Gordon Reid continues his series on the theory of subtractive synthesis by delving deeper into the amazingly complex world of the analogue audio filter.
You are here
Having dealt last month with the concepts of envelopes, oscillators and LFOs, Gordon Reid moves on to the subject of filters, and the havoc they wreak on the signals that pass through them.
We move on from discussing the harmonic components of sound to explaining how they change over time, and some of the tools subtractive synths give you to emulate this process.
In Part 1 we explained how the tones of most real instruments can be reduced to patterns of harmonics, which can be generated using sine, saw, square or pulse waveforms. This month, we consider the sonic raw materials needed to imitate unpitched percussion.
In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?
How to find this classic multi-part 'synthesis explained' tutorial series on the current Sound On Sound site.
The first single from the Manic Street Preachers' This Is My Truth Tell Me Yours album entered the UK charts at no.1 — even though the band had adandoned their traditional power‑chord approach in favour of acoustic guitars, string machines and unusual synth effects. We talk to Dave Eringa, the producer who oversaw this successful change of direction.
It was the best-selling single of last year, and signalled a radical change of musical direction for Cher — complete with bizarre vocal processing. Yet, surprisingly, it was produced in a small studio in West London. Sue Sillitoe relates the astonishing tale of 'Believe'.
Brass and reed instruments present some challenging problems to the recording engineer, whether played by soloists or sections. Hugh Robjohns offers some hints and tips.
In this final instalment, we present a practical overview of the 'room‑within‑a‑room' principle which is used in the construction of virtually all major studios.
Having dealt with walls and floors, we move on to the floors and ceilings of the studio, with a view to reducing sound leakage even further.
We turn our attention to uprating studio walls, as well as techniques for building sound‑isolating partitions.
This month, we examine doors and windows, the most vulnerable areas when it comes to sound leakage.