
4623:
4612:
4599:
4598:
4594:
4586:
4584:
4583:
4579:
4558:
4554:
4548:
4537:
4524:
4523:
4512:
4508:
4487:
4483:
4471:
4460:
4449:
4445:
4421:
4417:
4411:
4400:
4387:
4386:
4375:
4371:
4344:
4340:
4331:
4311:
4301:
4290:
4279:
4275:
4251:
4247:
4241:
4230:
4217:
4216:
4205:
4201:
4174:
4170:
4161:
4156:
4145:
4141:
4117:
4113:
4107:
4096:
4067:
4051:
4049:
4046:
4045:
4023:
4022:
4018:
4013:
3993:
3990:
3989:
3964:
3960:
3933:
3929:
3923:
3918:
3907:
3903:
3882:
3878:
3872:
3861:
3840:
3837:
3836:
3805:
3804:
3800:
3795:
3784:
3781:
3780:
3752:
3745:
3744:
3740:
3738:
3735:
3734:
3700:
3697:
3696:
3679:
3676:
3675:
3649:
3646:
3645:
3638:
3601:
3598:
3597:
3361:
3358:
3357:
3344:Oscillator Bank
3275:
3272:
3271:
3266:Laurens Hammond
3228:Thaddeus Cahill
3176:
3049:
3048:
3047:
3046:
3045:
3042:
3034:
3033:
3030:
3021:
3020:
2997:
2996:
2995:
2994:
2993:
2990:
2982:
2981:
2976:
2916:
2915:
2914:
2913:
2912:
2907:
2899:
2898:
2895:
2886:
2885:
2873:
2865:modal synthesis
2863:method, called
2826:
2820:
2808:
2796:Main articles:
2794:
2789:
2781:Dynamic timbres
2719:
2718:
2717:
2716:
2715:
2712:
2703:
2702:
2701:
2698:
2689:
2688:
2682:
2661:-based McAulay-
2642:
2622:
2610:
2593:
2587:
2579:
2565:
2557:Walsh functions
2533:
2490:
2486:
2459:
2455:
2449:
2444:
2433:
2429:
2408:
2404:
2398:
2387:
2366:
2363:
2362:
2331:
2327:
2325:
2322:
2321:
2299:
2296:
2295:
2276:
2261:
2254:
2249:
2221:
2218:
2217:
2200:
2196:
2194:
2191:
2190:
2162:
2158:
2146:
2142:
2135:
2131:
2110:
2106:
2100:
2089:
2068:
2065:
2064:
2041:
2039:Inharmonic form
2019:
2015:
2013:
2010:
2009:
1983:
1979:
1977:
1974:
1973:
1942:
1938:
1936:
1933:
1932:
1890:
1886:
1874:
1870:
1860:
1856:
1835:
1831:
1825:
1814:
1793:
1790:
1789:
1758:
1754:
1752:
1749:
1748:
1735:
1728:
1723:
1711:
1681:
1677:
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1655:
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1635:
1632:
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1614:
1610:
1608:
1605:
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1587:
1583:
1578:
1575:
1574:
1557:
1553:
1551:
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1522:
1519:
1518:
1477:
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1461:
1457:
1447:
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1431:
1427:
1421:
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1389:
1386:
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1377:
1355:
1351:
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1323:
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1313:
1311:
1308:
1307:
1275:
1272:
1271:
1247:
1243:
1234:
1230:
1212:
1208:
1206:
1203:
1202:
1184:
1181:
1180:
1157:
1152:
1139:
1134:
1128:
1119:
1115:
1113:
1110:
1109:
1065:
1061:
1025:
1020:
1010:
1006:
988:
984:
969:
965:
956:
952:
950:
947:
946:
902:
898:
862:
857:
847:
843:
828:
824:
809:
805:
796:
792:
790:
787:
786:
761:
749:
745:
743:
740:
739:
719:
718:
707:
703:
691:
687:
677:
673:
661:
657:
651:
640:
622:
618:
616:
607:
606:
589:
585:
561:
557:
542:
538:
514:
510:
509:
505:
499:
488:
470:
466:
464:
457:
441:
439:
436:
435:
409:
406:
405:
389:
386:
385:
336:
333:
332:
289:functions with
257:
253:
251:
248:
247:
246:and amplitudes
230:
226:
224:
221:
220:
213:
203:
139:
129:or the inverse
71:sound synthesis
64:
63:
55:
53:
52:
51:
50:
47:
40:
37:
30:
24:
17:
12:
11:
5:
7850:
7840:
7839:
7822:
7821:
7819:
7818:
7813:
7808:
7802:
7800:
7794:
7793:
7791:
7790:
7785:
7779:
7777:
7771:
7770:
7768:
7767:
7762:
7757:
7755:Direct digital
7752:
7747:
7741:
7739:
7733:
7732:
7730:
7729:
7724:
7719:
7714:
7708:
7706:
7696:
7695:
7693:
7692:
7687:
7682:
7677:
7672:
7667:
7662:
7656:
7653:
7652:
7644:
7643:
7636:
7629:
7621:
7615:
7614:
7607:
7606:External links
7604:
7601:
7600:
7575:
7550:
7543:
7534:Electric Sound
7515:
7493:
7468:
7437:
7409:
7396:Sound on Sound
7382:
7367:
7345:
7334:on 22 May 2009
7311:
7293:
7280:Sound on Sound
7266:
7249:Sound on Sound
7243:Reid, Gordon.
7230:
7197:
7174:
7152:
7126:
7119:Young, Gayle.
7111:
7104:Young, Gayle.
7096:
7093:. p. 120.
7079:
7057:
7023:
7001:
6994:
6969:
6954:
6931:
6904:
6877:
6842:
6819:
6795:
6773:
6766:
6743:
6722:
6715:
6690:
6649:
6610:
6581:
6574:
6547:
6533:
6513:
6485:
6481:companion page
6467:
6445:
6408:
6401:
6363:
6330:
6303:Sagayama, S.;
6295:
6276:
6250:
6213:
6162:
6098:
6079:
6063:
6048:
6014:
6003:10.1.1.18.6258
5983:
5972:
5961:
5935:
5924:
5918:10.1.1.10.1130
5899:
5877:
5849:
5835:
5824:(4): 744–754.
5808:
5797:on 21 May 2012
5763:
5757:10.1.1.43.4818
5735:
5716:
5679:
5648:
5645:(11): 916–931.
5625:
5592:
5585:
5552:
5545:
5539:. p. 16.
5520:
5513:
5480:
5466:
5438:
5434:online reprint
5400:
5386:
5371:
5360:(January 2000)
5358:Sound on Sound
5344:
5315:
5314:
5312:
5309:
5308:
5307:
5302:
5297:
5292:
5285:
5282:
5281:
5280:
5268:
5263:
5259:
5255:
5252:
5249:
5246:
5241:
5237:
5222:
5221:
5209:
5206:
5203:
5179:
5176:
5173:
5168:
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5155:
5150:
5145:
5142:
5136:
5133:
5130:
5127:
5124:
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5092:
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5011:
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5003:
4999:
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4994:
4980:
4979:
4967:
4963:
4960:
4957:
4952:
4948:
4943:
4939:
4936:
4933:
4930:
4927:
4922:
4918:
4912:
4907:
4904:
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4897:
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4887:
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4881:
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4778:
4775:
4772:
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4730:
4727:
4722:
4718:
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4711:
4708:
4705:
4700:
4696:
4681:
4680:
4664:
4658:
4654:
4650:
4647:
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4641:
4636:
4632:
4626:
4621:
4618:
4615:
4611:
4602:
4597:
4592:
4589:
4582:
4578:
4575:
4572:
4569:
4566:
4561:
4557:
4551:
4546:
4543:
4540:
4536:
4532:
4529:
4527:
4525:
4521:
4515:
4511:
4507:
4504:
4501:
4498:
4495:
4490:
4486:
4482:
4479:
4474:
4469:
4466:
4463:
4459:
4455:
4452:
4448:
4444:
4441:
4438:
4435:
4432:
4429:
4424:
4420:
4414:
4409:
4406:
4403:
4399:
4395:
4392:
4390:
4388:
4384:
4378:
4374:
4370:
4367:
4364:
4358:
4355:
4352:
4347:
4343:
4337:
4334:
4329:
4326:
4323:
4320:
4317:
4314:
4310:
4304:
4299:
4296:
4293:
4289:
4285:
4282:
4278:
4274:
4271:
4268:
4265:
4262:
4259:
4254:
4250:
4244:
4239:
4236:
4233:
4229:
4225:
4222:
4220:
4218:
4214:
4208:
4204:
4200:
4197:
4194:
4188:
4185:
4182:
4177:
4173:
4167:
4164:
4159:
4155:
4151:
4148:
4144:
4140:
4137:
4134:
4131:
4128:
4125:
4120:
4116:
4110:
4105:
4102:
4099:
4095:
4091:
4088:
4085:
4082:
4079:
4076:
4073:
4070:
4068:
4066:
4063:
4060:
4057:
4054:
4053:
4026:
4021:
4016:
4012:
4009:
4006:
4003:
4000:
3997:
3986:
3985:
3973:
3967:
3963:
3959:
3956:
3953:
3947:
3944:
3941:
3936:
3932:
3926:
3921:
3917:
3913:
3910:
3906:
3902:
3899:
3896:
3893:
3890:
3885:
3881:
3875:
3870:
3867:
3864:
3860:
3856:
3853:
3850:
3847:
3844:
3808:
3803:
3798:
3794:
3791:
3788:
3759:
3755:
3748:
3743:
3713:
3710:
3707:
3704:
3683:
3662:
3659:
3656:
3653:
3637:
3634:
3631:
3630:
3628:
3625:
3620:
3615:
3612:
3609:
3608:
3595:
3592:
3587:
3582:
3579:
3575:
3574:
3564:
3549:
3544:
3539:
3536:
3532:
3531:
3526:
3519:
3514:
3509:
3506:
3502:
3501:
3498:
3487:
3484:
3478:
3475:
3471:
3470:
3456:
3437:
3434:
3429:
3426:
3422:
3421:
3411:
3408:
3403:
3398:
3395:
3391:
3390:
3387:
3384:
3381:
3376:
3373:
3369:
3368:
3355:
3338:. Invented by
3328:
3323:
3320:
3317:
3313:
3312:
3307:
3300:
3295:
3290:
3287:
3283:
3282:
3269:
3264:. Invented by
3254:
3249:
3244:
3241:
3237:
3236:
3231:
3226:. Invented by
3216:
3211:
3208:
3205:
3201:
3200:
3199:Audio samples
3197:
3194:
3191:
3188:
3185:
3175:
3172:
3069:Rudolph Koenig
3044:sound analyzer
3043:
3036:
3035:
3031:
3024:
3023:
3022:
3017:Rudolph Koenig
3015:
3014:
3013:
3012:
2991:
2984:
2983:
2977:
2970:
2969:
2968:
2967:
2966:
2939:tide predictor
2923:Joseph Fourier
2908:
2901:
2900:
2896:
2889:
2888:
2887:
2877:
2876:
2875:
2874:
2872:
2869:
2822:Main article:
2819:
2816:
2793:
2790:
2788:
2785:
2713:
2706:
2705:
2704:
2699:
2692:
2691:
2690:
2686:
2685:
2684:
2683:
2681:
2678:
2652:, p. 161)
2641:
2638:
2621:
2618:
2609:
2606:
2589:Main article:
2586:
2583:
2578:
2575:
2564:
2561:
2532:
2529:
2526:
2525:
2516:
2514:
2503:
2499:
2493:
2489:
2485:
2482:
2479:
2473:
2470:
2467:
2462:
2458:
2452:
2447:
2443:
2439:
2436:
2432:
2428:
2425:
2422:
2419:
2416:
2411:
2407:
2401:
2396:
2393:
2390:
2386:
2382:
2379:
2376:
2373:
2370:
2345:
2342:
2339:
2334:
2330:
2306:
2303:
2275:
2272:
2269:
2268:
2247:
2225:
2203:
2199:
2187:
2186:
2175:
2171:
2165:
2161:
2157:
2154:
2149:
2145:
2141:
2138:
2134:
2130:
2127:
2124:
2121:
2118:
2113:
2109:
2103:
2098:
2095:
2092:
2088:
2084:
2081:
2078:
2075:
2072:
2040:
2037:
2022:
2018:
1997:
1994:
1991:
1986:
1982:
1956:
1953:
1950:
1945:
1941:
1924:
1923:
1914:
1912:
1899:
1893:
1889:
1885:
1882:
1877:
1873:
1869:
1866:
1863:
1859:
1855:
1852:
1849:
1846:
1843:
1838:
1834:
1828:
1823:
1820:
1817:
1813:
1809:
1806:
1803:
1800:
1797:
1772:
1769:
1766:
1761:
1757:
1743:
1742:
1721:
1710:
1707:
1684:
1680:
1659:
1639:
1617:
1613:
1590:
1586:
1582:
1560:
1556:
1535:
1532:
1529:
1526:
1513:
1512:
1503:
1501:
1490:
1486:
1480:
1476:
1472:
1469:
1464:
1460:
1456:
1453:
1450:
1446:
1442:
1439:
1434:
1430:
1424:
1419:
1416:
1413:
1409:
1405:
1402:
1399:
1396:
1393:
1376:
1373:
1358:
1354:
1350:
1330:
1326:
1320:
1316:
1300:
1299:
1279:
1255:
1250:
1246:
1242:
1237:
1233:
1229:
1226:
1223:
1220:
1215:
1211:
1200:
1188:
1160:
1155:
1151:
1147:
1142:
1137:
1133:
1127:
1122:
1118:
1107:
1096:
1093:
1090:
1086:
1083:
1080:
1076:
1073:
1068:
1064:
1060:
1057:
1054:
1051:
1048:
1045:
1042:
1039:
1036:
1033:
1028:
1023:
1019:
1013:
1009:
1005:
1002:
999:
996:
991:
987:
983:
980:
977:
972:
968:
964:
959:
955:
944:
933:
930:
927:
923:
920:
917:
913:
910:
905:
901:
897:
894:
891:
888:
885:
882:
879:
876:
873:
870:
865:
860:
856:
850:
846:
842:
839:
836:
831:
827:
823:
820:
817:
812:
808:
804:
799:
795:
784:
768:
764:
760:
757:
752:
748:
733:
732:
716:
710:
706:
702:
699:
694:
690:
686:
683:
680:
676:
672:
669:
664:
660:
654:
649:
646:
643:
639:
635:
630:
625:
621:
615:
612:
610:
608:
604:
600:
597:
592:
588:
584:
581:
578:
575:
572:
569:
564:
560:
556:
553:
550:
545:
541:
537:
534:
531:
528:
525:
522:
517:
513:
508:
502:
497:
494:
491:
487:
483:
478:
473:
469:
463:
460:
458:
456:
453:
450:
447:
444:
443:
429:Fourier series
413:
393:
382:
381:
370:
367:
364:
361:
358:
355:
352:
349:
346:
343:
340:
285:as the sum of
279:Fourier series
260:
256:
233:
229:
207:Fourier series
202:
199:
161:Fourier series
155:of the sound.
138:
135:
92:or inharmonic
86:Fourier theory
54:
48:
38:
33:
32:
31:
22:
21:
20:
15:
9:
6:
4:
3:
2:
7849:
7838:
7835:
7834:
7832:
7817:
7814:
7812:
7809:
7807:
7804:
7803:
7801:
7799:
7795:
7789:
7786:
7784:
7781:
7780:
7778:
7776:
7772:
7766:
7763:
7761:
7758:
7756:
7753:
7751:
7748:
7746:
7743:
7742:
7740:
7738:
7734:
7728:
7727:Concatenative
7725:
7723:
7720:
7718:
7715:
7713:
7710:
7709:
7707:
7705:
7701:
7697:
7691:
7688:
7686:
7683:
7681:
7678:
7676:
7673:
7671:
7668:
7666:
7663:
7661:
7658:
7657:
7654:
7649:
7642:
7637:
7635:
7630:
7628:
7623:
7622:
7619:
7613:
7610:
7609:
7589:
7585:
7579:
7564:
7560:
7554:
7546:
7540:
7536:
7535:
7530:
7529:Joel, Chadabe
7524:
7522:
7520:
7512:. p. 58.
7511:
7507:
7500:
7498:
7478:
7472:
7456:
7452:
7448:
7441:
7422:
7421:
7413:
7397:
7393:
7390:Leete, Norm.
7386:
7377:
7371:
7363:
7359:
7352:
7350:
7333:
7329:
7325:
7318:
7316:
7307:
7303:
7297:
7281:
7277:
7270:
7254:
7250:
7246:
7239:
7237:
7235:
7218:
7214:
7208:
7206:
7204:
7202:
7194:(4): 332–342.
7193:
7189:
7185:
7178:
7170:
7166:
7159:
7157:
7148:
7144:
7140:
7133:
7131:
7122:
7115:
7107:
7100:
7092:
7091:
7083:
7068:
7061:
7045:
7041:
7037:
7030:
7028:
7020:(10/11): 856.
7019:
7015:
7008:
7006:
6997:
6991:
6987:
6986:
6978:
6976:
6974:
6965:
6958:
6950:
6945:
6944:
6935:
6927:
6923:
6919:
6915:
6908:
6900:
6896:
6892:
6888:
6881:
6873:
6869:
6865:
6861:
6857:
6853:
6846:
6838:
6834:
6830:
6823:
6815:
6811:
6810:
6805:
6799:
6791:
6790:
6782:
6780:
6778:
6769:
6763:
6759:
6758:
6750:
6748:
6739:
6735:
6734:
6726:
6718:
6712:
6708:
6707:
6699:
6697:
6695:
6686:
6682:
6677:
6672:
6668:
6664:
6660:
6653:
6645:
6632:
6624:
6620:
6614:
6606:
6602:
6601:
6596:
6590:
6588:
6586:
6577:
6575:9782876470460
6571:
6567:
6563:
6562:
6557:
6551:
6536:
6530:
6526:
6525:
6517:
6510:
6509:
6503:
6496:
6489:
6482:
6477:
6476:
6470:
6464:
6460:
6456:
6449:
6441:
6437:
6433:
6429:
6425:
6421:
6420:
6412:
6404:
6398:
6394:
6390:
6385:
6384:
6378:
6374:
6367:
6360:
6355:
6351:
6344:
6340:
6334:
6326:
6322:
6318:
6314:
6310:
6306:
6299:
6291:
6280:
6272:
6264:
6260:
6254:
6235:
6231:
6224:
6217:
6209:
6205:
6201:
6197:
6193:
6189:
6185:
6181:
6177:
6173:
6166:
6158:
6154:
6149:
6144:
6139:
6134:
6130:
6126:
6123:(5): 318–25.
6122:
6118:
6114:
6107:
6105:
6103:
6094:
6090:
6083:
6076:
6072:
6067:
6061:
6057:
6052:
6045:
6039:
6033:
6029:
6025:
6018:
6011:
6004:
5999:
5995:
5994:Proc. Of ICMC
5987:
5981:
5976:
5970:
5965:
5949:
5945:
5939:
5933:
5928:
5919:
5914:
5910:
5903:
5888:
5881:
5865:
5864:
5856:
5854:
5845:
5839:
5831:
5827:
5823:
5819:
5812:
5793:
5789:
5785:
5778:
5774:
5767:
5758:
5753:
5749:
5742:
5740:
5731:
5727:
5720:
5712:
5708:
5704:
5700:
5696:
5692:
5691:
5683:
5667:
5663:
5659:
5652:
5644:
5640:
5636:
5629:
5610:
5603:
5596:
5588:
5582:
5578:
5574:
5569:
5568:
5562:
5561:Roads, Curtis
5556:
5548:
5542:
5538:
5537:Prentice Hall
5534:
5527:
5525:
5516:
5510:
5506:
5502:
5497:
5496:
5490:
5489:Roads, Curtis
5484:
5469:
5463:
5459:
5455:
5454:
5449:
5442:
5435:
5421:
5417:
5416:
5411:
5404:
5396:
5390:
5382:
5375:
5359:
5355:
5352:Gordon Reid.
5348:
5341:
5330:
5323:
5321:
5316:
5306:
5303:
5301:
5298:
5296:
5293:
5291:
5288:
5287:
5266:
5261:
5257:
5253:
5247:
5239:
5235:
5227:
5226:
5225:
5207:
5204:
5201:
5174:
5166:
5162:
5148:
5143:
5140:
5134:
5128:
5125:
5122:
5114:
5110:
5106:
5104:
5094:
5090:
5086:
5080:
5072:
5068:
5062:
5057:
5054:
5051:
5047:
5033:
5028:
5025:
5019:
5017:
5009:
5001:
4997:
4985:
4984:
4983:
4965:
4958:
4950:
4946:
4941:
4937:
4934:
4928:
4920:
4916:
4910:
4905:
4902:
4899:
4895:
4891:
4885:
4879:
4872:
4871:
4870:
4864:
4847:
4844:
4835:
4827:
4823:
4817:
4814:
4809:
4803:
4800:
4797:
4790:
4784:
4781:
4776:
4770:
4762:
4758:
4750:
4731:
4728:
4720:
4716:
4712:
4706:
4698:
4694:
4686:
4685:
4684:
4662:
4656:
4652:
4648:
4642:
4634:
4630:
4624:
4619:
4616:
4613:
4609:
4595:
4590:
4587:
4580:
4576:
4573:
4567:
4559:
4555:
4549:
4544:
4541:
4538:
4534:
4530:
4528:
4519:
4513:
4509:
4505:
4496:
4488:
4484:
4480:
4472:
4467:
4464:
4461:
4457:
4453:
4450:
4446:
4442:
4439:
4433:
4430:
4422:
4418:
4412:
4407:
4404:
4401:
4397:
4393:
4391:
4382:
4376:
4372:
4368:
4365:
4362:
4353:
4345:
4341:
4335:
4332:
4327:
4321:
4318:
4315:
4308:
4302:
4297:
4294:
4291:
4287:
4283:
4280:
4276:
4272:
4269:
4263:
4260:
4252:
4248:
4242:
4237:
4234:
4231:
4227:
4223:
4221:
4212:
4206:
4202:
4198:
4195:
4192:
4183:
4175:
4171:
4165:
4162:
4157:
4153:
4149:
4146:
4142:
4138:
4135:
4129:
4126:
4118:
4114:
4108:
4103:
4100:
4097:
4093:
4089:
4083:
4080:
4074:
4071:
4069:
4061:
4055:
4044:
4043:
4042:
4019:
4014:
4010:
4007:
4004:
4001:
3998:
3995:
3971:
3965:
3961:
3957:
3954:
3951:
3942:
3934:
3930:
3924:
3919:
3915:
3911:
3908:
3904:
3900:
3897:
3891:
3883:
3879:
3873:
3868:
3865:
3862:
3858:
3854:
3848:
3842:
3835:
3834:
3833:
3831:
3830:
3824:
3801:
3796:
3792:
3789:
3786:
3778:
3774:
3773:reconstructed
3757:
3753:
3741:
3732:
3731:sampling rate
3728:
3708:
3702:
3681:
3657:
3651:
3643:
3642:discrete-time
3629:
3626:
3624:
3621:
3619:
3616:
3613:
3611:
3610:
3604:
3596:
3593:
3591:
3590:Synclavier II
3588:
3586:
3583:
3580:
3577:
3576:
3572:
3568:
3565:
3562:
3558:
3557:Alles Machine
3554:
3550:
3548:
3545:
3543:
3540:
3537:
3534:
3533:
3530:
3527:
3524:
3520:
3518:
3515:
3513:
3510:
3507:
3504:
3503:
3499:
3496:
3492:
3488:
3485:
3482:
3479:
3476:
3473:
3472:
3469:
3466:
3463:
3460:
3457:
3454:
3450:
3446:
3442:
3438:
3435:
3433:
3430:
3427:
3424:
3423:
3419:
3415:
3412:
3409:
3407:
3404:
3402:
3399:
3396:
3393:
3392:
3388:
3385:
3382:
3380:
3377:
3374:
3371:
3370:
3364:
3356:
3353:
3352:Hugh Le Caine
3349:
3345:
3341:
3340:Evgeny Murzin
3337:
3333:
3329:
3327:
3324:
3321:
3318:
3315:
3314:
3311:
3308:
3305:
3301:
3299:
3296:
3294:
3291:
3288:
3285:
3284:
3278:
3270:
3267:
3263:
3259:
3255:
3253:
3252:Hammond Organ
3250:
3248:
3245:
3242:
3239:
3238:
3235:
3232:
3229:
3225:
3221:
3217:
3215:
3212:
3209:
3206:
3203:
3202:
3195:
3182:
3179:
3171:
3169:
3165:
3164:digital audio
3161:
3160:analog signal
3157:
3152:
3150:
3146:
3142:
3138:
3134:
3130:
3126:
3122:
3118:
3114:
3110:
3106:
3102:
3098:
3093:
3088:
3086:
3082:
3078:
3074:
3070:
3066:
3063:and acoustic
3062:
3058:
3054:
3040:
3028:
3018:
3011:
3009:
3008:Ernst Chladni
3005:
3001:
2988:
2980:
2974:
2965:
2962:
2958:
2957:
2952:
2951:James Thomson
2948:
2944:
2940:
2936:
2932:
2928:
2927:heat transfer
2924:
2920:
2911:
2905:
2893:
2884:
2880:
2868:
2866:
2862:
2858:
2854:
2850:
2846:
2842:
2838:
2833:
2831:
2825:
2815:
2813:
2807:
2803:
2799:
2784:
2782:
2778:
2777:
2772:
2768:
2767:
2762:
2761:phase vocoder
2759:(an improved
2758:
2754:
2750:
2747:
2743:
2739:
2734:
2732:
2728:
2727:Technos acxel
2724:
2710:
2696:
2677:
2675:
2670:
2666:
2664:
2660:
2651:
2646:
2637:
2635:
2631:
2627:
2617:
2615:
2605:
2603:
2598:
2592:
2582:
2574:
2572:
2571:
2560:
2558:
2554:
2550:
2546:
2542:
2537:
2524:
2517:
2515:
2501:
2497:
2491:
2487:
2483:
2480:
2477:
2468:
2460:
2456:
2450:
2445:
2441:
2437:
2434:
2430:
2426:
2423:
2417:
2409:
2405:
2399:
2394:
2391:
2388:
2384:
2380:
2374:
2368:
2361:
2360:
2357:
2340:
2332:
2328:
2318:
2304:
2301:
2293:
2289:
2285:
2281:
2267:
2265:
2248:
2245:
2241:
2240:
2237:
2223:
2201:
2197:
2173:
2169:
2163:
2159:
2155:
2152:
2147:
2143:
2139:
2136:
2132:
2128:
2125:
2119:
2111:
2107:
2101:
2096:
2093:
2090:
2086:
2082:
2076:
2070:
2063:
2062:
2061:
2059:
2055:
2050:
2046:
2036:
2020:
2016:
1992:
1984:
1980:
1971:
1951:
1943:
1939:
1931:
1922:
1915:
1913:
1897:
1891:
1887:
1883:
1880:
1875:
1871:
1867:
1864:
1861:
1857:
1853:
1850:
1844:
1836:
1832:
1826:
1821:
1818:
1815:
1811:
1807:
1801:
1795:
1788:
1787:
1784:
1767:
1759:
1755:
1741:
1739:
1722:
1719:
1715:
1714:
1706:
1704:
1700:
1682:
1678:
1657:
1637:
1615:
1611:
1588:
1584:
1580:
1558:
1554:
1530:
1524:
1511:
1504:
1502:
1488:
1484:
1478:
1474:
1470:
1467:
1462:
1458:
1454:
1451:
1448:
1444:
1440:
1437:
1432:
1428:
1422:
1417:
1414:
1411:
1407:
1403:
1397:
1391:
1384:
1383:
1380:
1375:Harmonic form
1372:
1356:
1352:
1348:
1328:
1324:
1318:
1314:
1305:
1297:
1293:
1290:th harmonic.
1277:
1269:
1248:
1244:
1240:
1235:
1231:
1224:
1221:
1218:
1213:
1209:
1201:
1186:
1178:
1158:
1153:
1149:
1145:
1140:
1135:
1131:
1125:
1120:
1116:
1108:
1094:
1091:
1088:
1084:
1081:
1078:
1071:
1066:
1062:
1058:
1055:
1052:
1046:
1043:
1037:
1031:
1026:
1021:
1017:
1011:
1007:
1003:
1000:
997:
989:
985:
978:
975:
970:
966:
962:
957:
953:
945:
931:
928:
925:
921:
918:
915:
908:
903:
899:
895:
892:
889:
883:
880:
874:
868:
863:
858:
854:
848:
844:
840:
837:
829:
825:
818:
815:
810:
806:
802:
797:
793:
785:
782:
766:
762:
758:
755:
750:
746:
738:
737:
736:
714:
708:
704:
700:
697:
692:
688:
684:
681:
678:
674:
670:
667:
662:
658:
647:
644:
641:
637:
633:
628:
623:
619:
613:
611:
602:
595:
590:
586:
582:
579:
576:
570:
567:
562:
558:
554:
548:
543:
539:
535:
532:
529:
523:
520:
515:
511:
506:
495:
492:
489:
485:
481:
476:
471:
467:
461:
459:
451:
445:
434:
433:
432:
430:
425:
411:
391:
365:
362:
359:
353:
350:
344:
338:
331:
330:
329:
327:
322:
320:
316:
312:
308:
304:
300:
296:
292:
288:
284:
280:
258:
254:
231:
227:
217:
212:
208:
198:
196:
191:
189:
185:
184:upright piano
181:
177:
173:
169:
164:
162:
158:
154:
153:
148:
144:
134:
132:
128:
123:
121:
117:
116:ADSR envelope
113:
109:
105:
101:
97:
96:
91:
87:
82:
80:
76:
72:
68:
62:
60:
36:
19:
7700:Sample-based
7684:
7591:. Retrieved
7587:
7578:
7566:. Retrieved
7562:
7553:
7533:
7505:
7484:. Retrieved
7471:
7459:. Retrieved
7455:the original
7450:
7440:
7428:. Retrieved
7419:
7412:
7400:. Retrieved
7398:(April 1999)
7395:
7385:
7375:
7370:
7362:the original
7336:. Retrieved
7332:the original
7327:
7305:
7296:
7284:. Retrieved
7279:
7274:Flint, Tom.
7269:
7257:. Retrieved
7253:the original
7248:
7221:. Retrieved
7191:
7187:
7177:
7168:
7147:1721.1/27450
7138:
7114:
7099:
7088:
7082:
7070:. Retrieved
7060:
7048:. Retrieved
7044:the original
7039:
7017:
7013:
6984:
6963:
6957:
6942:
6934:
6917:
6913:
6907:
6890:
6886:
6880:
6858:(2): 55–65.
6855:
6851:
6845:
6836:
6832:
6822:
6808:
6798:
6788:
6756:
6737:
6732:
6725:
6705:
6666:
6662:
6652:
6640:|title=
6631:cite journal
6622:
6618:
6613:
6599:
6565:
6560:
6550:
6538:. Retrieved
6523:
6516:
6506:
6505:
6501:
6488:
6473:
6472:
6458:
6448:
6426:(1): 45–56.
6423:
6417:
6411:
6382:
6377:Curtis Roads
6366:
6357:
6353:
6349:
6333:
6308:
6298:
6289:
6279:
6270:
6267:複合正弦波による音声合成
6259:Sagayama, S.
6253:
6241:. Retrieved
6234:the original
6229:
6216:
6175:
6171:
6165:
6120:
6116:
6092:
6082:
6074:
6066:
6059:
6051:
6043:
6023:
6017:
5993:
5986:
5975:
5964:
5952:. Retrieved
5948:the original
5938:
5927:
5908:
5902:
5890:. Retrieved
5880:
5868:. Retrieved
5862:
5838:
5821:
5817:
5811:
5799:. Retrieved
5792:the original
5787:
5783:
5766:
5747:
5729:
5719:
5697:(1): 12–20.
5694:
5688:
5682:
5670:. Retrieved
5651:
5642:
5638:
5628:
5616:. Retrieved
5609:the original
5595:
5566:
5555:
5532:
5494:
5483:
5471:. Retrieved
5452:
5441:
5424:. Retrieved
5414:
5403:
5389:
5374:
5362:. Retrieved
5357:
5347:
5339:
5332:. Retrieved
5223:
4981:
4868:
4682:
3987:
3827:
3825:
3639:
3560:
3556:
3494:
3490:
3448:
3347:
3343:
3233:
3214:Telharmonium
3196:Description
3177:
3153:
3148:
3144:
3140:
3136:
3132:
3128:
3120:
3116:
3112:
3108:
3107:as having a
3104:
3089:
3072:
3061:tuning forks
3050:
2998:
2954:
2946:
2942:
2917:
2834:
2827:
2809:
2787:Applications
2774:
2770:
2764:
2752:
2735:
2720:
2671:
2667:
2655:
2623:
2613:
2611:
2601:
2594:
2580:
2568:
2566:
2535:
2534:
2518:
2319:
2277:
2252:
2236:th partial.
2188:
2042:
1927:
1916:
1746:
1726:
1516:
1505:
1378:
1301:
1268:phase offset
1199:th harmonic,
734:
426:
383:
323:
276:
192:
165:
150:
140:
124:
93:
83:
66:
65:
56:
18:
7680:Subtractive
7510:McGraw-Hill
6391:. pp.
6339:Itakura, F.
6305:Itakura, F.
6263:Itakura, F.
6243:27 December
6071:Loscos 2007
6056:Loscos 2007
5575:. pp.
4041:results in
3727:bandlimited
3348:Spectrogram
3332:spectrogram
3224:alternators
3121:subtractive
3097:subtractive
3085:pipe organs
3081:tibia pipes
2935:Lord Kelvin
2879:Lord Kelvin
2853:Yamaha CX5M
2851:feature on
2830:linguistics
2798:Synthesizer
2624:An inverse
2549:pipe organs
2356:, yielding
1306:component,
291:frequencies
201:Definitions
188:grand piano
137:Explanation
7690:Distortion
7593:21 January
7568:21 January
7486:29 January
7461:29 January
7430:29 January
7402:29 January
7338:21 January
7286:22 January
7259:22 January
7072:13 January
7050:20 January
6607:, 244–248.
6540:6 February
6095:: 439–442.
6032:10803/7542
5954:13 January
5870:13 January
5801:9 December
5503:. p.
5426:11 January
5364:14 January
5334:14 January
5311:References
3362:1964 model
3336:tonewheels
3258:tonewheels
3220:tonewheels
3156:electrical
3077:tonewheels
3073:wave siren
2723:Synclavier
2665:Analysis.
2284:derivative
2264:Media help
2045:inharmonic
1738:Media help
1296:arctangent
287:sinusoidal
205:See also:
195:sine waves
127:wavetables
112:modulation
77:by adding
59:media help
7712:Wavetable
6597:(1926) .
6389:MIT Press
6325:122814777
6265:(1979),
6046:" (p. 51)
5998:CiteSeerX
5913:CiteSeerX
5892:9 January
5752:CiteSeerX
5573:MIT Press
5501:MIT Press
5473:9 January
5258:ϕ
5236:θ
5144:π
5126:−
5111:θ
5091:ϕ
5048:∑
5029:π
4998:θ
4947:θ
4938:
4896:∑
4801:−
4791:∫
4653:ϕ
4610:∑
4591:π
4577:
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4454:π
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4284:π
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4228:∑
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4150:π
4139:
4094:∑
3962:ϕ
3916:∫
3912:π
3901:
3859:∑
3553:real-time
3542:Bell Labs
3512:Fairlight
3483:(London)
3354:in 1959.
3304:tonewheel
3105:Novachord
3059:array of
3000:Georg Ohm
2857:acoustics
2488:ϕ
2442:∫
2438:π
2427:
2385:∑
2305:π
2160:ϕ
2140:π
2129:
2087:∑
2049:aperiodic
1970:bandwidth
1888:ϕ
1865:π
1854:
1812:∑
1612:ϕ
1475:ϕ
1452:π
1441:
1408:∑
1298:function,
1225:
1210:ϕ
1177:amplitude
1092:≥
1056:π
1047:
1018:∫
1001:−
986:ϕ
979:
929:≥
893:π
884:
855:∫
826:ϕ
819:
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682:π
671:
653:∞
638:∑
580:π
571:
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533:π
524:
501:∞
486:∑
303:overtones
299:harmonics
180:harmonics
176:overtones
147:amplitude
143:frequency
108:amplitude
104:frequency
100:overtones
7831:Category
7717:Granular
7685:Additive
7531:(1997).
7217:Archived
6920:: 1–12.
6806:(1936).
6558:(1822).
6379:(eds.).
6341:(2004).
6208:13039853
6157:14834156
5775:(1988).
5666:Archived
5563:(1995).
5491:(1995).
5284:See also
5194:for all
3517:Qasar M8
3174:Timeline
3162:, or as
3117:additive
2814:organs.
2776:phonemes
2771:diphones
2766:formants
2738:Vocaloid
2680:Products
2663:Quatieri
1930:envelope
384:for all
326:periodic
307:partials
178:(or the
172:middle C
114:from an
95:partials
90:harmonic
7788:Modular
7760:Formant
7704:Sampler
7675:Scanned
6872:3680869
6440:3680569
6393:269–298
6200:7233191
6180:Bibcode
6172:Science
6148:1063363
6125:Bibcode
5711:3679851
3538:
3529:samples
3477:
3414:samples
3397:
3389:
3383:
3375:
3322:
3319:
3310:samples
3289:
3276:Model A
3057:excited
2871:History
2837:formant
2812:Eminent
2746:diphone
1697:is the
1270:of the
1266:is the
1179:of the
1175:is the
779:is the
7722:Vector
7541:
7482:. 1978
7223:12 May
6992:
6951:, 142.
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5618:21 May
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5543:
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4360:
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2945:and a
2804:, and
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1603:, and
1517:where
735:where
186:vs. a
152:timbre
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7650:types
7480:(JPG)
7424:(PDF)
6868:JSTOR
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6681:JSTOR
6564:[
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6436:JSTOR
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6042:See "
5795:(PDF)
5780:(PDF)
5707:JSTOR
5662:CCRMA
5612:(PDF)
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5458:CCRMA
5420:CCRMA
3623:K5000
3618:Kawai
3614:1996
3581:1979
3578:1979
3561:Alice
3535:1977
3508:1976
3505:1976
3474:1974
3428:1974
3394:1964
3372:1963
3316:1958
3243:1935
3240:1933
3207:1906
3204:1900
2288:hertz
2058:bells
1928:Each
1292:atan2
1222:atan2
69:is a
7595:2024
7570:2024
7539:ISBN
7488:2012
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7432:2012
7404:2012
7340:2012
7288:2012
7261:2012
7225:2011
7074:2012
7052:2012
6990:ISBN
6762:ISBN
6711:ISBN
6644:help
6570:ISBN
6542:2012
6529:ISBN
6463:ISBN
6397:ISBN
6245:2011
6196:PMID
6153:PMID
5956:2012
5894:2012
5872:2012
5803:2013
5674:2011
5620:2005
5581:ISBN
5541:ISBN
5509:ISBN
5475:2012
5462:ISBN
5428:2015
5366:2012
5336:2012
5224:and
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3571:info
3418:info
3260:and
3222:and
3131:and
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2555:and
2054:oboe
427:The
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209:and
106:and
79:sine
7702:or
7143:hdl
6949:140
6922:doi
6895:doi
6860:doi
6837:132
6814:359
6671:doi
6605:110
6428:doi
6313:doi
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6176:212
6143:PMC
6133:doi
6038:PDF
6028:hdl
6010:PDF
5826:doi
5699:doi
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3379:MIT
3326:ANS
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