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It should be stressed that Palm’s wavetable scheme’s strength was in its generation of harsh digital sounds and bell-like timbres, not the emulation of acoustic instruments.
SOUND BLASTER FM SYNTHESIS VST SERIES
The distinguishing feature of the PPG Wave series was that it would interpolate the remaining waves in between the defined pointers, so that changing the position within the table would result in a smooth, unique “morphing” effect between the waves. Usually, only a few pointers to these waves were actually used, spread throughout the breadth of the wavetable. Palm’s implementation of wavetable synthesis employed an array containing 64 pointers to individual (symmetrical) single-cycle waves stored within the instrument. The German synthesizer designer Wolfgang Palm began experimenting with wavetable synthesis in the late 1970s, with his research realized in PPG’s line of synthesizers such as the Wavecomputer, Waveterm, and Wave. Some later variations on the technique are Roland’s “Linear Arithmetic” synthesizers such as Roland D-50 and Roland MT-32/LAPC-I, which combined complex sampled attack phases with less complex sustain/decay phases (basically a wavetable synthesizer with a 2-entry wave sequence table), and vector synthesis, used in the Sequential Circuits Prophet-VS and Korg Wavestation, which can move through wavetables and sequences arranged on a 2-dimensional grid. The name “wavetable” as applied to soundcards and sample-playback synthesizers is a misnomer see below for an in-depth discussion. This method differs from simple sample playback in that the output waveform is always generated in real time as the CPU processes the sequence of wavetables, and the data in each table normally represent one period or cycle of the waveform. (The DX7 actually uses phase modulation - a sine-wave DCO behind a programmable digital delay line - combined with two intermediate registers and a fast time division multiplexing system to compute each operator, thus reducing the number of DCOs needed per voice to 1.) It would also only be useful as an additive synthesizer, since FM requires highly stable oscillators to work properly. This setup would take several equipment racks to hold. For example, the Yamaha DX7 has 6 operators per voice, and 16 voice polyphony, so a total of 96 separate oscillator, EG, and VCA modules would be needed to build an equivalent modular synthesizer. By contrast, a basic analog additive or FM synthesizer would need several discrete oscillators, envelope generators and volume controls per voice, and a digital version would require a very fast CPU (that wasn’t available when the technology was first being developed), or special (and much more complex) hardware to do the math. Wavetable synthesis can also related to frequency modulation synthesis using wavetables, however, significantly reduces the amount of hardware needed, since the sum of partials at each step of each partial’s envelope (the part requiring the most compute power) has already been calculated, and all the CPU needs to do is interpolate between them. integer multiples of the fundamental frequency). As noted below, this creates an effect that is equivalent to additive synthesis, but with the restriction that all partials in the additive engine are harmonic (i.e. If each waveform is a little duller (or brighter) than the previous, a moving filter effect can be imitated. Wavetable synthesizers imitate dynamic filters and other computationally expensive synthesis steps by rapidly playing successive wavetables (each with a different waveform stored therein) in sequence. Looping occurs when the wavetable evolution is halted, slowed, or reversed in time. However, in wavetable synthesis, the output waveform is not normally static and evolves slowly in time as one wavetable is mixed with another, creating a changing waveform. Upon playback, these wavetables are used to fetch samples (table-lookup) in the same manner as in a numerically-controlled oscillator to produce a waveform.
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A set of wavetables with user specified harmonic content can also be generated mathematically.
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The sound of an existing instrument (a single note) is sampled and parsed into a sequence of circular tables of samples or wavetables, each having one period or cycle per table. Wavetable synthesis is a technique used in certain digital music synthesizers to produce natural tone-like sounds.