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7

As naught101 says, your particular case here is a sinusoidal wave with a quiet third harmonic. To hear what this sounds like at an audible frequency, go to http://meettechniek.info/additional/additive-synthesis.html in a browser that supports the Web Audio API (like Firefox or Chrome), turn the audio on, and set it like this: H1 there represents your (16/...


4

With little experience and without clear vision of requirements, this probably will not be the last synthesizer you ever buy. In other words, you are buying the exploration device. For such a device, I would suggest to set the budget limit and select the synthesizer that has as many various features available as possible. Then you will be able to try all of ...


4

You could have a look at Csound, Pure Data, SuperCollider, or ChucK to name but a few. These are audio programming environments with full flexibility to do whatever you could think of, including additive synthesis, but be prepared for an intense learning period.


3

You don't need any specific audio software to generate audible waveforms. Here's a simple C program that will generate the required data on standard output: #include <stdint.h> #include <stdio.h> #include <math.h> double y(double t) { return (16 * cos(t/2) - cos(t*2)) / 15; } double pitch = 440 * 2*3.14159; // so the base pitch will ...


3

Yes, there's the rightfully famous Synth Secrets series by Sound on Sound magazine: http://www.soundonsound.com/sos/allsynthsecrets.htm And the classic Synthesizer Cookbook: http://www.amazon.com/Welshs-Synthesizer-Cookbook-Programming-Universal/dp/B000ERHA4S


2

There are lots of MIDI controllers that are just buttons, sliders, and knobs. See here for a pretty wide selection. The usual way to connect these if you're looking to augment an existing keyboard is to plug the new controller into the keyboard's MIDI IN, so that from the computer's perspective it looks like everything is coming from the keyboard.


2

I would first see if I could figure out what's causing the delay and fix that. Software synthesis is used live all the time. My first guess is it's a driver issue. I've also seen some programs that have a "delay" setting that defaults to being on, so make sure it's not something dumb like that. Another solution is to use a hardware synthesizer. With ...


2

Yes there is, it's called a computer :-) Like you said, you have an USB MIDI controller. This type of device is designed to be connected to a USB host, i.e. (in general) a computer and used with a Digital Audio Workstation (DAW) software. However you can install a MIDI (standard) port in your computer connecting also to a USB port. The Roland/Edirol UM-1 ...


2

In my experience you have to manually map the controls and it depends on what your plug-in is and what kind of controller you have. Here are the controls that a vintage Hammond B3 organ normally has that are usually replicated and available for mapping in most B3 plugins: 9 Drawbars that control the overall tone - these are usually assigned to faders on a ...


1

The waveform from a single free reed is more like getting one "puff" of air each time the reed reaches its full excusion. I would probably start with a square-wave and if possible modify the pulse width down (or up) to increase the higher harmonics. Then I'd apply some equalization (mostly low pass) to round things out and to get the "wigglyness" in the ...


1

The question assumes that the waveform at stake is directly human hearable. If that would be the case, an alternative approach to the programmatic one would be to use an additive synthesizer to synthesize the waveform. For those into the computer music/DAW realm, there are a number of free VST synthesizers that perform additive synthesis, and I remember at ...


1

Equations could be fed into e.g. SuperCollider. Another option is to "fencepost" the equation and convert the value of the equation at those points into a pitch (and possibly also a duration, perhaps based on the slope at that point, or whatever), though this will require some amount of fussing to appropriately scale the fenceposts (what the x values are) ...


1

I am not looking to reproduce synth sounds of the analog moog variety, but rather to emulate various instruments that might be in a pop, rock or country or folk music band. I suggest either a physical modeling synthesizer or multisample synthesizer designed to reproduce classic keyboard sounds. Something like a used Nord Electro 2 (around USD 1000 on e-Bay)...


1

There's no correct answer, but I'd weight the argument this way... If you're recording an entire album over many months, you may choose to pitch the drums specifically for each track, choose to mic the kit differently; even choose to record in a different room or facility. If you're playing a live gig, no drummer is going to retune to fit each song. The ...


1

The term auditory roughness was first introduced by Hermann von Helmholtz in 1885. In general, to my understanding, a high level of auditory roughness is defined as possessing: High ratio partials (harmonics far away from the fundamental). Amplitude fluctuations of the spectrum (rate being very important). Pitch instability. From wikipedia: ...


1

You can do this with any cheap Soundmodule or Soundcard. Just go to the wind section of the GM module select a Panflute sound, put a low-cut filter on it to filter out the low end and EQ the high end to make it more aggressive. A compressor will give the sound an additional kick. If you are lucky your sound module does have a bottleblow sound as variation ...


1

Most analog VCOs generate almost perfect mathematical waveforms (almost because of minor instabilities/noise but its usually below -60db). But you don't sample VCO, there are many elements in the signal path.. Like high pass filters used to kill DC, usually after VCO, mixer, filter. What you see is just a high-pass filtered "perfect sawtooth". You can try ...



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