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<H2><A ID="SECTION001241000000000000000"></A>
<A ID="sect08.subtractive"></A>
<BR>
Subtractive synthesis
</H2>
<P>
<A ID="10517"></A><I>Subtractive synthesis</I> is the technique of using filters to shape the
spectral envelope of a sound, forming another sound, usually preserving
qualities of the original sound such as pitch, roughness, noisiness, or
graniness. The spectral envelope of the resulting sound is the product of the
spectral envelope of the original sound with the frequency response of the
filter. Figure <A HREF="#fig08.24">8.24</A> shows a possible configuration of source,
filter, and result.
<P>
<DIV ALIGN="CENTER"><A ID="fig08.24"></A><A ID="10522"></A>
<TABLE>
<CAPTION ALIGN="BOTTOM"><STRONG>Figure 8.24:</STRONG>
Subtractive synthesis: (a) spectrum of input sound; (b) filter frequency
response; (c) spectrum of output sound.</CAPTION>
<TR><TD><IMG
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<P>
The filter may be constant or time-varying. Already in wide use by the mid
1950s, subtractive synthesis boomed with the introduction of the
voltage-controlled filter (VCF), which became widely available in the mid 1960s
with the appearance of modular synthesizers. A typical VCF has two inputs: one
for the sound to filter, and one to vary the center or cutoff frequency of the
filter.
<P>
A popular use of a VCF is to control the center frequency of a resonant filter
from the same ADSR generator that controls the amplitude; a possible block
diagram is shown in Figure <A HREF="#fig08.25">8.25</A>. In this configuration,
the louder portion of a note (loudness roughly controlled by the multiplier
at the bottom) may also be made to sound brighter, using the filter, than
the quieter parts; this can mimic the spectral evolution of strings or
brass instruments over the life of a note.
<P>
<DIV ALIGN="CENTER"><A ID="fig08.25"></A><A ID="10528"></A>
<TABLE>
<CAPTION ALIGN="BOTTOM"><STRONG>Figure 8.25:</STRONG>
ADSR-controlled subtractive synthesis.</CAPTION>
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<ADDRESS>
Miller Puckette
2006-12-30
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