Heliocentricity: an Additive Journey

This is “Take 3” on my learning curve journey to understand just how to “Mix” sounds within a composition using the harmonic frequencies of Additive Synthesis, by no means an easy feat. The harmonic structures that make up the sounds themselves are made up of 6 separate additive oscillators containing 12 “hand-shaped” additive wave-forms I created spanning multiple frequency shifting modulation routes.

Yes, even the majority of so called “Subtractive Filter Sweep” sounds are NOT traditionally subtractive at all, their Frequency Modulation shifts that ascend, peak, then descend thereafter combined with emulated resonance through spectral analysis. Only 2 sounds within this soundtrack aren’t Additive; the Arpeggio and Vocals. The Arp was created using Sam Spacey’s EPICA, and the awesome vocal was the Free “Clara’s Vocal Library Version 1.03” (Version 2.0 is now available for $40.00 and available here: http://stefanomaccarelli.com/factory/ ).

So far it sounds like I’m getting one step closer to Mixing Additive Frequencies as an audible medium without blowing my speakers up …Might sound crappy on a “Low-End” system though, and by no means completely mastered as I trudge along the path of Adding Additive to a mix 😉

Definition: Additive Synthesis (AKA Fourier Analysis): A method of synthesizing complex tones by adding together an appropriate number of simple sine waves at harmonically related frequencies. The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time. Additive synthesis most directly generates sound by adding the output of multiple sine wave generators. Alternative implementations may use pre-computed wavetables or the inverse Fast Fourier transform.