Electronic sound production is the backbone of modern music creation. It's all about manipulating sound waves to craft unique sonic experiences. From pitch and timbre to amplitude, these elements form the building blocks of electronic music.

Synthesizers are the heart of electronic sound production. They use various techniques like additive, subtractive, and FM synthesis to generate complex sounds. Understanding these methods is key to unlocking a world of creative possibilities in electronic music composition.

Fundamentals of Electronic Sound Production

Elements of sound

• Pitch represents the perceived frequency of a sound wave
  • Measured in Hertz (Hz), which is the number of cycles per second
  • Determined by the speed of vibrations (faster vibrations produce higher pitches)
  • Examples: A440 tuning note (440 Hz), middle C on a piano (261.6 Hz)
• Timbre describes the characteristic quality or color of a sound
  • Determined by the unique combination of harmonics and the envelope of a sound
  • Allows distinction between different sound sources (violin vs guitar)
  • Affected by factors such as materials, size, and shape of the sound source
• Amplitude refers to the loudness or volume of a sound
  • Measured in decibels (dB), a logarithmic scale representing sound pressure level
  • Determined by the strength or intensity of vibrations (larger vibrations produce higher amplitudes)
  • Examples: Whisper (30 dB), normal conversation (60 dB), live rock concert (110 dB)

Process of sound synthesis

• Sound synthesis involves the creation of sound using electronic means
  • Generates audio signals from scratch or by manipulating existing sounds
  • Enables the creation of unique and complex timbres not found in natural instruments
• Additive synthesis combines simple waveforms to create complex sounds
  • Each waveform represents a harmonic or partial of the overall sound
  • Adjusting the amplitude and frequency of each partial shapes the timbre
• Subtractive synthesis starts with a harmonically rich waveform and filters it to shape the sound
  • Uses filters to remove or attenuate certain frequencies from the original waveform
  • Common filter types include low-pass, high-pass, and band-pass filters
• Frequency modulation (FM) synthesis modulates the frequency of one waveform (carrier) with another (modulator)
  • Creates complex, dynamic timbres with a small number of waveforms
  • Widely used in early digital synthesizers (Yamaha DX7)
• Wavetable synthesis stores and plays back pre-recorded or generated waveforms
  • Allows for realistic emulation of acoustic instruments and complex evolving timbres
  • Waveforms can be smoothly interpolated or morphed to create new sounds

Analog and Digital Sound Production

Analog vs digital sound production

• Analog sound production uses continuous electrical signals to represent sound
  • Utilizes physical components like oscillators, filters, and amplifiers to generate and shape sound
  • Prone to noise, distortion, and inconsistencies due to component tolerances and aging
  • Offers unique, warm, and organic sound characteristics often associated with vintage gear
• Digital sound production uses discrete binary data to represent sound
  • Relies on digital signal processing (DSP) algorithms to generate and manipulate sound
  • Provides precise control, repeatability, and the ability to store and recall settings
  • Allows for complex sound manipulation, effects processing, and integration with software

Application of electronic sound concepts

1. Oscillators generate basic waveforms as building blocks for sound synthesis

   • Common waveforms include sine, square, sawtooth, and triangle waves
   • Adjust pitch (frequency) and amplitude to create different tones and volumes

2. Envelopes shape the amplitude of a sound over time

   • Use attack, decay, sustain, and release (ADSR) parameters to control the sound's evolution
   • Examples: Slow attack for pad sounds, fast attack for percussive sounds

3. Filters modify the frequency content of a sound

   • Apply low-pass filters to remove high frequencies (muffled sound)
   • Use high-pass filters to remove low frequencies (thin or bright sound)
   • Experiment with band-pass and notch filters for more specific frequency shaping

4. Effects enhance and manipulate sounds using audio processors

   • Reverb simulates the sound of a physical space (concert hall, room)
   • Delay creates echoes and rhythmic patterns (slap-back delay, ping-pong delay)
   • Chorus and flanger add motion and depth to the sound
   • Distortion and overdrive add harmonics and grit to the sound
   • Compression evens out the dynamic range of a sound

5. Sequencing arranges and triggers sounds in a specific order

   • Create rhythms, melodies, and harmonies by programming notes and patterns
   • Use a hardware sequencer or DAW (digital audio workstation) software for sequencing