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

✍ Scribed by Metcalfe, Scott B.; Pejrolo, Andrea

• Publisher: ‎ Oxford University Press
• Year: 2017
• Tongue: English
• Leaves: 353
• Edition: 1
• Category: Library

✦ Synopsis

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.

✦ Table of Contents

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