Synth Flashcards

Question

Why does a sine wave sound the way it does?

Answer 1

it is a pure tone with no harmonics, meaning it contains only a single frequency (the fundamental frequency) and no overtones.

Answer 2

These oscillators can be combined in various ways to create richer, fuller sounds. You can have them play the same note (unison) or slightly detuned versions of the same note for a thicker sound. FM synthesis (Frequency Modulation) uses one oscillator to modulate the frequency of another, creating complex and evolving timbres.

Answer 3

Imagine a light dimmer switch. Turning the knob up and down controls the brightness of the light (analogous to pitch), but it doesn't change the color of the light bulb (analogous to waveform). In an oscillator, the frequency controls how often the signal repeats (brightness), but the shape of that repeating signal (sine, square, etc.) determines the waveform (color).

Answer 4

Pulse Wave A pulse wave’s shape is defined by its pulse width (duty cycle). A square wave (50% pulse width) has a full, balanced sound with strong odd harmonics. Narrower pulse widths produce thinner, buzzier tones due to increased higher harmonics, while wider pulse widths create a fuller, richer sound. Pulse-width modulation (PWM) adds movement by dynamically changing the width. When to use: Ideal for versatile timbres from buzzy and nasal to full and harmonic-rich. Adjust pulse width if the sound is too thin or harsh.

Answer 5

When to use: Ideal for versatile timbres from buzzy and nasal to full and harmonic-rich. Adjust pulse width if the sound is too thin or harsh. Example: "I don't want that buzzy sound"

Answer 6

The difference is that a low-pass filter is the actual electronic circuit or processing function that performs the task of filtering frequencies, while the cutoff knob is the control interface that lets you adjust the filter's cutoff frequency. The low-pass filter is the "tool" that reduces high frequencies. The cutoff knob is how you tell the tool where to start cutting. To control the low-pass filter, you use the cutoff knob

Answer 7

Low-Pass Filter A filter that allows low frequencies to pass through relatively unchanged while reducing (attenuating) the volume of high frequencies above a set cutoff point. Used to create warmer, less bright sounds. Effect: a "warmer" or "mellower" sound because the high-frequency content, which often contributes to brightness, harshness, or "sizzle," is reduced. Example: "This sound has too many high frequencies, so if I adjust this knob, the bass and the mid frequencies will stand out more." Controlled via: -Cutoff knob (frequency, filter) knob: determines the point at which the attenuation begins. -Resonance/Emphasis: This boosts the frequencies around the cutoff point, which can add a "ringing" or emphasized quality to the sound. At high resonance settings, the filter can even self-oscillate, producing a tone of its own. Slope (or Poles): This determines how steeply the frequencies are attenuated above the cutoff point. A steeper slope results in a more dramatic cut.

Answer 8

Parameters of the synth, mainly: Amplitude (Volume): How the loudness of a sound evolves. Filter: How the cutoff frequency of a filter changes over time. Pitch: How the pitch shifts across the attack, decay, sustain, and release phases. Modulation: Controlling any other effect or parameter dynamically.

Answer 9

AMP ENVELOPE ATTACK Changes the volume over time in different stages Attack stage: how long it takes to go from silent to full volume. Setting it to 150 is a common one because it sounds like a stringed instrument. But 0 is most common. You can see the angle of the increase in the visualizer.

Answer 10

AMP ENVELOPE RELEASE The same as Amp Envelope attack in reverse: how long it takes for a note to drop from set volume to zero after you let go.

Answer 11

15 is a typical, normal-sounding setting. 0 sounds extremely staccato and abrupt.

Answer 12

The sound will not reach the full maximum volume because the attack phase is interrupted. Once you release the key, the release phase will start, and the tone will fade out from whatever volume it reached during the attack.

Answer 13

...it could mean the release time is set too short or the decay phase isn’t allowing enough time for the sound to transition smoothly. If the sound is cutting off too quickly or suddenly, adjusting the release time to a slightly longer value should give the sound more time to fade out and avoid a jarring cutoff.

Answer 14

The Mix knob is typically used to blend or balance two or more oscillators/signal sources. In synthesizers and effects processing, this knob adjusts the relative level of different sound elements.

Answer 15

Effect Mix: When using effects like reverb, delay, or distortion, the mix knob allows you to control how much of the dry (unprocessed) signal versus the wet (effected) signal is present. Oscillator Mix: blend different oscillators, like mixing a saw wave and a square wave together to create a richer sound. Stereo Mix: controls the balance between left and right channels or the overall stereo width of the signal.

Answer 16

allows you to adjust the pitch of a sound in semitone intervals, making it crucial for both pitch modulation and tuning accuracy.

Answer 17

You typically use the Semi knob to detune oscillators slightly to create a thicker (chorus-lie) sound, or to transpose

Answer 18

By slightly detuning two oscillators with the semi knob

Answer 19

Use a fine-tune knob, not the Semi knob. Not all synthesizers have a Fine Tune knob, but it's common on older analog synthesizers and digital synths that aim for a more precise control over pitch. If your synthesizer doesn't have a Fine Tune knob, you might be able to use other pitch controls like unison mode, modulation, or other fine adjustment settings to achieve a similar effect.

Answer 20

Semi knob. If the Semi knob is set to +1, the pitch will be one semitone (half-step) higher than the starting pitch.

Answer 21

I Also common: 7 semitones=a harmony of a 5th. Just add 7 to the # of semitones in whatever octave you want. - You can do 50%/50% of each oscillator if you want to clearly hear the two pitches or octaves - You can do 30%/70% if you want to blend them more

Answer 22

12 semitones=one octave (super common) or 24 = 2 octaves or 36=3 octaves.

Answer 23

It makes a "taller" sound and adds height.

Answer 24

7 semitones=a harmony of a 5th. Just add 7 to the # of semitones in whatever octave you want.

Answer 25

- You can do 50%/50% of each oscillator if you want to clearly hear the two pitches or octaves - You can do 30%/70% if you want to blend them more

Answer 26

A low cutoff frequency removes high frequencies. If an effect primarily changes high frequencies (like some chorus, distortion, or reverb types), and the filter removes those frequencies, you won't hear the effect much, even if the Mix knob is set to favor the processed sound. The filter masks the changes the Mix knob is supposed to make, making it hard to "figure out" what the Mix knob is doing.

Answer 27

A thin pulse wave sounds like a saw wave because both share similar harmonic content, with the pulse wave’s narrow width emphasizing higher harmonics. If you don’t understand this, you might unintentionally create a sound that lacks the distinct tonal character you need (e.g., thinking a pulse wave will be fuller when it's actually too thin or sharp, or trying to create a saw-like texture with a pulse that sounds too harsh).

Answer 28

Cutoff: Low or Mid Amp attack: 0 ms Amp release: Quick

Answer 29

Cutoff: Mid to High Amp Attack: 0-150 ms Amp Release: Quick to Medium

Answer 30

Cutoff: Mid Amp attack: 150 to Long ms Amp release: Medium to Long

Answer 31

Filler sounds, good for layering. Like a background swell or chorus sound

Answer 32

Stick to octaves and fifths occasionally because it can make it hard to work with other components due to the harmonies it gives you

Answer 33

Allows you to shape the frequency content of a sound to emphasize or suppress specific ranges of sound. Filters can be thought of as ways to "sculpt" the timbre or texture of a sound. Key Elements: Cutoff frequency Resonance (Q) Slope

Answer 34

Low pass High pass Band pass Band stop/notch

Answer 35

Tone shaping: Filters are widely used to sculpt the harmonic content of a sound, whether to create warmth, remove harshness, or shape the character of the sound. Example: suppress certain frequency ranges Movement in sound design: By using a filter envelope, filters can also be used dynamically to change the sound over time. Example: a low-pass filter with a filter envelope can slowly open up a pad sound from muffled to bright, giving the sound a sense of motion or evolution.

Answer 36

Controls how quickly the filter opens after a note is played. A slow attack means the filter will gradually allow more high frequencies to come through, while a fast attack will immediately open the filter and allow the full sound spectrum to pass through quickly.

Answer 37

Sets the base frequency for the filter, determining how much high frequency (brightness) passes through. The filter envelope modulates the cutoff point over time.

Answer 38

Controls how much the envelope modulates the cutoff frequency. It determines the depth or range of the cutoff's movement based on the envelope's shape (ADSR). IOW, the cutoff knob sets the initial starting point of the filter's frequency (its static base), and the Env knob moves it by a certain amount based on the envelope's shape (ADSR).

Answer 39

Modulates the CUTOFF frequency over time, affecting the sound's brightness (high frequencies). Reminder: the Cutoff knob modulates the brightness.

Answer 40

At the frequency set by the Cutoff knob.

Answer 41

At the point determined by the Envelope Amount knob (the strength of the modulation).

Answer 42

1) Cutoff knob: Sets the starting frequency (base cutoff point) for the filter. 2) Envelope (Env) knob: Controls how much the envelope modulates the cutoff frequency, affecting the depth of the modulation. It's like a dial for the strength of the envelope’s ADSR effect.

Answer 43

It sets the frequency point where a filter attenuates (reduces) certain frequencies. Examples: -In a Low-pass filter (LPF): Frequencies above the cutoff are cut off. -In a High-pass filter (HPF): Frequencies below the cutoff are cut off.

Answer 44

Cutoff: Set low (e.g., 0 Hz). Env Amount: Set high (e.g., 800 Hz). Result: A low, muddy sound that becomes bright over time as the envelope modulates the cutoff upwards.

Answer 45

Cutoff: Set moderate (e.g., 400 Hz). Env Amount: Set low (e.g., 150–200 Hz). A moderately bright sound that only slightly increases in brightness.

Answer 46

Refers to how much the cutoff can move from its initial position based on the envelope's influence. Strong modulation: Large range of movement, dramatic change in timbre. Weak modulation: Smaller range, subtle change in sound.

Answer 47

Envelope modulation creates dynamic changes in timbre by modulating the filter's cutoff over time. This causes the sound's brightness, darkness, and overall tonal quality to evolve during the note's duration. When you encounter "modulation," always think of how envelope stages (ADSR) control dynamic shifts in sound, such as changes in filter cutoff, not just a global “change” in timbre.

Answer 48

Timbre refers specifically to the character or quality of the sound — aspects like brightness, warmth, and texture. It's how you can tell the difference between a clarinet and a flute just by listening. So, the ASDR settings don't create timbre, but they modulates aspects of it, like filter cutoff or amplitude, which then affect the perceived timbre over time. When you encounter "modulation," always think of how envelope stages (ADSR) control dynamic shifts in sound, such as changes in filter cutoff, not just a global “change” in timbre.

Answer 49

It adds a range of brightness onto whatever the cutoff knob is set to. It is NOT a fixed point of brightness.

Answer 50

If sustain is set to zero, then decay and release both go to silence, but for different reasons: Decay happens while the key is held, dropping to the sustain level. Release happens after the key is let go, fading to silence.