removed safes
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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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author{
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by Karl Pannek
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}
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LARGE{Prototyping a Modular Analog Synthesizer}}
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About this paper
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Description
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\end_layout
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This paper describes an attempt to design and assemble a basic monophonic
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synthesizer prototype consisting of some standard modules that are to be
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found in virtually every classical synthesizer device, such as an oscillator,
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an envelope, and a filter.
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\end_layout
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\begin_layout Standard
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The first sections represent the research on the history and theoretical
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background of analog synthesizers in general and modular systems in particular.
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These findings are applied to building an experimental device.
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First, different circuit concepts will be introduced for each module, so
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that the most suitable ones can be identified, whereby comprehensibility
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and prices of electronic components play a significant role in the choice
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of a circuit design.
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The process of building the prototype includes working with an oscilloscope
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to examine and verify the shape of various waveforms before and after modulatio
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n.
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\end_layout
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\begin_layout Standard
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To make it playable with a keyboard, a MIDI input module is added.
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It features an Arduino microprocessor to convert digital MIDI messages
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into control voltage outputs that other modules can connect to.
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It is the only digital component of the synthesizer, while tone generation
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and processing are analog.
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\end_layout
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\begin_layout Section*
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Motivation and Goal
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\end_layout
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\begin_layout Standard
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The project was inspired by the film
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\emph on
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moog
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\emph default
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, a documentary about Dr.
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Robert Moog, electronic instrument pioneer and inventor.
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Its goal is to attain a better understanding of the working of electronic
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components and circuits as well as their influence on audio signals.
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Another goal is to create a functional synthesizer that is fun to play
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and experiment with and therefore obtain some practical experience in the
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field of artificial sound generation.
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\end_layout
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\begin_layout Chapter
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Introduction
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\end_layout
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\begin_layout Chapter
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History of the synthesizer
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\end_layout
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\begin_layout Section
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Definition
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\end_layout
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\begin_layout Standard
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A modular analog synthesizer is an electronic instrument, where sound generators
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, processors and control facilities are presented as separate independent
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entities called modules .
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These modules are not wired in a preconceived way, but connected together
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with patchchords.
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Another essential part of modular synthesis is the concept of control voltage
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(short: CV) with which modules may modulate or control the behaviour of
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other modules.
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\end_layout
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\begin_layout Section
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Evolution of synthesizers
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\end_layout
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\begin_layout Subsection
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Early Development Milestones
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\end_layout
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\begin_layout Standard
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Around 1900 the inventor Thadedeus Cahill initiated a new era of music by
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inventing a 200 ton machine known as the Dynamophone or Thelharmonium
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citetext{
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\backslash
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citealp[p.~12]{Humpert1987}}
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\end_layout
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\end_inset
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.
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It was an electrical sound generatior, that produced alternating sine wave
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currents of different audio frequencies.
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A modified electrical dynamo was used in conjunction with several specially
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geared shafts and inductors to create the signals.
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The Dynamophone could be played with a polyphonic keyboard and featured
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special acoustic horns to convert the electrical vibrations into sound.
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citealp[p.~12]{Manning1985}}
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\end_layout
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\end_inset
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The timbre of the instrument was shaped from fundamentals and overtones.
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This is known as the principle of additive synthesis
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\backslash
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citealp[p.~730]{Bode1984}}
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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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In 1924 Leon Theremin created the Aetherophone, which would later be known
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as the Theremin.
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Unlike most electric instrument developed around that time, the Theremin
|
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had no keyboard.
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It was played merely by hand motion around two capacitive detecors, that
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generated electrical fields.
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These were affected by the electric capacity of the human body.
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One of these detectors was a vertical rod to control dynamics and the other
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a horizontal loop to change the pitch
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\begin_inset ERT
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citealp[p.~12]{Manning1985}}
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.
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\end_layout
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status open
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Electric instruments at that time were developed primarily to imitate and
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evolve the sounds of classical instruments and therefore satisfy traditional
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ideas of musical writing
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citealp[p.~12]{Manning1985}}
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|
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Theremin
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\end_layout
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\begin_layout Plain Layout
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Ondes Martenot
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\end_layout
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\begin_layout Plain Layout
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Trautonium
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\end_layout
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|
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\begin_layout Plain Layout
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Hammond
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\end_layout
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\begin_layout Plain Layout
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Melochord
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\end_layout
|
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|
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\begin_layout Plain Layout
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Elektronische Musik Cologne
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\end_layout
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\begin_layout Plain Layout
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Karlheinz Stockhausen
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\end_layout
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\begin_layout Plain Layout
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Poem Electronique
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\end_layout
|
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\begin_layout Plain Layout
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RCA Mark 2 Synthesizer
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\end_layout
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\begin_layout Plain Layout
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Moog Synthesizer
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\end_layout
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\end_inset
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\end_layout
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\begin_layout Subsection
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Invention of the modular synthesizer
|
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\end_layout
|
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|
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\begin_layout Section
|
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Relevance in today's electronic music
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||||
\end_layout
|
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|
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\begin_layout Chapter
|
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Theory of analog sound synthesis
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||||
\end_layout
|
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|
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\begin_layout Section
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Wave Synthesis
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\end_layout
|
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|
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\begin_layout Standard
|
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The process of wave synthesis is called oscillation and can be described
|
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as the creation of a periodic electronic wave, that oscillates between
|
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voltage minima and maxima.
|
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This part is generally known as the oscillator, which creates a basic wave
|
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signal, that can later be processed and modulated in several ways.
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Afterwards it is amplified and projected onto a speaker, that converts
|
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the electronic wave into audible sound waves.
|
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\end_layout
|
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|
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\begin_layout Standard
|
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The waveform (shape of the wave) determines the overtone structure and therefore
|
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the timbre of this basic sound.
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Oscillators often provide several waveforms between which it is possible
|
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to switch or even morph back and forth.
|
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The most established synthesizer waveforms are sine, triangle, saw and
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square.
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\end_layout
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\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
|
||||
\end_layout
|
||||
|
||||
\begin_layout Standard
|
||||
electronic vibration
|
||||
\end_layout
|
||||
|
||||
\begin_layout Section
|
||||
Processing
|
||||
\end_layout
|
||||
|
||||
\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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