Verfügbarkeit: How to make a noise

How to make a noise: a comprehensive guide to synthesizer programming

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Bibliographische Detailangaben
1. Verfasser:	Cann, Simon (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	New Malden Coombe Hill 2007
Ausgabe:	[New ed.]
Schlagworte:	Software synthesizers Software samplers Sampler > Musikinstrument Programmierung Synthesizer > Musikinstrument
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	VIII, 277 S. Ill. 24 cm

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245	1	0	\|a How to make a noise \|b a comprehensive guide to synthesizer programming \|c Simon Cann
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650		4	\|a Software samplers
650		4	\|a Software samplers
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Datensatz im Suchindex

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adam_text	Table of Contents Introduction Welcome ................................................................................................................1 The Featured Synthesizers ...........................................................................................................1 The Accompanying Patches ........................................................................................................2 Chapter 1 Getting Started .....................................................................................................3 Synthesizer Architecture .............................................................................................................4 Start Point for Programming .....................................................................................................5 First Bass .........................................................................................................................................5 Elements of the First Bass Sound ................................................................................................6 Arpeggio .........................................................................................................................................7 Elements of the Arpeggio Sound .................................................................................................7 Lead Whine ...................................................................................................................................7 Elements of the Lead Whine Sound ...........................................................................................8 Using the three sounds in a mix ................................................................................................8 Why Did We Make These Sounds? ..........................................................................................9 Designed For Purpose ....................................................................................................................9 Arrangement ......................................................................,.............................................................9 Editing Sounds — Balancing Parameters ...................................................................................9 Simplicity ........................................................................................................................................10 Programming in Context ............................................................................................................10 Chapter 2 Envelopes ............................................................................................................13 Volume Envelopes .......................................................................................................................13 What Else Can Envelopes Do? ................................................................................................14 ADSR Envelopes .........................................................................................................................15 DAHDSR Envelopes .................................................................................................................17 DASSDSR Envelopes .................................................................................................................18 Z3TA+ to Imitate a Piano ..........................................................................................................19 Envelope Curves ..........................................................................................................................20 Other Envelopes ..........................................................................................................................21 Z3TA+Pitch Envelope ................................................................................................................21 Rhino Envelopes ..........................................................................................................................22 Cameleon 5000 Envelopes ........................................................................................................23 Envelopes and Samples ..............................................................................................................24 Key Tracking and Envelopes ....................................................................................................24 Effect of Envelopes on Sounds ...................... ...........................................................................25 How To Make A Noise Chapter 3 Filters ...................................................................................................................27 Filter Types ...................................................................................................................................27 Low-Pass .........................................................................................................................................27 High-Pass .......................................................................................................................................28 Band-Pass ........................................................................................................................................29 Notch ...............................................................................................................................................29 Formant ..........................................................................................................................................30 Comb Filters .................................................................................................................................30 Combination Filters ....................................................................................................................30 Filter Parameters .........................................................................................................................30 Cut-Off Frequency .......................................................................................................................31 Resonance .......................................................................................................................................31 Filter Slopes ....................................................................................................................................31 Different Synthesizers — Different Filters ...............................................................................32 Filter Configuration and Signal Routing Options ...............................................................34 Using Filters in Practice .............................................................................................................37 Controlling Filter Cut-Off ........................................................................................................37 Filter as a Volume Control .........................................................................................................38 Key Tracking and Filters ............................................................................................................38 Controlling Resonance ...............................................................................................................38 Filters: Some Sonic Examples ...................................................................................................38 Low-Pass Filtering. ........................................................................................................................39 High-Pass Filtering ......................................................................................................................40 Band-Pass Filtering ......................................................................................................................40 Notch Filtering ..............................................................................................................................41 Formant Filtering. .........................................................................................................................41 Sonic Examples with Different Filters ....................................................................................42 Low-Pass Filtering. .......................................................................................................................42 High-Pass Filtering ......................................................................................................................43 Same Slope: Different Filter Types ..........................................................................................43 Using Filters When Creating Patches ....................................................................................43 Chapter 4 Sound Sources .....................................................................................................45 Basic Wave Shapes ......................................................................................................................45 Sine Wave ........................................................................................................................................45 Sawtooth Wave .............................................................................................................................46 Square and Pulse Waves .............................................................................................................47 Triangle Wave ...............................................................................................................................47 Noise .............................................................................................................................................48 Complex Wave Shapes and Variations ...................................................................................48 Pulse-Width Modulation ...........................................................................................................48 Wave Shaping ................................................................................................................................49 Combining Sounds ....................................................................................................................50 Doubling Oscillators ....................................................................................................................51 Layering Oscillators .....................................................................................................................53 Layering Sounds ............................................................................................................................53 Syncing Oscillators .......................................................................................................................55 Table of Contents Combining Sounds: Creating New Tones ............................................................................55 Sawtooth Waves — Same Octave ...............................................................................................55 Square Waves — Same Octave ....................................................................................................59 Sawtooth Waves — Octave Separation ................................................,.....;..............................62 Square Waves — Octave Separation ..........................................................................................65 Combining Sawtooth and Square Waves ...............................................................................66 So Why Have We Listened to All These Combinations of Waves? .................................69 Combining Waves — Practical Patches ...................................................................................69 Other Sound Sources .................................................................................................................71 Samples ............................................................................................................................................71 Frequency Modulation (FM).....................................................................................................71 Feedback ........................................................................................................................................72 Wave-Sequencing .........................................................................................................................72 Additive ..........................................................................................................................................72 Further Sonic Examples ............................................................................................................73 Chapter 5 Modulation and Other Ways of Messing with Things .....................................75 Modulation: The Concept ........................................................................................................75 Modulation in the Real World ................................................................................................75 Effect of Velocity on a Sound .....................................................................................................76 Effect of Key Pitch on a Sound ..................................................................................................76 Effect of Time on a Sound ..........................................................................................................76 Combining the Effect of Velocity, Pitch, and Time ..............................................................76 Modulation Destinations ..........................................................................................................77 Volume ............................................................................................................................................77 Filter ................................................................................................................................................77 Pitch ................................................................................................................................................77 Vibrato Speed ................................................................................................................................78 Pulse-Width ..................................................................................................................................78 Pan ...................................................................................................................................................78 FX ....................................................................................................................................................78 Wavetable Position ......................................................................................................................78 Sample Start Point .......................................................................................................................78 Envelope Speed .............................................................................................................................79 Modulation Sources ...................................................................................................................79 Velocity ...........................................................................................................................................79 Envelopes .......................................................................................................................................80 Pitch Bender ..................................................................................................................................80 Modulation Wheel ......................................................................................................................80 Key Tracking. ................................................................................................................................80 XY Controllers ..............................................................................................................................81 Aftertouch .....................................................................................................................................82 Expression Pedal ...........................................................................................................................82 Wusikstation Wave-Sequence Layers ......................................................................................82 Surge Step Generator ..................................................................................................................82 Oscillator Output ........................................................................................................................82 Random Generators ....................................................................................................................83 MIDI Control Code ...................................................................................................................83 How To Make A Noise LFOs as a Modulation Source ..................................................................................................83 Main LFO Controls ....................................................................................................................83 WaveShape .................................................................................................................................... °3 Speed ...............................................................................................................................................84 Depth ..............................................................................................................................................84 ph он phase ...................................................................................................................................... Monophönic/PolyphonicLFOs................................................................................................85 Rhino LFOs ...................................................................................................................................« Z3TA+LFOS .................................................................................................................................« Surge LFOs .................................................................................................................................... 86 Chapter б Modulation in Practice ........................................................................................ ö/ Modulation in Vanguard ...........................................................................................................87 Working with Vanguard s modulation structure .................................................................90 Modulation in Rhino .................................................................................................................90 Using Modulation in Rhino .......................................................................................................91 Modulating Attack Tirne...^..^ ..................................................................................................91 Modulating the Filter Cut-Off .................................................................................................92 Summary of Modulation in Rhino ..........................................................................................94 Modulation in Wusikstation and Cameleon ........................................................................94 Modulation in Z3TA+ ..............................................................................................................95 Curve ..............................................................................................................................................96 Control ..........................·,·......... V ; . ..... У ....... ..................................................................... ° Z3TAH- Modulation Matrix Working in Practice ...............................................................97 Modulation in Surge ...............................................................................................................100 Chapter 7 . „__ Frequency Modulation Synthesis ....................................................................103 Elements to the FM sound ......................................................................................................103 An Example Patch Structure ...................................................................................................103 Operators ..................................................................................................................................... JPj Filters ............................................................................................................................................ °5 Controls ....................................................................................................................................... 05 Tuning .......................................................................................................................................... 107 Getting to Grips with FM Programming ...........................................................................107 Combining Operators ..............................................................................................................107 Building a First FM Patch .......................................................................................................110 Building Blocks of FM SouxuL. ..........._.........................................................................113 1-І Ratio— FM Using Different Modulators ......................................................................113 H Ratio— FM Using Different Carriers ..............................................................................115 H Ratio— FM Using Same Modulator and Carrier ........................................................116 1-1 Ratio— FM Using Parallel Operators .............................................................................116 1-І Ratio— FM Using Cascading Operators ........................................................................117 More Unusual FM...................»····■·..........................................................................................118 Varying Carrier : Modulator Ratio .........................................................................................119 Envelopes ..................■.................................................................................................................. УЯ Building Usable FM Patches .................................................................................................126 FM Patches—What s Next? ..................................................................................................138 Table of Contents Chapter 7 Supplement Frequency Modulation Synthesis with Surge .................................................139 Building a First FM Patch in Surge .......................................................................................141 BuildingBlocksofFMSound ................................................................................................142 1:1 Ratio— FM Using Different Modulators ......................................................................143 1:1 Ratio— FM Using Different Carriers .............................................................................143 1:1 Ratio —FM Using Same Modulator and Carrier ........................................................144 1:1 Ratio —FM Using Cascading Operators .......................................................................144 Varying Carrier : Modulator Ratio ........................................................................................145 Envelopes .....................................................................................................................................145 Building Usable FM Patches .................................................................................................146 Chapter 8 Wave-Sequencing .............................................................................................147 Basic Wave-Sequencing ...........................................................................................................147 A Different Approach to Wave-Sequencing .......................................................................150 More Advanced Wave-Sequencing .......................................................................................152 FM Wave-Sequencing ..............................................................................................................156 FM Wave-Sequencing Patches .................................................................................................157 FM Arpeggio Patches ................................................................................................................160 A Few Thoughts about Wave-Sequencing ...........................................................................162 Chapter 9 Additive Synthesis ............................................................................................163 Morphing and Cross-Fading ..................................................................................................163 Warning!! Mathematics Ahead ............................................................................................164 Additive Square Wave ...............................................................................................................165 Additive Sawtooth Wave ..........................................................................................................165 Additive Triangle Wave ............................................................................................................166 Difficulties with Additive Synthesis .....................................................................................166 Example Additive Patches .......................................................................................................167 More Complex Additive Patches ...........................................................................................174 FM or Additive? ........................................................................................................................178 Chapter 10 FX .......................................................................................................................179 Why Use FX ..............................................................................................................................180 Deployment of FX ....................................................................................................................180 Insert FX ......................................................................................................................................180 SendFX ........................................................................................................................................180 Using FX in practice ...........................................................,.....................................................181 FX units ......................................................................................................................................181 Distortion ....................................................................................................................................181 Compression ...............................................................................................................................182 EQ .................................................................................................................................................183 Filter ..............................................................................................................................................185 Modulation Effects ....................................................................................................................186 Delay .............................................................................................................................................187 Reverb ...........................................................................................................................................188 Pan .................................................................................................................................................190 Trancegate...................................................................................................................................190 How To Make A Noise Chapter 11 Putting it All Together ......................................................................................191 Design Philosophy ....................................................................................................................191 Programming with a Purpose ..................................................................................................191 Arrangement of the Track .......................................................................................................192 Can t I Just Go and Buy Something? .....................................................................................192 Knowing the Limitations ........................................................................................................194 Polyphony Limit and Note Priority .......................................................................................194 Principles of Sound Design .....................................................................................................195 Main Food Groups ....................................................................................................................196 Getting the Combination Right ............................................................................................196 Choosing the Right Tools ........................................................................................................197 Playability ....................................................................................................................................198 Chapter 12 Building Patches ................................................................................................199 Basses ..........................................................................................................................................200 Z3TA+Bass Patches .................................................................................................................200 Bells and Chimes .....................................................................................................................204 Z3TA+ Bells ...............................................................................................................................204 Keys .............................................................................................................................................205 Wusikstation Piano Patches ....................................................................................................205 Z3TA+ Piano Patches ...............................................................................................................206 Lead .............................................................................................................................................209 гЗТА +Lead ............................................................................................................................... 209 Pads ..............................................................................................................................................210 Rhino Pad ....................................................................................................................................210 Vanguard Pad ............................................................................................ ..................................211 ZSTA+Pads ................................................................................................................................212 Pluck and Stabs ..........................................................................................................................216 Rhino Plucks ...............................................................................................................................216 Vanguard Pluck ..........................................................................................................................217 Wusikstation Stab ......................................................................................................................218 Z3TA+ Plucking and Stabs .....................................................................................................219 Chapter 12— Refill #1 Arpeggiators, Step Generators, and Other Playback Tools ...........................223 Playback Tools in Z3TA+ ......................................................................................................223 12 Step ..........................................................................................................................................223 Load the Gate File .....................................................................................................................224 ArpegiSr .......................................................................................................................................225 MIDI File Player ........................................................................................................................225 Playback Tools in Vanguard ..................................................................................................226 Т -Gate........................................................................................................................................... 226 T-Gate + Arp ..............................................................................................................................226 Playback Tools in Wusikstation ...........................................................................................227 OlVolSeq ....................................................................................................................................227 02 Weird Pitch Seq ....................................................................................................................227 03ArpegSeq ...............................................................................................................................228 Playback Tools in Surge ..........................................................................................................228 01 Pulsing 16s .............................................................................................................................229 02 Sequenced Noise ...................................................................................................................229 03 Controlled Gating. ...............................................................................................................230 Table of Contents Chapter 12— Refill #2 Pushing the Sonic Envelope .............................................................................233 Weird Stuff in Z3TA+ .............................................................................................................233 Dominant Attack ......................................................................................................................233 Dominant Screamer ..................................................................................................................235 Dirty Sustain Bass ......................................................................................................................237 Dissonant XY Pad .....................................................................................................................238 Weird Stuffwith Surge ...........................................................................................................239 01 Chaos Sweep ..........................................................................................................................239 02 Manual Bass Echo ................................................................................................................240 03 Big Bass ...................................................................................................................................242 Chapter 12— Refill #3 Synthetic Drums and Percussion ......................................................................245 Background to Creating Synthetic Drum and Percussion Sounds ...............................245 Kick Drum ................................................................................................................................246 Closed Hats ...............................................................................................................................248 Open Hats .................................................................................................................................249 Snare Drum ...............................................................................................................................249 Rim Shot .....................................................................................................................................251 Claps ............................................................................................................................................252 Cowbell .......................................................................................................................................253 Syn Drum ...................................................................................................................................253 Toms ...........................................................................................................................................254 Chapter 12— Ref ill #4 Making Sounds with Wusikstation .................................................................257 Bass Sounds in Wusikstation .................................................................................................257 Bass Part Used for Rhythm .....................................................................................................258 Bass Part Used for Harmony ...................................................................................................259 Variations on a Theme ...............................................................................................................260 Where Will the Sound Be Listened To? ...............................................................................261 Thickening Up the Low End ...................................................................................................261 Adding More Presence ..............................................................................................................263 Pad Sounds in Wusikstation .................................................................................................263 08 Release me ..............................................................................................................................263 09Slow&warm .........................................................................................................................264 Zoning in Wusikstation .........................................................................................................265 10 12 Pluck ..................................................................................................................................265 Frequency Modulation Synthesis in Wusikstation ..........................................................265 11 Simple FM..............................................................................................................................266 12 FM Vel to Mod .....................................................................................................................266 13 FM Env to Mod ....................................................................................................................267 Varying Modulator: Carrier Ratios ......................................................................................267 And Finally... Further Reading ................................................................................................269 Cakewalk Synthesizers: From Presets to Power User ......................................................269 Building a Successful 21st Century Music Career. ...........................................................269 My Website ................................................................................................................................269 How To Make A Noise Appendix The Synthesizers ...............................................................................................271 Cameleon 5000........................................................................................................................272 Rhino ..........................................................................................................................................273 Surge ............................................................................................................................................274 Vanguard .....................................................................................................................................275 Wusikstation ..............................................................................................................................276 Z3TA+ .......................................................................................................................................277
adam_txt	Table of Contents Introduction Welcome .1 The Featured Synthesizers .1 The Accompanying Patches .2 Chapter 1 Getting Started .3 Synthesizer Architecture .4 Start Point for Programming .5 First Bass .5 Elements of the First Bass Sound .6 Arpeggio .7 Elements of the Arpeggio Sound .7 Lead Whine .7 Elements of the Lead Whine Sound .8 Using the three sounds in a mix .8 Why Did We Make These Sounds? .9 Designed For Purpose .9 Arrangement .,.9 Editing Sounds — Balancing Parameters .9 Simplicity .10 Programming in Context .10 Chapter 2 Envelopes .13 Volume Envelopes .13 What Else Can Envelopes Do? .14 ADSR Envelopes .15 DAHDSR Envelopes .17 DASSDSR Envelopes .18 Z3TA+ to Imitate a Piano .19 Envelope Curves .20 Other Envelopes .21 Z3TA+Pitch Envelope .21 Rhino Envelopes .22 Cameleon 5000 Envelopes .23 Envelopes and Samples .24 Key Tracking and Envelopes .24 Effect of Envelopes on Sounds .'.25 How To Make A Noise Chapter 3 Filters .27 Filter Types .27 Low-Pass .27 High-Pass .28 Band-Pass .29 Notch .29 Formant .30 Comb Filters .30 Combination Filters .30 Filter Parameters .30 Cut-Off Frequency .31 Resonance .31 Filter Slopes .31 Different Synthesizers — Different Filters .32 Filter Configuration and Signal Routing Options .34 Using Filters in Practice .37 Controlling Filter Cut-Off .37 Filter as a Volume Control .38 Key Tracking and Filters .38 Controlling Resonance .38 Filters: Some Sonic Examples .38 Low-Pass Filtering. .39 High-Pass Filtering .40 Band-Pass Filtering .40 Notch Filtering .41 Formant Filtering. .41 Sonic Examples with Different Filters .42 Low-Pass Filtering. .42 High-Pass Filtering .43 Same Slope: Different Filter Types .43 Using Filters When Creating Patches .43 Chapter 4 Sound Sources .45 Basic Wave Shapes .45 Sine Wave .45 Sawtooth Wave .46 Square and Pulse Waves .47 Triangle Wave .47 Noise ..48 Complex Wave Shapes and Variations .48 Pulse-Width Modulation .48 Wave Shaping .49 Combining Sounds .50 Doubling Oscillators .51 Layering Oscillators .53 Layering Sounds .53 Syncing Oscillators .55 Table of Contents Combining Sounds: Creating New Tones .55 Sawtooth Waves — Same Octave .55 Square Waves — Same Octave .59 Sawtooth Waves — Octave Separation .,.;.62 Square Waves — Octave Separation .65 Combining Sawtooth and Square Waves .66 So Why Have We Listened to All These Combinations of Waves? .69 Combining Waves — Practical Patches .69 Other Sound Sources .71 Samples .71 Frequency Modulation (FM).71 Feedback .72 Wave-Sequencing .72 Additive .72 Further Sonic Examples .73 Chapter 5 Modulation and Other Ways of Messing with Things .75 Modulation: The Concept .75 Modulation in the Real World .75 Effect of Velocity on a Sound .76 Effect of Key Pitch on a Sound .76 Effect of Time on a Sound .76 Combining the Effect of Velocity, Pitch, and Time .76 Modulation Destinations .77 Volume .77 Filter .77 Pitch .77 Vibrato Speed .78 Pulse-Width .78 Pan .78 FX .78 Wavetable Position .78 Sample Start Point .78 Envelope Speed .79 Modulation Sources .79 Velocity .79 Envelopes .80 Pitch Bender .80 Modulation Wheel .80 Key Tracking. .80 XY Controllers .81 Aftertouch .82 Expression Pedal .82 Wusikstation Wave-Sequence Layers .82 Surge Step Generator .82 Oscillator Output .82 Random Generators .83 MIDI Control Code .83 How To Make A Noise LFOs as a Modulation Source .83 Main LFO Controls .83 WaveShape . °3 Speed .84 Depth .84 ph он phase . Monophönic/PolyphonicLFOs.85 Rhino LFOs .« Z3TA+LFOS .« Surge LFOs . 86 Chapter б Modulation in Practice . ö/ Modulation in Vanguard .87 Working with Vanguard s modulation structure .90 Modulation in Rhino .90 Using Modulation in Rhino .91 Modulating Attack Tirne.^.^ .91 Modulating the Filter Cut-Off .92 Summary of Modulation in Rhino .94 Modulation in Wusikstation and Cameleon .94 Modulation in Z3TA+ .95 Curve .96 Control .·,·. ""V";".' . 'У" .'. ° Z3TAH- Modulation Matrix Working in Practice .97 Modulation in Surge .100 Chapter 7 . „_ Frequency Modulation Synthesis .103 Elements to the FM sound .103 An Example Patch Structure .103 Operators . JPj Filters . °5 Controls . 05 Tuning . 107 Getting to Grips with FM Programming .107 Combining Operators .107 Building a First FM Patch .110 Building Blocks of FM SouxuL. ._.113 1-І Ratio— FM Using Different Modulators .113 H Ratio— FM Using Different Carriers .115 H Ratio— FM Using Same Modulator and Carrier .116 1-1 Ratio— FM Using Parallel Operators .116 1-І Ratio— FM Using Cascading Operators .117 More Unusual FM.»····■·.118 Varying Carrier : Modulator Ratio .119 Envelopes .■. УЯ Building Usable FM Patches .126 FM Patches—What s Next? .138 Table of Contents Chapter 7 Supplement Frequency Modulation Synthesis with Surge .139 Building a First FM Patch in Surge .141 BuildingBlocksofFMSound .142 1:1 Ratio— FM Using Different Modulators .143 1:1 Ratio— FM Using Different Carriers .143 1:1 Ratio —FM Using Same Modulator and Carrier .144 1:1 Ratio —FM Using Cascading Operators .144 Varying Carrier : Modulator Ratio .145 Envelopes .145 Building Usable FM Patches .146 Chapter 8 Wave-Sequencing .147 Basic Wave-Sequencing .147 A Different Approach to Wave-Sequencing .150 More Advanced Wave-Sequencing .152 FM Wave-Sequencing .156 FM Wave-Sequencing Patches .157 FM Arpeggio Patches .160 A Few Thoughts about Wave-Sequencing .162 Chapter 9 Additive Synthesis .163 Morphing and Cross-Fading .163 Warning!! Mathematics Ahead .164 Additive Square Wave .165 Additive Sawtooth Wave .165 Additive Triangle Wave .166 Difficulties with Additive Synthesis .166 Example Additive Patches .167 More Complex Additive Patches .174 FM or Additive? .178 Chapter 10 FX .179 Why Use FX .180 Deployment of FX .180 Insert FX .180 SendFX .180 Using FX in practice .,.181 FX units .181 Distortion .181 Compression .182 EQ .183 Filter .185 Modulation Effects .186 Delay .187 Reverb .188 Pan .190 Trancegate.190 How To Make A Noise Chapter 11 Putting it All Together .191 Design Philosophy .191 Programming with a Purpose .191 Arrangement of the Track .192 Can't I Just Go and Buy Something? .192 Knowing the Limitations .194 Polyphony Limit and Note Priority .194 Principles of Sound Design .195 Main Food Groups .196 Getting the Combination Right .196 Choosing the Right Tools .197 Playability .198 Chapter 12 Building Patches .199 Basses .200 Z3TA+Bass Patches .200 Bells and Chimes .204 Z3TA+ Bells .204 Keys .205 Wusikstation Piano Patches .205 Z3TA+ Piano Patches .206 Lead .209 гЗТА +Lead . 209 Pads .210 Rhino Pad .210 Vanguard Pad .'.211 ZSTA+Pads .212 Pluck and Stabs .216 Rhino Plucks .216 Vanguard Pluck .217 Wusikstation Stab .218 Z3TA+ Plucking and Stabs .219 Chapter 12— Refill #1 Arpeggiators, Step Generators, and Other Playback Tools .223 Playback Tools in Z3TA+ .223 12 Step .223 Load the Gate File .224 ArpegiSr .225 MIDI File Player .225 Playback Tools in Vanguard .226 Т -Gate. 226 T-Gate + Arp .226 Playback Tools in Wusikstation .227 OlVolSeq .227 02 Weird Pitch Seq .227 03ArpegSeq .228 Playback Tools in Surge .228 01 Pulsing 16s .229 02 Sequenced Noise .229 03 Controlled Gating. .230 Table of Contents Chapter 12— Refill #2 Pushing the Sonic Envelope .233 Weird Stuff in Z3TA+ .233 Dominant Attack .233 Dominant Screamer .235 Dirty Sustain Bass .237 Dissonant XY Pad .238 Weird Stuffwith Surge .239 01 Chaos Sweep .239 02 Manual Bass Echo .240 03 Big Bass .242 Chapter 12— Refill #3 Synthetic Drums and Percussion .245 Background to Creating Synthetic Drum and Percussion Sounds .245 Kick Drum .246 Closed Hats .248 Open Hats .249 Snare Drum .249 Rim Shot .251 Claps .252 Cowbell .253 Syn Drum .253 Toms .254 Chapter 12— Ref ill #4 Making Sounds with Wusikstation .257 Bass Sounds in Wusikstation .257 Bass Part Used for Rhythm .258 Bass Part Used for Harmony .259 Variations on a Theme .260 Where Will the Sound Be Listened To? .261 Thickening Up the Low End .261 Adding More Presence .263 Pad Sounds in Wusikstation .263 08 Release me .263 09Slow&warm .264 Zoning in Wusikstation .265 10 12 Pluck .265 Frequency Modulation Synthesis in Wusikstation .265 11 Simple FM.266 12 FM Vel to Mod .266 13 FM Env to Mod .267 Varying Modulator: Carrier Ratios .267 And Finally. Further Reading .269 Cakewalk Synthesizers: From Presets to Power User .269 Building a Successful 21st Century Music Career. .269 My Website .269 How To Make A Noise Appendix The Synthesizers .271 Cameleon 5000.272 Rhino .273 Surge .274 Vanguard .275 Wusikstation .276 Z3TA+ .277
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illustrated	Illustrated
index_date	2024-07-02T20:24:21Z
indexdate	2024-07-09T21:13:55Z
institution	BVB
language	English
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-016428014
oclc_num	187291298
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physical	VIII, 277 S. Ill. 24 cm
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spelling	Cann, Simon Verfasser aut How to make a noise a comprehensive guide to synthesizer programming Simon Cann [New ed.] New Malden Coombe Hill 2007 VIII, 277 S. Ill. 24 cm txt rdacontent n rdamedia nc rdacarrier Software synthesizers Software samplers Sampler Musikinstrument (DE-588)4283793-5 gnd rswk-swf Programmierung (DE-588)4076370-5 gnd rswk-swf Synthesizer Musikinstrument (DE-588)4124279-8 gnd rswk-swf Synthesizer Musikinstrument (DE-588)4124279-8 s Programmierung (DE-588)4076370-5 s Sampler Musikinstrument (DE-588)4283793-5 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016428014&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Cann, Simon How to make a noise a comprehensive guide to synthesizer programming Software synthesizers Software samplers Sampler Musikinstrument (DE-588)4283793-5 gnd Programmierung (DE-588)4076370-5 gnd Synthesizer Musikinstrument (DE-588)4124279-8 gnd
subject_GND	(DE-588)4283793-5 (DE-588)4076370-5 (DE-588)4124279-8
title	How to make a noise a comprehensive guide to synthesizer programming
title_auth	How to make a noise a comprehensive guide to synthesizer programming
title_exact_search	How to make a noise a comprehensive guide to synthesizer programming
title_exact_search_txtP	How to make a noise a comprehensive guide to synthesizer programming
title_full	How to make a noise a comprehensive guide to synthesizer programming Simon Cann
title_fullStr	How to make a noise a comprehensive guide to synthesizer programming Simon Cann
title_full_unstemmed	How to make a noise a comprehensive guide to synthesizer programming Simon Cann
title_short	How to make a noise
title_sort	how to make a noise a comprehensive guide to synthesizer programming
title_sub	a comprehensive guide to synthesizer programming
topic	Software synthesizers Software samplers Sampler Musikinstrument (DE-588)4283793-5 gnd Programmierung (DE-588)4076370-5 gnd Synthesizer Musikinstrument (DE-588)4124279-8 gnd
topic_facet	Software synthesizers Software samplers Sampler Musikinstrument Programmierung Synthesizer Musikinstrument
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016428014&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT cannsimon howtomakeanoiseacomprehensiveguidetosynthesizerprogramming

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