Basic Subtractive and Additive Synth Patches
FM (Frequency Modulation) Synthesis
Sawtooth waves are created by adding a number of Sine waves together (this is one of the fundamentals of additive synthesis, which we’ll look at in an upcoming article).
Subtractive Synthesis - Yala Abdullah will be available on
Visual color literally does not exist outside individual consciousness. There is an enormous body of evidence to show that color experience is remarkably personal: it varies significantly across individuals, for a variety of reasons (genetics, age, experience). In addition, the same radiant color can appear as very different visual colors, depending on the intensity of the light and the context in which it is viewed. As a practical matter, then, the connection between a material color and visual color can be highly variable across individuals and viewing contexts.
How Subtractive Synthesizers Work
A pigment such as quinacridone violet (PV19) does not have fixed radiant color attributes. The reflectance curve, and hence the apparent color under standard viewing conditions, changes with the physical state of the pigment the pigment may be dry or wet, it may be suspended in water or oil, it may be diluted or concentrated, it may be displayed as a thin or thick layer (diagram, right). In most colorants, each of these physical changes will alter the radiant and the colorant's subtractive mixture behavior.
Subtractive Synthesis - Soundridge - SoundBridge
So long as we only consider the radiant color only, or the mixture of separate radiant colors that stimulate the eye at the same time (for example, when two beams of filtered light are overlapped on a white surface, or two pigment or ink colors are visually mixed with a color top), then we are in the domain of additive color theory. Predicting these color mixtures using the separate reflectance curves is straightforward and, as perceptual prediction goes, remarkably precise.