Emax II operation manual
219
SPECTRUM SYNTHESIS
Experiments
APPROACHING SPECTRUM SYNTHESIS
As with any type of synthesis, there are many ways of approaching the creation of sound.
No matter how long you have worked with any synthesizer there are always sounds that
have yet to be created. The palette of possible sounds is just so large that whole categories
are bound to be missed. And remember that some of the best sounds are created by
chance.
There is a great deal to be learned about sound. Spectrum Synthesis (and the Emax II in
general) can be thought of as a powerful audio laboratory. Spectrum Synthesis is just one
of the tools in your lab. Here we have presented some ideas so you will have a starting
point with regard to your experiments. Remember to turn in your lab notebook by
Friday.
SPECTRUM SYNTHESIS EXPERIMENTS
■ Start with a Spectrum at Time Slice location 01 and one at location 24. Interpolate
between them, then synthesize. Add Spectrums to the sound in order to add complexity.
■ Create sounds by using the Amplitude Contour function. This may be a more intuitive
way for you to synthesize sounds. Amplitude Contour lets you draw the amplitude
envelope for each partial as shown in the Amplitude Contour diagram. Use combina-
tions of Time Slicing and Amplitude Contouring.
■ Insert wildly varying Spectrums at each Time Slice location and synthesize using the
Step function for wavetable synthesizer sounds.
■ Splice the sampled attack portion of a sound onto the beginning of your synthesized
sound. Preset 01 (InstAttacks!) of the Spectrum Synthesis development disk contains a
full range of various attacks just for this purpose. The attack portion of a sound carries
a great deal of information to your ears about the nature of a sound. That sampled flute
chiff might be just what your synthesized sound needs.
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2321191715131197531
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2018161412108642
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0 sec 1.7 sec
Time Slice
Partial
(Amplitude Contour)
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