[sdiy] Additive Synthesis - Wendy would say it works...

[CCartCat at aol.com]

In a message dated 3/22/05 12:48:33 AM, mclilith at charter.net writes:


> At 02:49 AM 3/22/2005 , harrybissell wrote:
> >
> >oooh I KNOW  (raises hand)
> >
> >It should have a parameter called "phat"    ;^)
> >
> >H^) harry  (now just what is THAT ???)
> 
> Okay, but EXACTLY what happens to the synth's sound when you move the phat
> control? So far, you've just given me a label for the knob. What do you
> want it to actually do to the sound? (Please don't say you want to make it
> phatter.)  :)
> 
> Once we decide on what phat should do, what other parameters do you want
> control over? Do you just want a synth with one knob, labeled "phat"? I
> have to admit, new patch creation would be a breeze with a machine like
> that.  :)
> 
> 
> take care,
> Glen
> 

Ignorant lurker, fighting off a cold, speaking out of turn, FWIW--

Where Angels Fear to Tread:   Phat might be "more bassy", or having a sound 
with substantial bottom and a perhaps some psychoacoustic upper partials (think 
distortion) so crummy speakers still give you the sense that a bassline is 
present.   Turning a phat knob (joke that it is) would accentuate the 
fundamental, maybe create a sub-fundamental, and give ya some extra 2nd or 3rd (we'll 
call them "toob") harmonics.   (If the term "phat" creates confusion, another 
might be substituted.   Something more dispassionate & clinical--say, 
"booty-licious".)

I Wanna Be An Individual, Just Like Every One Else:   Batz (Mr. Batzman to 
me) mentioned the philosophy of music making and how far one is willing to dig.  
 Important words those are (and indeed, briefer than what follows).

At one GUI extreme (talking software, but in principle same goofiness can 
happen in hardware), you might imagine an additive synth masquerading as an 
subtractive synth.   You have a basic faux analog with the knobs and selectors for 
VCA/VCF/VCA, being faked within by additive means.

At another extreme, you have the synth Nate hoped folks would sensibly avoid. 
  Many many partials from low to highest, and bitchin' multi-segment 
envelopes (or hell, mixer automation-like continuous controller contours) on each 
partial.

Somewhere, in between, you have a choice of what you would actually build 
and/or use according to your music-making philosophy.   

That latter "look, I'm analog too" end might be at best training wheels for 
the additive adverse.   And no more.
 
That other highest peak of controllability would be to make possible the most 
rigorously hi-def molding of transients and long-term timbral variations.

And in between, one might make things kinda subtractive or broad-strokes by 
using envelopes on groupings of harmonics.   Kinda like the phat knob.   
Brightness and warmth contours, odd and even harmonics yadda yadda.   Or for greater 
tweakability, contour envelopes for user defined groupings of partials.   

Hell, for holy grail effect, make it all scaleable or create levels of 
control (á la video games:   "dude, I just reached level 4 on that new additive 
synth").

I dunno.   Point is, whatever the tweak factor is, it would match your 
willingness to dig in.   An additive for the people approach would have broader 
controls that make noticeable differences in timbre while milking some of 
additive's distinctive potential.   A "this is exactly why I'm into additive" approach 
would seek to maximize the timbral opportunities additive can offer (forgive 
the Tony Robbins speak).

Gee, um, this frenzy of design considerations (brought to you by the 
marketing dept. from the lost continent of Atlantis) belies the fact that someone 
would have actually build the thing (back to notions of how & if one can implement 
this or that).   

But as a thought experiment, something imagined to sort out what you might 
want and why, I think this is your area of play.

With that much said, I'll nap now & ponder world peace,
Kevin Seward
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