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-SAE Berlin
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-Student Id: 18128
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-Course: AED412
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-Headinstructor: Boris Kummerer
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-Berlin, Germany 2012 
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-by Karl Pannek
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-LARGE{Prototyping a Modular Analog Synthesizer}}
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-\begin_layout Chapter*
-About this paper
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-\begin_layout Section*
-Description
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-
-\begin_layout Standard
-This paper describes an attempt to design and assemble a basic monophonic
- synthesizer prototype consisting of some standard modules that are to be
- found in virtually every classical synthesizer device, such as an oscillator,
- an envelope, and a filter.
- 
-\end_layout
-
-\begin_layout Standard
-The first sections represent the research on the history and theoretical
- background of analog synthesizers in general and modular systems in particular.
- These findings are applied to building an experimental device.
- First, different circuit concepts will be introduced for each module, so
- that the most suitable ones can be identified, whereby comprehensibility
- and prices of electronic components play a significant role in the choice
- of a circuit design.
- The process of building the prototype includes working with an oscilloscope
- to examine and verify the shape of various waveforms before and after modulatio
-n.
- 
-\end_layout
-
-\begin_layout Standard
-To make it playable with a keyboard, a MIDI input module is added.
- It features an Arduino microprocessor to convert digital MIDI messages
- into control voltage outputs that other modules can connect to.
- It is the only digital component of the synthesizer, while tone generation
- and processing are analog.
-\end_layout
-
-\begin_layout Section*
-Motivation and Goal
-\end_layout
-
-\begin_layout Standard
-The project was inspired by the film 
-\emph on
-moog
-\emph default
-, a documentary about Dr.
- Robert Moog, electronic instrument pioneer and inventor.
- Its goal is to attain a better understanding of the working of electronic
- components and circuits as well as their influence on audio signals.
- Another goal is to create a functional synthesizer that is fun to play
- and experiment with and therefore obtain some practical experience in the
- field of artificial sound generation.
-\end_layout
-
-\begin_layout Chapter
-Introduction
-\end_layout
-
-\begin_layout Chapter
-History of the synthesizer
-\end_layout
-
-\begin_layout Section
-Definition
-\end_layout
-
-\begin_layout Standard
-A modular analog synthesizer is an electronic instrument, where sound generators
-, processors and control facilities are presented as separate independent
- entities called modules .
- These modules are not wired in a preconceived way, but connected together
- with patchchords.
- Another essential part of modular synthesis is the concept of control voltage
- (short: CV) with which modules may modulate or control the behaviour of
- other modules.
- 
-\end_layout
-
-\begin_layout Section
-Evolution of synthesizers
-\end_layout
-
-\begin_layout Subsection
-Early Development Milestones
-\end_layout
-
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-Around 1900 the inventor Thadedeus Cahill initiated a new era of music by
- inventing a 200 ton machine known as the Dynamophone or Thelharmonium 
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-.
- It was an electrical sound generatior, that produced alternating sine wave
- currents of different audio frequencies.
- A modified electrical dynamo was used in conjunction with several specially
- geared shafts and inductors to create the signals.
- The Dynamophone could be played with a polyphonic keyboard and featured
- special acoustic horns to convert the electrical vibrations into sound.
- 
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- The timbre of the instrument was shaped from fundamentals and overtones.
- This is known as the principle of additive synthesis 
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-In 1924 Leon Theremin created the Aetherophone, which would later be known
- as the Theremin.
- Unlike most electric instrument developed around that time, the Theremin
- had no keyboard.
- It was played merely by hand motion around two capacitive detecors, that
- generated electrical fields.
- These were affected by the electric capacity of the human body.
- One of these detectors was a vertical rod to control dynamics and the other
- a horizontal loop to change the pitch 
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-.
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-\begin_inset Note Note
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-Electric instruments at that time were developed primarily to imitate and
- evolve the sounds of classical instruments and therefore satisfy traditional
- ideas of musical writing 
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-citetext{
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-
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-
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-Theremin
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-
-\begin_layout Plain Layout
-Ondes Martenot
-\end_layout
-
-\begin_layout Plain Layout
-Trautonium
-\end_layout
-
-\begin_layout Plain Layout
-Hammond
-\end_layout
-
-\begin_layout Plain Layout
-Melochord
-\end_layout
-
-\begin_layout Plain Layout
-Elektronische Musik Cologne
-\end_layout
-
-\begin_layout Plain Layout
-Karlheinz Stockhausen
-\end_layout
-
-\begin_layout Plain Layout
-Poem Electronique
-\end_layout
-
-\begin_layout Plain Layout
-RCA Mark 2 Synthesizer
-\end_layout
-
-\begin_layout Plain Layout
-Moog Synthesizer
-\end_layout
-
-\end_inset
-
-
-\end_layout
-
-\begin_layout Subsection
-Invention of the modular synthesizer
-\end_layout
-
-\begin_layout Section
-Relevance in today's electronic music
-\end_layout
-
-\begin_layout Chapter
-Theory of analog sound synthesis
-\end_layout
-
-\begin_layout Section
-Wave Synthesis
-\end_layout
-
-\begin_layout Standard
-The process of wave synthesis is called oscillation and can be described
- as the creation of a periodic electronic wave, that oscillates between
- voltage minima and maxima.
- This part is generally known as the oscillator, which creates a basic wave
- signal, that can later be processed and modulated in several ways.
- Afterwards it is amplified and projected onto a speaker, that converts
- the electronic wave into audible sound waves.
-\end_layout
-
-\begin_layout Standard
-The waveform (shape of the wave) determines the overtone structure and therefore
- the timbre of this basic sound.
- Oscillators often provide several waveforms between which it is possible
- to switch or even morph back and forth.
- The most established synthesizer waveforms are sine, triangle, saw and
- square.
- 
-\end_layout
-
-\begin_layout Standard
-The pitch of the output signal is defined by the frequency that the wave.
- 
-\end_layout
-
-\begin_layout Standard
-Different approaches to oscillation
-\end_layout
-
-\begin_layout Standard
-Difference between poly and monophonic synthesis (voices, mono: store last
- note value)
-\end_layout
-
-\begin_layout Standard
-trying to get a wide variety of possible base sounds established different
- wave types from soft (sine) to fat (saw) to harsh (square)
-\end_layout
-
-\begin_layout Standard
-square wave pulse width (modulation)
-\end_layout
-
-\begin_layout Standard
-LFO
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-
-\begin_layout Standard
-electronic vibration
-\end_layout
-
-\begin_layout Section
-Processing
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-
-\begin_layout Standard
-Subtractive synthesis - filtering and amplitude subtraction
-\end_layout
-
-\begin_layout Section
-The modular approach
-\end_layout
-
-\begin_layout Chapter
-Building a concrete prototype
-\end_layout
-
-\begin_layout Section
-Voltage Controlled Oscillator
-\end_layout
-
-\begin_layout Standard
-monophonic
-\end_layout
-
-\begin_layout Section
-Voltage Controlled Filter 
-\end_layout
-
-\begin_layout Section
-Voltage Controlled Amplifier
-\end_layout
-
-\begin_layout Section
-Input and Output
-\end_layout
-
-\begin_layout Chapter
-Conclusion
-\end_layout
-
-\begin_layout Chapter*
-List of figures
-\end_layout
-
-\begin_layout Standard
-\begin_inset CommandInset bibtex
-LatexCommand bibtex
-bibfiles "synth_bibliography"
-options "plainnat"
-
-\end_inset
-
-
-\end_layout
-
-\begin_layout Chapter*
-Declaration of academic honesty
-\end_layout
-
-\begin_layout Chapter*
-Appendix
-\end_layout
-
-\end_body
-\end_document
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