Additive synthesis is evidently the first technique widely used for
analysis and synthesis of audio in computer music
[232,233,184,186,187].
It was inspired directly by Fourier theory
[264,23,36,150] (which followed Daniel
Bernoulli's insights (§G.1)) which states that any sound
can be expressed mathematically as a sum of sinusoids. The
`term ``additive synthesis'' refers to sound being formed by adding
together many sinusoidal components modulated by relatively
slowly varying amplitude and frequency envelopes:
![]() |
(11.17) |
An additive-synthesis oscillator-bank is shown in Fig.10.7, as
it is often drawn in computer music [235,234]. Each
sinusoidal oscillator [166]
accepts an amplitude envelope
(e.g., piecewise linear,
or piecewise exponential) and a frequency envelope
,
also typically piecewise linear or exponential. Also shown in
Fig.10.7 is a filtered noise input, as used in S+N
modeling (§10.4.3).