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1198:. This sound-synthesis technique was one of the very first software synthesis methods introduced in the MUSIC I-MUSIC V languages developed by Max Mathews at Bell Labs in the late 1950s and the early 1960s. ... / With table-lookup synthesis, it is sufficient to calculate only a single cycle of a waveform, and then store this small set of samples in the table where it serves as a template. ...
426:
209:. In this way, when the wavetable is swept, the duty cycle of the pulse wave will appear to change over time. As the early Ensoniq wavetable synthesizers had non resonant filters (the PPG Wave synthesizers used analogue Curtis resonant filters), some wavetables contained highly resonant waveforms to overcome this limitation of the filters.
1264:
SOS contributor Steve Howell replies: Wavetable synthesis is actually quite easy to understand. In the early days of synthesis, (analogue) oscillators provided a limited range of waveforms, such as sine, triangle, sawtooth and square/pulse, normally selected from a rotary switch. This gave the user a
1489:
had a somewhat complex history of development. The original specification was contributed by E-Mu
Systems and was based on their "SoundFont" format . After integration of this component in the MPEG-4 reference software was complete, the MIDI Manufacturers Association (MMA) approached MPEG requesting
301:
It is often necessary to 'audition' each position in a wavetable and to scan through it, forwards and backwards, in order to make good use of it, though selecting random wavetables, start positions, end positions and directions of scan can also produce satisfying musical results. It is worth noting
969:
Csound uses lookup tables for musical applications as diverse as wavetable synthesis, waveshaping, mapping MIDI note numbers and storing ordered pitch-class sets. These function tables (f-tables) contain everything from periodic waveforms to arbitrary polynomials and randomly generated values. The
1454:
However, in the late '70s, Wolfgang Palm used 'wavetable' digital oscillators in his innovative PPG Wave synths. Instead of having just three or four waveforms, a wavetable oscillator can have many more — say, 64 — because they are digitally created and stored in a 'look-up table' ...
293:
but frequently by any number of modulators (matrix modulation). Doing this modifies the harmonic content of the output wave in real time, producing sounds that can imitate acoustic instruments or be totally abstract, which is where this method of sound creation excels. The technique is especially
235:
S&S (Sample and
Synthesis) and Digital Wave Synthesis was the main method of sound synthesis utilised by digital synthesizers starting in the mid 1980s with synthesizers such as Sequential Circuits Prophet VS, Korg DW6000/8000 (DW standing for Digital Wave), Roland D50 and Korg M1 through to
246:
Wait, so isn't this just sampled synthesis? Let's pause here to address a common confusion. While sampled synthesis involves the use of a static digital sample, wavetable synthesis allows for the (optional) evolution of a waveform; this is to say, while wavetable synths can sound like sampled
268:
WAVE. More commonly, pre-computed wavetables could be added via memory cards or sent to the synthesizer via MIDI. Today, wavetables can be created more easily by software and auditioned directly on a computer. Since all waveforms used in wavetable synthesis are periodic, the
715:
in the late-1970s, is merely one of the techniques employed to realize dynamically-changing waveforms, by using an array of single-cycle waveforms in table-lookup synthesis. With this synthesis technique, the waveform can be animated in a similar manner as a
259:
The creation of new wavetables was previously a difficult process unless supported by specialized editing facilities and (near) real-time playback of edited wavetables on the synthesizer. Such editors often required the use of extra hardware devices like the
189:
between adjacent waveforms allows for dynamic and smooth changes of the timbre of the tone produced. Sweeping the wavetable in either direction can be controlled in a number of ways, for example, by use of an LFO, envelope, pressure or velocity.
663:
As a result, the difficulty of maintaining consistency between concepts and terminology during rapid technological development is noteworthy. For this reason the term "Table-lookup synthesis" is explained at length in this article.
378:
1246:
generates a cycle of some waveform the appropriate number of times per second for the desired fundamental frequency. This is referred to variously as fixed-waveform synthesis, table-lookup synthesis, or wavetable
1490:
that MPEG-4 SASBF be compatible with their "Downloaded Sounds" format . E-Mu agreed that this compatibility was desirable, and so a new format was negotiated and designed collaboratively by all parties.
251:
Often they now have displays showing a real time 3d graphs of the wave table being played back with the current waveform highlighted which is the signature feature common in modern wavetable synths.
1542:
Other synths have employed wavetable synthesis in one guise or another since then, and there are several software synths available today which incorporate wavetable synthesis capabilities.
618:— if these had been appropriately used to distinguish each other, any confusions could be avoided, but it seems failed historically. In the 1990s at the latest, several influential
1205:: on the preceding quotation, the authors paraphrased the section title "table-lookup oscillators" as follows: "table-lookup method", "wavetable synthesis", and "table-lookup synthesis".
1549:: Regarding the previous quotation, a specific wavetable synthesis developed by Wolfgang Palm, known as "multiple wavetable synthesis", is ambiguously referred as "wavetable synthesis".
224:
the term "wavetable" started to be (incorrectly) applied as a marketing term to their sound card. However, these sound cards did not employ any form of wavetable synthesis, but rather
1394:
algorithm. ... The wavetable-synthesis technique is very simple but rather dull musically, since it produces purely periodic tones. ... All the algorithms described in this paper
156:. It is currently used in hardware synthesizers from Waldorf Music and in software synthesizers for PCs and tablets, including apps offered by PPG and Waldorf, among others.
1134:. Music II was only one in a long sequence of MUSIC N programs, but the idea of wavetable synthesis has had a pervasive influence throughout the computer music discipline.
469:, called "table-lookup oscillator" technique. The length of waveforms or samples may be varied by each sound synthesis method, from a single-cycle up to several minutes.
144:(PPG) developed his version in the late 1970s and published it in 1979. The technique has since been used as the primary synthesis method in synthesizers built by PPG and
1455:
Now, if the waveforms are sensibly arranged, we can begin to create harmonic movement in the sound. ... you approach something not unlike a traditional filter sweep. ...
1467:
Scheirer, Eric D. (MIT Media Lab); Ray, Lee (Joint E-Mu/Creative
Technology Center) (1998). "Algorithmic and Wavetable Synthesis in the MPEG-4 Multimedia Standard".
1751:
660:
McNabb and Palm's multiple wavetable synthesis, tends to be erroneously referred as if it was a generic class of whole wavetable synthesis family, exclusively.
1651:
1234:
1174:
285:
During playback, the sound produced can be harmonically changed by moving to another point in the wavetable, usually under the control of an
994:
This chapter outlines the fundamental methods of digital sound production. Following a brief historical overview, we present the theory of
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126:. MUSIC II “had four-voice polyphony and was capable of generating sixteen wave shapes via the introduction of a wavetable oscillator.”
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493:" mentioned above, although the word "wave" (or "waveform", "wave shape") may possibly imply a nuance of single-cycle waveform.
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representation are exact equivalents of each other and both can be used simultaneously to define waveforms and wavetables.
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owns the patent rights for digital waveguide synthesis and signed an agreement in 1989 to develop the technology with
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using relatively long samples instead of single-cycle waveforms has become pervasive due to the introduction of the
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independently developed the multiple wavetable extension on the table-lookup synthesis which was typically used on
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that most wavetable synthesizers also employ other synthesis methods to further shape the output waveform, such as
185:
the selected waveform in the wavetable. The position in the wavetable selects the single cycle waveform. Digital
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247:
synthesis, the evolving option (which is enabled by default on most classic wavetable sounds) differentiates it.
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656:). In the mid-2000s, confusion in terminology cropped up yet-again. A subclass of generic wavetable synthesis,
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This article is about digital audio synthesis. For the physics demonstrator for planar waves, see
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1609:, AES 5th International Conference: Music and Digital Technology, Audio Engineering Society (AES)
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1190:... / Wavetable synthesis is a technique based on reading data that has been stored in blocks of
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It was also independently developed by
Michael McNabb, who used it in his 1978 composition
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813:"Viewpoints on the History of Digital Synthesis: Taxonomy of Digital Synthesis Techniques"
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who helped develop it and eventually filed the patent. It represents an extension of the
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404:(function table), and used for various purposes including: wavetable-lookup synthesis,
129:
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Many wavetables used in PPG and
Ensoniq synthesizers can simulate the methods used by
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AC '97 Digital
Controller / Optional hw acceleration / SRC*, mix*, 3D positional*,
598:
On the above four terminologies for the classes of sound synthesis methods —
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1580:, 101st AES Convention (Los Angeles, California), Audio Engineering Society (AES)
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1590:"Q. Can you explain the origins of wavetable, S&S and vector synthesis?"
1469:
105th Audio
Engineering Society (AES) Convention (San Francisco, California)
1436:
sum of fixed waveforms or periodic basis functions with time-varying weights
952:
717:
642:), and these confusions have further affected industry standards (including
485:" as equivalent) is often abbreviated to "wavetable", and its derived term "
295:
161:
1569:, 62nd AES Convention (Brussels, Belgium), Audio Engineering Society (AES)
970:
specific data are created with Csound's f-table generator subroutines, or
500:" seems slightly confused by the later developments of derived algorithm.
213:
Confusion with sample-based synthesis (S&S) and
Digital Wave Synthesis
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1416:"Methods for multiple wavetable synthesis of musical instrument tones"
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surprisingly wide range of basic sounds to play with, especially when
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511:", and possibly several actions on waveform(s) may be expected. ⇒
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produce the variation in sound by modifying the wavetable itself
650:
409:
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1223:
Music
Technology and the Project Studio: Synthesis and Sampling
1041:(November 1977). "A One-Card 64 Channel Digital Synthesizer".
804:
802:
325:
43:
181:. In wavetable synthesis, some method is employed to vary or
832:
830:
886:"Sound Blaster ISA Cards - Information and Troubleshooting"
264:
Waveterm or were only present in expensive models like the
766:
A sampling of techniques for computer performance of music
1414:
Horner, Andrew; Beauchamp, James; Haken, Lippold (1993).
1298:
Digital signal processing using closed waveguide networks
388:, where the data at addresses from 63 to 67 are zoomed.
926:"The New Wave: An In-Depth Look at Live 10's Wavetable"
349:
67:
1355:"Digital Synthesis of Plucked-String and Drum Timbres"
789:
787:
1603:
Maunchly, J. William; Charpentier, Albert J. (1987),
1186:
for generating waveforms. This method is also called
1678:
GPL application with graphical interface written in
708:
560:
1909:
1886:
1848:
1811:
1511:
AC '97 Component Specification Revision 2.3 Rev 1.0
1577:Wavetable Synthesis 101, A Fundamental Perspective
945:"2. Understanding and Using Csound's GEN Routines"
1267:different waveforms were combined in various ways
998:—the core of most synthesis algorithms. ...
507:Its original meaning is essentially the same as "
177:reproduction of multiple arbitrary, single-cycle
1588:Cullen, Michael; Howell, Steve (February 2006).
1409:
1407:
1284:
1282:
1080:
1078:
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872:
244:
1726:by Hermann Seib, Paul Maddox and Dave Forward.
1300:", published 1993-05-18, assigned to
173:Wavetable synthesis is fundamentally based on
1745:
1182:In this section ... we will be introduce the
8:
1537:
1449:
1259:
992:, Introduction to Digital Sound Synthesis, "
626:similar to "wavetable synthesis" (including
298:, where the sound changes slowly over time.
1434:, the subject of this paper, is based on a
1752:
1738:
1730:
1682:by Camille Bassuel, implementing several
742:"'MUSIC N', Max Vernon Mathews, USA, 1957"
1513:. Intel Corporation. April 2002. p.
1476:
1504:"1.4 Integrating AC '97 into the System"
1390:One standard synthesis technique is the
793:
654:optional hw acceleration wavetable synth
242:addressed some confusion in an article:
148:and as an auxiliary synthesis method by
1126:made its first appearance in Mathews's
769:by Hal Chamberlin, Byte, September 1977
732:
700:
1312:(See also the Knowledge (XXG) article
1016:, Sampling Synthesis, "Pitch-shifting
574:Simultaneously, since the late-1970s,
543:In the late-1970s, Michael McNabb and
391:
217:In 1992, with the introduction of the
1009:
985:
454:
7:
1696:"PPG Wave 2.2 / 2.3 / EVU Simulator"
1629:PPG Wave 2.2 Owners Manual (english)
1483:2.2 Wavetable synthesis with SASBF:
1192:contiguous computer-memory locations
1018:... variation technique as used in '
778:
520:(2) Wavetable-modification algorithm
118:Wavetable synthesis was invented by
1429:(5) (published May 1993): 336–356.
815:. Stanford, CA: Stanford University
647:algorithmic and wavetable synthesis
1065:...", "FIGURE 1 ... 16 K Ă— 14 BIT
711:) developed by Michael McNabb and
709:Horner, Beauchamp & Haken 1993
561:Horner, Beauchamp & Haken 1993
489:" seems to be almost the same as "
412:note mapping, and storing ordered
25:
1719:(standalone version) worked with
1519:Figure 2. AC '97 System Diagram:
622:products were marketed under the
343:to comply with Knowledge (XXG)'s
132:discussed wavetable synthesis in
61:to comply with Knowledge (XXG)'s
27:Digital audio synthesis technique
1574:Bristow-Johnson, Robert (1996),
1155:"3.2.3 Table-Lookup Oscillators"
943:Nelson, Jon Christopher (2000).
707:"Multiple wavetable synthesis" (
608:Wavetable-modification algorithm
540:(3) Multiple wavetable synthesis
529:wavetable-modification algorithm
424:
377:
330:
102:often used in the production of
48:
640:Microsoft GS Wavetable SW Synth
525:Karplus–Strong string synthesis
435:visually shown: a single-cycle
1353:; Strong, Alex (Summer 1983).
1:
746:120 Years of Electronic Music
555:. Later, it was referred as "
431:An example of the content of
1566:A New Way in Sound Synthesis
1432:Multiple wavetable synthesis
839:"Dreamsong: The Composition"
612:Multiple wavetable synthesis
557:multiple wavetable synthesis
1694:Hermann Seib (2011-01-07).
1690:to generate a wavetable set
1643:The Computer Music Tutorial
1320:digital waveguide synthesis
1314:Digital waveguide synthesis
533:digital waveguide synthesis
496:However, the derived term "
1971:
1290:US application 5212334
1159:The Audio Programming Book
1111:10.1162/014892602320991356
1020:wavetable-lookup synthesis
890:Creative Worldwide Support
740:Crab, Simon (2013-12-26).
684:Direct digital synthesizer
451:Wavetable-lookup synthesis
36:
29:
1768:
201:by utilising a number of
136:'s September 1977 issue.
98:technique used to create
1538:Cullen & Howell 2006
1450:Cullen & Howell 2006
1328:Karplus–Strong algorithm
1260:Cullen & Howell 2006
390:(based on Figure 2.1 on
356:may contain suggestions.
341:may need to be rewritten
291:low frequency oscillator
100:quasi-periodic waveforms
74:may contain suggestions.
59:may need to be rewritten
37:Not to be confused with
1704:plugIn) along with new
1635:, Palm Productions GmbH
1022:described in chapter 3.
644:MPEG-4 Structured Audio
504:(1) Wavetable synthesis
491:table-lookup oscillator
1640:Roads, Curtis (1996).
1563:Andresen, Uwe (1979),
1363:Computer Music Journal
1098:Computer Music Journal
1044:Computer Music Journal
996:table-lookup synthesis
951:. Cambridge, MA, USA:
847:Computer Music Journal
689:Sample-based synthesis
620:sample-based synthesis
616:Sample-based synthesis
576:sample-based synthesis
570:Sample-based synthesis
527:is a simple class of "
509:table-lookup synthesis
447:Table-lookup synthesis
322:Table-lookup synthesis
249:
236:current synthesizers.
199:pulse-width modulation
39:Sample-based synthesis
18:Table-lookup synthesis
1950:Sound synthesis types
1878:Karplus–Strong string
1620:The PPG Story, Part 4
1487:wavetable-bank format
1388:Wavetable Synthesis:
1225:. Routledge. p.
1165:. MIT Press. p.
1153:, eds. (2010-10-22).
908:"Wavetable Synthesis"
632:Creative Wave Blaster
304:subtractive synthesis
1929:Software synthesizer
1773:Frequency modulation
1676:on February 3, 2014.
1217:Hosken, Dan (2012).
1120:wavetable oscillator
873:Bristow-Johnson 1996
810:Smith III, Julius O.
487:wavetable oscillator
316:AM (ring) modulation
312:frequency modulation
294:useful for evolving
1911:Digital synthesizer
1392:wavetable synthesis
1332:Stanford University
1324:Julius O. Smith III
1294:Julius O. Smith III
1188:wavetable synthesis
1184:table-lookup method
1061:The samples in the
604:Wavetable synthesis
498:wavetable synthesis
195:analog synthesizers
122:in 1958 as part of
92:Wavetable synthesis
1888:Analog synthesizer
1850:Physical modelling
1670:"Wavetable Cooker"
1302:Yamaha Corporation
1276:version available)
1147:Boulanger, Richard
1130:(two, not eleven)
1090:"Max at seventeen"
955:. pp. 65–97.
553:wavetable sweeping
461:methods using the
287:envelope generator
142:Palm Products GmbH
1937:
1936:
1924:Scanned synthesis
1863:Digital waveguide
1778:Linear arithmetic
1686:tools, including
1653:978-0-262-68082-0
1423:J. Audio Eng. Soc
1236:978-1-136-64435-1
1176:978-0-262-28860-6
1151:Lazzarini, Victor
1132:in the late 1950s
1118:For example, the
1039:Giugno, Pepino di
837:McNabb, Michael.
628:Gravis Ultrasound
371:
370:
345:quality standards
89:
88:
63:quality standards
16:(Redirected from
1962:
1858:Banded waveguide
1783:Phase distortion
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1672:. Archived from
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1583:Copy on MusicDSP
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457:) is a class of
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222:Sound Blaster 16
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949:The Csound book
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932:. Nov 29, 2017.
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1706:Wavetables '08
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1663:External links
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1615:Palm, Wolfgang
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1595:Sound on Sound
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1351:Karplus, Kevin
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1161:. Foreword by
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551:and known as
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523:For example,
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281:Practical use
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219:Creative Labs
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187:interpolation
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146:Waldorf Music
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138:Wolfgang Palm
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104:musical tones
101:
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57:This article
55:
51:
46:
45:
40:
33:
19:
1824:
1813:Sample-based
1722:"Waveterm C"
1705:
1674:the original
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1628:
1619:
1605:
1593:
1576:
1565:
1556:Bibliography
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1370:(2): 45–55.
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1169:–336.
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1117:
1105:(4): 31–43.
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920:
911:
902:
894:the original
889:
880:
868:
858:February 24,
856:. Retrieved
851:
845:
819:February 24,
817:. Retrieved
774:
765:
760:
749:. Retrieved
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478:
476:
467:table-lookup
450:
446:
445:
432:
401:
395:
386:lookup table
359:
350:You can help
340:
300:
284:
258:
250:
245:
238:
234:
230:FM synthesis
228:samples and
216:
203:square waves
192:
172:
160:
158:
128:
117:
91:
90:
80:January 2023
77:
68:You can help
58:
1793:Subtractive
1229:–73.
1163:Max Mathews
1035:Alles, H.G.
624:trade names
531:" known as
406:waveshaping
392:Nelson 2000
362:August 2020
306:(filters),
271:time-domain
207:duty cycles
120:Max Mathews
114:Development
32:Ripple tank
1944:Categories
1803:Distortion
1485:The SASBF
1318:The term "
1247:synthesis.
1244:oscillator
1051:(4): 7–9.
1012:, p.
1010:Roads 1996
988:, p.
986:Roads 1996
751:2022-05-26
728:References
634:wavetable
614:, and (4)
594:Background
477:The term "
465:tables by
455:Roads 1996
296:synth pads
197:, such as
1825:Wavetable
1473:CiteSeerX
1194:, called
1093:(reprint)
1067:WAVETABLE
953:MIT Press
912:WikiAudio
779:Palm 2009
718:flip book
354:talk page
179:waveforms
169:Principle
162:Dreamsong
72:talk page
1830:Granular
1798:Additive
1617:(2009),
1128:Music II
1122:used in
1088:(2002).
1057:40731292
674:HuC6280A
668:See also
587:Emulator
549:PPG Wave
515:(2), (3)
463:waveform
183:modulate
175:periodic
124:MUSIC II
1901:Modular
1873:Formant
1817:Sampler
1788:Scanned
1384:3680062
1296:, "
930:Ableton
679:MUSIC-N
481:" (or "
433:f-table
402:f-table
266:Waldorf
240:Ableton
150:Ensoniq
1835:Vector
1712:, and
1650:
1475:
1382:
1336:Yamaha
1307:
1292:,
1233:
1196:tables
1173:
1124:Fig. 1
1055:
959:
649:, and
638:, and
610:, (3)
606:, (2)
602:, (1)
398:Csound
352:. The
154:Access
70:. The
1763:types
1633:(PDF)
1507:(PDF)
1419:(PDF)
1380:JSTOR
1358:(PDF)
1053:JSTOR
842:(PDF)
695:Notes
559:" by
108:notes
94:is a
1955:MIDI
1702:VSTi
1648:ISBN
1547:Note
1330:.
1274:HTML
1242:The
1231:ISBN
1203:Note
1171:ISBN
957:ISBN
860:2015
821:2015
658:i.e.
651:AC97
600:i.e.
584:E-mu
582:and
568:(4)
449:(or
410:MIDI
314:and
273:and
152:and
134:Byte
1815:or
1708:by
1688:DFT
1684:DSP
1540:, "
1452:, "
1372:doi
1316:: "
1262:, "
1167:335
1107:doi
1014:125
972:GEN
854:(4)
513:See
453:) (
396:On
394:)
289:or
262:PPG
226:PCM
140:of
106:or
1946::
1592:.
1517:.
1515:11
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1481:.
1471:.
1427:41
1425:.
1421:.
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1386:.
1378:.
1366:.
1360:.
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1281:^
1239:.
1227:72
1221:.
1179:.
1157:.
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1103:26
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1095:.
1075:^
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888:.
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801:^
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1700:(
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1680:C
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1310:.
1272:(
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1109::
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852:5
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364:)
360:(
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82:)
78:(
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41:.
34:.
20:)
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