Additive synthesis - description & list

Additive synthesis is a method of sound synthesis that builds complex sounds by adding together multiple sine waves with different frequencies, amplitudes, and phases. In other words, it involves combining simple waveforms to create more intricate and varied sounds.

In it's early forms, this was really primitive, but these early synths were the building blocks of wavetables.

The pic below is that of Jean Fourier who's experiments led to Fourier & Harmonic analysis.

The fundamental concept behind additive synthesis is that any periodic waveform can be represented as the sum of individual sine waves at different frequencies and amplitudes. 

You can break down every single Hz to a sine wave.

Each sine wave in this additive process is called a partial, and the combination of these partials produces the final, composite sound.

So this idea is to generate the final sound by combining sinewaves (which are generated either manually or with algorithms)

The parameters that define each partial include:

Frequency: Determines the pitch of the partial.

Amplitude: Controls the volume or intensity of the partial.

Phase: Specifies the starting point of the sine wave.

The advantage of additive synthesis is its ability to create a wide variety of complex sounds, including those with rich harmonic content. However, the drawback is that manually adjusting the parameters of numerous partials can be labor-intensive. Digital technology has made additive synthesis more practical, allowing synthesizers and software to handle the complexities of manipulating multiple partials in real-time.

Additive synthesis contrasts with subtractive synthesis, where complex waveforms are created by filtering and modifying simpler waveforms (e.g., sawtooth or square waves). Each method has its strengths and weaknesses, and they are often used in combination to achieve a broader range of sound possibilities.

List of hardware additive synthesizers"

1. hammond organ - (1930s)

2. Telharmonium (1900)

3. RMI Harmonic Synthesizer (1974)

4. EMS Digital oscillator bank

5. Fairlight - Qasar M8 & CMI IIx (1979)

6. New England Digital Synclavier II (1979)

7. Kawai K5 (1987) K5000s & K5000R

8. Wersi EX20 (1986)

9. Technos Acxel (1988)

10. Buchla 148 Harmonic Generator module (1960s)  ??

11. OSCar - Subtractive synth with the bonus of programmable additive waveforms. (1983)

These synths are all really rare & difficult to find.

But don't fear. There are a few software synths you can try

1. Native Instruments Razor: A software synthesizer that combines additive synthesis with traditional subtractive synthesis.

2. Air Loom II - modular additive synthesizer with a shape-shifting Morph Pad

    

3. Arturia Pigments 3

4. Arturia Synclavier V

The more I dug, the more additive synths I discovered, esp in the digital world.

A note about the Buchla 148 module. .. this is not a pure additive synthesis module but I thought

it deserved a mention. It generates a fundamental and its first nine harmonics (harmonic numbers 1 - 10). There is a modern eurorack version ... The Verbos Harmonic Oscillator

Other additive oscillators worth exploring are the Odessa from XAOC Devices and the Ensemble Oscillator by 4MS.

The OSCar is an interesting synth. (mine is in repair, but when Ive got it fixed I'll def do some demo videos). 

"In addition to all the standard subtractive features that are common on analog synths of the day,

it has a bonus of programmable additive waveforms. Chris came up with a very creative way of allowing users to build their own waveforms by adding individual harmonics. 

The top two octaves of the keyboard have their keys numbered from 1 to 24. When one of these keys is pressed in harmonic‑creation mode, it adds the harmonic of that number into the waveform in real time. 

You actually hear the harmonic come in to the waveform as you press the key, which was unprecedented back in the early '80s. Pressing a key repeatedly increases the volume of that harmonic proportionally in the overall result. 

The method produced additive waveforms very quickly, unlike all the additive systems which had preceded it, and meant that untutored users could be making their own waveforms in seconds." SOS magazine 1999

Shoot me a message if there is a additive synth you think I must include in this list.

Cheers J

Links

+ Fairlight Page 4 --- Harmonic Profiles 

+ The Littoral Myth- Does Buchla really focus on Additive Synthesis?

Connecting the KO II to external gear.

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Links:

+ TE website

+ KO 133 website

+ KO II 133 online manual

+ KO II online sample tool / editor

Eurorack & Analog 16' Clock

This is an analog trigger. It's equivalent PPQN is 4.( ie four pulses per quarter note
or 1⁄4 the duration of a quarter note.)
It's also called 16th because a note is sent or received every 16th note.

enter system settings by pressing (shift) and (erase).

use (minus) and (plus) to navigate to the sync settings, then press (enter) on the pads.

use (minus) and (plus) to navigate to ‘in’ or "out", then hit (enter). 

use (minus) and (plus) to navigate to ‘16’, then hit (enter)

The K.O.II will now listen for or send out  a 16 clock pulse on it’s sync-in/out jack, 

The output clock pulse is 3.3V

RING: Start/Stop

Sync input

max level: 10 V

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Pocket Operator, Korg SQ-1, Volcas (8' clock)

(POs sync on audio pulses... essentially a click track).

Korg SQ-1 sequencers and the Korg Volcas use this standard.
A single KORG pulse is equivalent to just 2 PPQN.

It's also called 8th because a note is sent or received every 8th note.

enter system settings by pressing (shift) and (erase).

use (minus) and (plus) to navigate to the sync settings, then press (enter) on the pads.

use (minus) and (plus) to navigate to ‘in’ or "out", then hit (enter). 

use (minus) and (plus) to navigate to ‘8’, then hit (enter)

The K.O.II will now listen for or send out  a 8 clock pulse on it’s sync-in/out jack, 

The output clock pulse is 3.3V

RING: Start/Stop

Sync input

max level: 10 V

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Roland Drum machines (Sync 24)

In the case of MIDI (and Roland DIN Sync), the standard is 24PPQN.
Lots of old Roland Synths such as the TB303 & TR606, 808, 909 use this standard.
Most DAWs will also use  a 24 PPQN signal

enter system settings by pressing (shift) and (erase).

use (minus) and (plus) to navigate to the sync settings, then press (enter) on the pads.

use (minus) and (plus) to navigate to ‘in’ or "out", then hit (enter). 

use (minus) and (plus) to navigate to ‘24’, then hit (enter)

The K.O.II will now listen for or send out  a sync24 clock pulse on it’s sync-in jack, 

---------------

MIDI (in)

Teenage E use TRS MIDI type A connectors These transmit MIDI over standard Stereo cables

+ Midi/DIN  to TRS 3.5mm

control K.O.II with a midi keyboard

once you have your midi keyboard connected, K.O.II will detect any notes and light up the MIDI or usb icon (depending on what input is used) on the screen.

Each note of the keyboard will play a different pad

If you want to play one pad transposed across the keyboard just press (keys)!!

MIDI (out)

To control external synths with the KO II

Go into EDIT

(Shift + Sound)

Press the +/- key till you arrive at MID

Each pad sends MIDI on its own channel.

Select a pad and Use the orange knobto change the midi channel.

Nagasaki Harbour - Japan

 Some pics of Nagasaki harbour. On route to Battleship island.

Nagasaki Harbor is a vital port located in the city of Nagasaki, Japan. It has a rich historical significance due to its role in international trade, particularly during the Edo period (1603-1868) when Japan was largely isolated from the rest of the world. Nagasaki was one of the few ports in Japan that maintained trade connections with foreign countries, primarily through Dutch and Chinese merchants.

Mitsubishi Heavy Industries Nagasaki Shipyard & Machinery Works, commonly known as the Mitsubishi Nagasaki Shipyard, located in Nagasaki, Japan. This shipyard is one of the major facilities operated by Mitsubishi Heavy Industries (MHI), a leading global manufacturing and engineering company.

The Mitsubishi Nagasaki Shipyard has a long history dating back to the late 19th century. It was originally established by Mitsubishi Shipbuilding Company, a predecessor of Mitsubishi Heavy Industries, in 1857. Over the years, the shipyard has played a significant role in Japan's shipbuilding industry, producing a wide range of vessels, including warships, cargo ships, tankers, and cruise ships.

During World War II, the Mitsubishi Nagasaki Shipyard was heavily involved in the production of naval vessels for the Imperial Japanese Navy. It was also the site where the famous battleship Yamato was constructed, although it was launched from another shipyard.

Following the war, the shipyard underwent reconstruction and modernization efforts to adapt to changing market demands and technological advancements. Today, it specializes in the construction of various types of ships, including commercial vessels, liquefied natural gas (LNG) carriers, and offshore structures.

The shipyard is also known for its expertise in ship repair, maintenance, and conversion services. It has a dry dock and other facilities capable of accommodating large vessels for repairs and renovations.

In addition to shipbuilding and repair, the Mitsubishi Nagasaki Shipyard is involved in the production of marine machinery and equipment, including marine engines, propulsion systems, and offshore platforms.

Overall, the Mitsubishi Nagasaki Shipyard plays a significant role in Japan's maritime industry and contributes to the economy of Nagasaki Prefecture by providing employment opportunities and supporting related businesses and industries.

Megami Ohashi (Goddess Bridge): This bridge, also known as the Nagasaki Harbor Bridge, is a prominent suspension bridge that spans the harbor, connecting Nagasaki's downtown area with the Nagayo district. It offers picturesque views of the harbor and the surrounding landscape.

 It was officially opened on December 11, 2005. The total length of the bridge is 1289 meters, and the main bridge is 880 meters long.

Importing MIDI from Ableton to a Keystep Pro

 A brief description of how to transfer MIDI files to the Arturia keystep pro.

1. Open MIDI Control Center and select MIDI-Channels to your likings

    Ive set it up as follows

2. Check Ableton`s MIDI-Preferences

    The Keystep pro doesnt show up as a control srface, ... I use the Beatstep HST2

3. Create an External Instrument in Ableton

    Put the midi clips into the ext instrument.

  

    

4. Configure your External Instrument MIDI-Channel to your Keystep Pro MIDI-Channel-Input

       In this case ill export the various midi clips via channel 4 into the KSP

5. Make sure that your Pattern-length in your Keystep Pro has the same size (here 4 bars) 

     as the MIDI-Clip, which you want to import

6. Now Record your MIDI-File to your Keystep Pro (KSP)

Just ARM the KSP by pressing the record button (on the KSP) and press play on the MIDI clip

within Abelton.

7. If you want to record a MIDI file which is longer pattern than 4 bars, I think the easiest way around this is to break up the pattern into 4Bar sections and record these into different memory slots.

Then simply play the patterns in a row.

Arturia Keystep pro -- Record an arpeggio into the sequencer:

 To record an arpeggio into the sequencer:

Select a track (2,3 or 4) and set it to Arpeggio mode.

 

Select an empty pattern in this track.

 

Set Mode to Poly ('Shift'+ Poly).

 

Deselect overdub so it's off (to get a better idea of what's happening).

 

Start the Arpeggiator (press Play).

 

Press record, hold down a chord to start an arpeggio.

Now, simply press the sequencer button on the same track to activate the sequencer and start playing back the recorded arp.

All 'Shift' edit options are now available to further edit the sequence.

Nagasaki National Peace Memorial Hall

 Nagasaki National Peace Memorial Hall for the Atomic Bomb Victims: Opened in 2003, this memorial hall provides information about the events surrounding the atomic bombing and commemorates the victims. It includes exhibits, personal testimonies, and a Hall of Remembrance.

The primary purpose of the Peace Memorial Hall is to honor the memories of the victims who lost their lives in the bombing and to convey the impact of nuclear warfare on humanity. It seeks to educate visitors about the consequences of nuclear weapons and promote a commitment to peace and the abolition of nuclear arms.

The hall's design incorporates elements that evoke the themes of sorrow, prayer, and hope. The architecture and exhibits aim to convey the tragic events of the bombing while emphasizing the importance of peace and reconciliation.

I really liked the spiral entrance

Reminded me of the Getty Museum in NYC

This is the ceiling

The Peace Memorial Hall features a variety of exhibits, including personal testimonies, artifacts, photographs, and interactive displays. These exhibits provide historical context, share the stories of survivors, and illustrate the broader consequences of the atomic bombing.

 One notable feature is the Hall of Remembrance, a contemplative space where visitors can reflect on the impact of the atomic bombing. The hall includes the Record Room, which contains the names of the victims, and the Memorial Room, which displays photographs and personal items left behind by those who perished.

The Peace Memorial Hall conducts educational programs and events to raise awareness about the historical events surrounding the atomic bombing and the importance of working towards a world free of nuclear weapons.

The Nagasaki National Peace Memorial Hall for the Atomic Bomb Victims plays a crucial role in preserving the memory of the tragedy while advocating for peace and nuclear disarmament. It is an integral part of the Nagasaki Peace Park, which includes various monuments and memorials dedicated to promoting a message of peace and reconciliation.

For more travel postcards click here:

http://djjondent.blogspot.com.au/2015/03/travel-postcards-index-my-travel.html