Octaving – Transpose components by an octave(s). In order to preserve the center pitch, be sure to detune each component either the same amount in different directions or detune just one. (See Blog: Scales, Intervals).ĭetuning – Introduces chorusing and beat frequencies (See Blog: Modulation FX). This means each note movement will produce a parallel interval. Doubled sounds are typically the same timbre, but transposed or tuned to different pitches before being played together. The second example is my split stack.ĭescribes the re-use of some musical information. The first example below is my complex source. This technique may merit the use of spectrum analyzers, noise gates, and bandpass filters. Splitting – The process of breaking one complex sound into multiple simpler sounds, treating them individually, and processing them again together. You might combine a familiar sound like a violin with an alien sound like a modulated wavetable, or an analog sound with a digital sound. For example, you might combine an FM sound with an Additive sound because FM is usually inharmonic and additive is usually harmonic. Hybrid – Sounds consist of contrasting yet complementary sounds. By keeping the sounds simple, you have more room in the mix to add timbres without over-complicating the sound. There are three types of composites.Īdditive – Use simple sounds like sine waves and filtered complex waves. Polyphony answers “How many different keys can I play at the same time?” while multitimbrality answers “How many sounds can I trigger with one key?”Ī combination of different sounds happening at once. The concept of stacking and multiple timbres should not be confused with polyphony. However, in this implementation, the stack is not playable.ĭIFFERENCE BETWEEN POLYPHONY AND MUILTITIMBRALITY Of course, you can simulate this technique by simply duplicating software synths. These techniques were first implemented using keyboard hardware featuring multi-timbral, split, and unison modes. This diagram from Chapter 7 of the Sound Synthesis and Sampling book by Martin Russ lays out this distinction nicely. Layering highlights the independent character of timbres – it is less about making a single sound and more about making an evolving, dynamic unison. Additionally, the timbres are often transposed and detuned, yet they all contribute to one wholesome sound. Stacking produces a composite sound made up of similar timbres. However, there is a distinction – at least for the purposes of this article. Stacking is an arrangement technique that is often interchanged with the term layering.
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