extended introduction and conclusion
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@ -364,11 +364,27 @@ Preface
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\end_layout
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\end_layout
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\begin_layout Section*
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\begin_layout Section*
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Motivation
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Introduction
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\end_layout
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\end_layout
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\begin_layout Standard
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\begin_layout Standard
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The project was inspired by the film
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This paper constitutes an attempt to summarize the most important facts
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and information on the topic of analog, modular synthesizers.
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The range of discussed subjects involves a series of various perspectives,
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including historical, theoretical, electronic and practical viewpoints.
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\end_layout
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\begin_layout Standard
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Its goal is to convey an understanding of the inner workings of electronic
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synthesizers and their components.
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Moreover the reader is guided through the process of creating a small but
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functional modular synthesizer setup that is fun to play and experiment
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with.
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The intention was to investigate the possibilities and limits in designing
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and building an analog sound device for someone, who had not been in contact
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with analog synthesizers, let alone building electronics devices before.
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The project was inspired by the film
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\emph on
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\emph on
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moog
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moog
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\emph default
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\emph default
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@ -387,13 +403,7 @@ cite{Fjellestad:movie}
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, a documentary about Dr.
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, a documentary about Dr.
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Robert Moog, electronic instrument pioneer and inventor.
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Robert Moog, electronic instrument pioneer and inventor.
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Its goal is to convey an understanding of the inner workings of electronic
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synthesizers and their components.
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The reader is guided through the process of creating a small but functional
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modular synthesizer setup that is fun to play and experiment with.
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The intention was to investigate the possibilities and limits in designing
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and building an analog sound device for someone, who had not been in contact
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with analog synthesizers, let alone building electronics devices before.
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\end_layout
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\end_layout
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\begin_layout Section*
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\begin_layout Section*
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@ -444,41 +454,6 @@ To make it playable with a keyboard, a MIDI input module is added.
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\end_layout
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\end_layout
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\begin_layout Standard
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\end_layout
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\begin_layout Section*
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A Personal Journey
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\end_layout
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\begin_layout Standard
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As a trained programmer and web application developer the field of electronic
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engineering always seemed appealing to me.
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Hence the assignment for a research paper during the audio engineering
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course at SAE Institute seemed like a welcome opportunity to dive into
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the realm of building electronic devices in the context of sound generation
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and modification.
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\end_layout
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\begin_layout Standard
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The process of writing this paper has been an unexpectedly rewarding and
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inspiring experience, pushing the boundaries of my own musical and technical
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understanding.
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Most notably the concepts of free composition - meaning allowing randomness
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and therefore putting oneself in the position of reacting to a musical
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system, influencing it in terms of tendencies, rather than controlling
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it with a predetermed mindset - has been something that really changed
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my perseption of musical creativity.
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This for me seems much more attainable in the analog world, where electrical
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components and signal chains can be brought to their tipping points, resulting
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in an unpredictable outcome.
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That is where sound exploration begins, which is a totally different experience
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than knowing what will happen.
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Virtual digital environments, which I was familiar with on the other hand,
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generally seem to tend persuade the user to feel in control at all times.
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\end_layout
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\begin_layout Chapter
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\begin_layout Chapter
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Historic Evolution of the Synthesizer
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Historic Evolution of the Synthesizer
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\end_layout
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\end_layout
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@ -1200,7 +1175,7 @@ lines 0
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placement O
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placement O
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overhang 0in
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overhang 0in
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width "5cm"
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width "5cm"
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status collapsed
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status open
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\begin_layout Plain Layout
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\begin_layout Plain Layout
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\begin_inset ERT
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\begin_inset ERT
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@ -2099,6 +2074,10 @@ name "sub:electronic-filter"
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\end_layout
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\end_layout
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\begin_layout Subsubsection
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Passive Filter
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\end_layout
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\begin_layout Standard
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\begin_layout Standard
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Filter circuits are generally based upon the fact that the transfer of alternati
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Filter circuits are generally based upon the fact that the transfer of alternati
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ng currents through a capacitor becomes increasingly weak below a certain
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ng currents through a capacitor becomes increasingly weak below a certain
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@ -2107,7 +2086,226 @@ ng currents through a capacitor becomes increasingly weak below a certain
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If the capacitor is connected to the ground the high frequencies are short
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If the capacitor is connected to the ground the high frequencies are short
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circuited and low frequencies remain in the signal path.
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circuited and low frequencies remain in the signal path.
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This is referred to as a resistor-capacitor (RC) element.
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This is referred to as a resistor-capacitor (RC) element.
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This simple circuit represents a passive, first-order butterworth filter
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with a roll-off of 6 dB per octave.
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\begin_inset Note Note
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status collapsed
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\begin_layout Plain Layout
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The moog filter for example concatenates four of these RC elements in a
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row and regulates the resistor values
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~57]{Anwander2011}
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\end_layout
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\end_inset
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.
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\end_layout
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\end_inset
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To increase the slope of the filter multiple RC elements can be connected
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in series
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~57]{Anwander2011}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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Nevertheless this poses some disadvantages, because the filter stages influence
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each other.
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The resistor of the first filter affects the resistance of the second.
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This can be dealt with by designing the second filter to have a much higher
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impedance.
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Unfortunately a high impedance circuit is much more prone to interferences
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and signal noise
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~97]{Sontheimer2004}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Subsubsection
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Active Filter
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\end_layout
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\begin_layout Standard
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\begin_inset Wrap figure
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lines 0
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placement O
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overhang 0in
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width "5.5cm"
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status collapsed
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\begin_layout Plain Layout
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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vspace*{-2em}
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\end_layout
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\begin_layout Plain Layout
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\backslash
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begin{center}
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\end_layout
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\end_inset
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\end_layout
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\begin_layout Plain Layout
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\begin_inset Graphics
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filename graphics/Sallen-Key-Filter-Lowpass.png
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display false
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width 5.5cm
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\end_inset
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\end_layout
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\begin_layout Plain Layout
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\begin_inset Caption
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\begin_layout Plain Layout
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Active Sallen-Key low pass filter circuit scheme
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\end_layout
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\end_inset
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\end_layout
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\begin_layout Plain Layout
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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end{center}
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\end_layout
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\begin_layout Plain Layout
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\backslash
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vspace*{-2em}
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\end_layout
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\end_inset
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\end_layout
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\end_inset
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A better and more flexible solution is the usage of an active filter design,
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like the Sallen-Key filter.
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This is a common second-order filter, which is applicable as a low or high
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pass, whereby only resistors and capacitors have to be swapped
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~97]{Sontheimer2004}
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\end_layout
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\end_inset
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.
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Resistor
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\begin_inset script superscript
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\begin_layout Plain Layout
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2
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\end_layout
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\end_inset
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and capacitor
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\begin_inset script superscript
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\begin_layout Plain Layout
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2
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\end_layout
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\end_inset
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can be identified to form a low pass section
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[Ch.~4B, p.~4]{Hutchins1975}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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To be able to change the cutoff frequency via voltage control the frequency
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defining resistor could be replaced with a voltage controlled resistor
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~198]{Lancaster1975}
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\end_layout
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\end_inset
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.
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\end_layout
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\end_layout
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\begin_layout Subsection
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\begin_layout Subsection
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@ -2124,6 +2322,13 @@ Building a Modular Synthesizer
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\begin_layout Section
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\begin_layout Section
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Introduction
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Introduction
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\begin_inset CommandInset label
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LatexCommand label
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name "sec:building-introduction"
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\end_inset
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\end_layout
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\end_layout
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\begin_layout Standard
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\begin_layout Standard
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@ -2148,7 +2353,6 @@ reference "sub:electronic-filter"
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controlling the frequency of an oscillator with 1 volt per octave), the
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controlling the frequency of an oscillator with 1 volt per octave), the
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circuits tend to get exceedingly complex, requiring solid expertise in
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circuits tend to get exceedingly complex, requiring solid expertise in
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electronics.
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electronics.
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\end_layout
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\end_layout
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\begin_layout Standard
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\begin_layout Standard
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@ -2304,9 +2508,22 @@ Power Supply and Case
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\end_layout
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\end_layout
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\begin_layout Standard
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\begin_layout Standard
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For the power unit a universal power supply circuit was chosen from an audio
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For the power unit a universal power supply circuit was chosen from Robert
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circuit technology book (Sontheimer, 2004, p.
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Sontheimers audio circuit technology book
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74) and mounted onto a perf board.
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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cite[p.~74]{Sontheimer2004}
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\end_layout
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\end_inset
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.
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and mounted onto a perf board.
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Instead of the 7815 and 7915 voltage regulator ICs the 7812 and 7912 were
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Instead of the 7815 and 7915 voltage regulator ICs the 7812 and 7912 were
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used in order to get a ±12 volt power supply with a center tap for the
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used in order to get a ±12 volt power supply with a center tap for the
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ground.
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ground.
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@ -2463,7 +2680,15 @@ BF-22 Filter
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\begin_layout Standard
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\begin_layout Standard
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This module is an extended copy of the filter from the legendary Korg MS-20
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This module is an extended copy of the filter from the legendary Korg MS-20
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and is based upon the principle of the sallen and key filter.
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and is based upon the principle of the Sallen and Key filter (see chapter
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\begin_inset CommandInset ref
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LatexCommand ref
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reference "sub:electronic-filter"
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\end_inset
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).
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It combines two linkable filter stages in one module.
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It combines two linkable filter stages in one module.
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Each stage features cutoff and frequency knobs, as well as several voltage
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Each stage features cutoff and frequency knobs, as well as several voltage
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control inputs for cutoff frequency and resonance, whereas the cutoff frequency
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control inputs for cutoff frequency and resonance, whereas the cutoff frequency
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@ -2479,7 +2704,7 @@ This module is an extended copy of the filter from the legendary Korg MS-20
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\begin_layout Standard
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\begin_layout Standard
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When turning resonance up, at one point the filter begins to self-resonate
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When turning resonance up, at one point the filter begins to self-resonate
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at the given cutoff frequency, which means that the filter can also be
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at the given cutoff frequency, which means that the filter can also be
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used as an oscillator.
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utilized as an oscillator.
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Therefore a volt per octave input for the cutoff control voltage was added,
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Therefore a volt per octave input for the cutoff control voltage was added,
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to be able to control the oscillating frequency in a musical context.
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to be able to control the oscillating frequency in a musical context.
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A look at the oscilloscope shows a sine like waveform with few overtones.
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A look at the oscilloscope shows a sine like waveform with few overtones.
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@ -2517,23 +2742,116 @@ Output
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Conclusion
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Conclusion
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\end_layout
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\end_layout
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||||||
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||||||
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\begin_layout Section*
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Summary
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||||||
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\end_layout
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||||||
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|
||||||
\begin_layout Standard
|
\begin_layout Standard
|
||||||
|
This paper constitutes an attempt to summarize what appeared to be the most
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||||||
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important facts and information on the topics of history, theory and electronic
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||||||
|
s during the research on analog synthesis.
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||||||
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Of course for all of the discussed could only scratch the surface.
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||||||
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Even only the topic of active filters circuits can (and does) fill entire
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books.
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\end_layout
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||||||
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|
||||||
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\begin_layout Standard
|
||||||
|
Accompanying this research a small synthesizer prototype has been set up,
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||||||
|
making use of the knowledge aquired during the research.
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Section*
|
||||||
|
Results
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Standard
|
||||||
|
\begin_inset Note Note
|
||||||
|
status open
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
|
As mentioned in chapter
|
||||||
|
\begin_inset CommandInset ref
|
||||||
|
LatexCommand ref
|
||||||
|
reference "sec:building-introduction"
|
||||||
|
|
||||||
|
\end_inset
|
||||||
|
|
||||||
|
the process of building the prototype had not transpired as initially planned.
|
||||||
|
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
|
cunstruction results - goals attained.
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
|
what could be done better?
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
|
what could be added, what are the next steps?
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
|
problems of with output knob.
|
||||||
|
maybe powersupply.
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Plain Layout
|
||||||
describe the journey, discribe the difference and natururality of analog
|
describe the journey, discribe the difference and natururality of analog
|
||||||
sound as opposed to the digital, which i only knew before.
|
sound as opposed to the digital, which i only knew before.
|
||||||
\end_layout
|
\end_layout
|
||||||
|
|
||||||
\begin_layout Standard
|
\end_inset
|
||||||
tweaking knobs to borders where the outcome is on a threshold resulting
|
|
||||||
in unpredictable patterns.
|
|
||||||
|
|
||||||
|
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Section*
|
||||||
|
A Personal Journey
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Standard
|
||||||
|
As a trained programmer and web application developer the field of electronic
|
||||||
|
engineering always seemed appealing to me.
|
||||||
|
Hence the assignment for a research paper during the audio engineering
|
||||||
|
course at SAE Institute seemed like a welcome opportunity to dive into
|
||||||
|
the realm of building electronic devices in the context of sound generation
|
||||||
|
and modification.
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Standard
|
||||||
|
The process of writing this paper has been an unexpectedly rewarding and
|
||||||
|
inspiring experience, pushing the boundaries of my own musical and technical
|
||||||
|
understanding.
|
||||||
|
Most notably the concepts of free composition - meaning allowing randomness
|
||||||
|
and therefore putting oneself in the position of reacting to a musical
|
||||||
|
system, influencing it in terms of tendencies, rather than controlling
|
||||||
|
it with a predetermed mindset - has been something that really changed
|
||||||
|
my perseption of musical creativity.
|
||||||
|
This for me seems much more attainable in the analog world, where electrical
|
||||||
|
components and signal chains can be brought to their tipping points, resulting
|
||||||
|
in an unpredictable outcome.
|
||||||
|
That is where sound exploration begins, which is a totally different experience
|
||||||
|
than knowing what will happen.
|
||||||
|
Virtual digital environments, which I was familiar with on the other hand,
|
||||||
|
generally seem to tend persuade the user to feel in control at all times.
|
||||||
|
\end_layout
|
||||||
|
|
||||||
|
\begin_layout Section*
|
||||||
|
Thanks
|
||||||
\end_layout
|
\end_layout
|
||||||
|
|
||||||
\begin_layout Standard
|
\begin_layout Standard
|
||||||
Thanks to Eddi, Derek, Befaco, Richard, David
|
Thanks to Eddi, Derek, Befaco, Richard, David
|
||||||
\end_layout
|
\end_layout
|
||||||
|
|
||||||
\begin_layout Section*
|
\begin_layout Standard
|
||||||
List of figures
|
\begin_inset FloatList figure
|
||||||
|
|
||||||
|
\end_inset
|
||||||
|
|
||||||
|
|
||||||
\end_layout
|
\end_layout
|
||||||
|
|
||||||
\begin_layout Standard
|
\begin_layout Standard
|
||||||
|
|
|
||||||
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After Width: | Height: | Size: 30 KiB |
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@ -66,6 +66,15 @@
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ADDRESS = {Ithaca, NY},
|
ADDRESS = {Ithaca, NY},
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}
|
}
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|
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|
@BOOK{Lancaster1975,
|
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|
AUTHOR = {Lancaster, Don},
|
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|
YEAR = {1975},
|
||||||
|
TITLE = {Active-filter cookbook},
|
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|
EDITION = {1.},
|
||||||
|
PUBLISHER = {H. W. Sams},
|
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|
ADDRESS = {Indianapolis},
|
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|
}
|
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|
|
||||||
@article{Bode1984,
|
@article{Bode1984,
|
||||||
title={History of electronic sound modification},
|
title={History of electronic sound modification},
|
||||||
author={Bode, Harald},
|
author={Bode, Harald},
|
||||||
|
|
@ -113,7 +122,8 @@
|
||||||
author={Hans Fjellestad},
|
author={Hans Fjellestad},
|
||||||
year={2004},
|
year={2004},
|
||||||
howpublished = "[DVD]",
|
howpublished = "[DVD]",
|
||||||
publisher={Plexifilm}
|
publisher={Plexifilm},
|
||||||
|
address={Asheville, North Carolina, USA}
|
||||||
}
|
}
|
||||||
|
|
||||||
article{Vinoski:2007:RE:1304062.1304553,
|
article{Vinoski:2007:RE:1304062.1304553,
|
||||||
|
|
|
||||||
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Add table
Add a link
Reference in a new issue