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Here are some basics - I'll keep the science to a minimum. Funnily enough, some of my best stuff was made before I knew any of this. Because I didn't have a clue what I was actually doing, all I could do was listen to the noises coming out and use them accordingly. Listening is the most important fundamental
WAVEFORMS
A sine wave is a pure frequency. The note you hear, the 'fundamental frequency', is all there is to it. It is the simplest, cleanest tone, the building block of all other tones and in a musical sense, pretty boring really.
Now, while the fundamental gives us the note we perceive, one instrument playing a C sounds very different from another playing the same note. This is because all sounds (other than a sine) are made up of various frequencies, at various relative amplitudes, all interacting with each other to create what we perceive to be the character or 'timbre' of the sound.
Take a pure sine and add another, at twice its frequency and half it's amplitude. This is called a harmonic. Specifically, the 2nd harmonic. The 3rd harmonic is the fundamental frequency x3 at 1/3 the amplitude. The 4th at 4x the fundamental 1/4 amplitude and so on...
A sawtooth has all these harmonics present while a square has only the odd harmonics present. Hence they have different characters to each other.
OK, that's the 'why' so now listen to the 'what':
Here's a vid that demos the sine, square and saw waves.
Here's another that includes a triangle wave.
This vid is a good demonstration of how particular sets of sine waves added together combine to make up other waves.
FILTERS
A filter, cuts out certain frequencies. A high-pass cuts out low freqs while a low pass cuts out high freqs. Band pass, cuts out both, letting through a 'band' of frequencies. This is where the sine proves itself to be totally boring as, applied to a sine wave, a filter either lets it through, or doesn't - there's no middle ground. Any other tone will have a mix of frequencies for the filter to act upon, so changing the nature of the sound gradually to make new sounds.
The character of a filter is determined by stuff like:
- Its slope ie. the rate at which it attenuates on the other side of it's cutoff frequency.
- Resonance is an accentuation around the cutoff frequency - and is the fundamental source of the acid experience!
OSCILLATORS & LFO's
An oscillator osculates - it goes up and down. If it goes up and down fast enough it produces a frequency that we can hear. The manner in which it goes up and down determines the timbre of that sound eg. Sine, saw, square etc.
If it goes up and down at a frequency below that which we can hear, it's called a Low Frequency Oscillator or LFO and we use this to make other stuff go up and down. We might apply this LFO to modulate the amplitude or frequency of an audible wave, we might apply it to the cut-off point of a filter. We might apply an LFO to the frequency or amplitude of another LFO which is controlling another LFO which is changing the brightness of a particular light on the mixer but if we did that, it's a sure sign we're too stoned and it's time to go to bed.
ADSR - Envelope shapers
So far we've looked at constant cycling 'states of sound' but to make things even more interesting, in so-called real life these various frequencies change over time giving us all sorts of clues as to what we're hearing.
A good example would be the pluck of a guitar string. The frequency it ends up resonating at is determined by its length, thickness and the tension on the string. However the act of plucking it increases the tension momentarily and so increases the pitch momentarily. There's also an amplitude peak as the string is plucked. Then, very quickly, it settles down to oscillating at its note where it remains pretty much until it is stopped/damped.
ADSR stands for Attack, Decay, Sustain, Release which are the 4 stages of a basic envelope.
Attack is the time it takes to reach the initial peak of the sound. Decay is the rate it drops off from this initial peak. Sustain is the level the sound rests at (this is where we typically ascertain the note of it) and Release is the time it takes to drop away from the sustain level to silence.
As you play a note, this ADSR process is triggered giving shape to the note. The aspect of the sound that it's applied to though could be the frequency, amplitude, the cut-off of a filter - in each case producing an entirely different nature of instrument note.
I hope that all helps you get moving - obviously there's a lot more to be said but I have to go do some work at some point ;-)
I recommend hours, days, months, years of noodling... and listening! |
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