diplomarbeit-Synthesizer.pdf

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'LSORPDUEHLWEHUGDV7KHPD  

6\QWKHVL]HU²7HFKQRORJLHXQG7HUPLQRORJLH dem Prüfungsamt bei der

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vorgelegt von

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Referenten:

Prof. Dr. H. W. Drescher Dr. P. A. Schmitt

Prüfungstermin:

Wintersemester 1995/ 96

Alkemper: 6\QWKHVL]HU – 7HUPLQRORJLHXQG7HFKQRORJLH

,QKDOWVYHU]HLFKQLV  (LQOHLWXQJ  'HU6\QWKHVL]HU  1.1 Definition .................................................................................................................9 1.2 Herkunft und Entwicklung .................................................................................11 1.3 Anwendungsbereiche ...........................................................................................17 1.4 Einteilung der Synthesizer ...................................................................................20 1.4.1

Analoge Synthesizer .............................................................................21 1.4.1.1 Modulsynthesizer ..........................................................................22 1.4.1.2 Kompaktsynthesizer.....................................................................23 1.4.1.3 Presetsynthesizer...........................................................................24 1.4.1.4 Studiosynthesizer ..........................................................................25

1.4.2

Digitale Synthesizer ..............................................................................26 1.4.2.1 Digitalsynthesizer..........................................................................27 1.4.2.2 Sampleplayer..................................................................................28 1.4.2.3 Workstations..................................................................................29 1.4.2.4 Sampler...........................................................................................30

1.5 Klangerzeugung.....................................................................................................31 1.5.1

Physikalische Grundlagen der Akustik und Psychoakustik............31

1.5.2

Syntheseverfahren.................................................................................34 1.5.2.1 Subtraktive Synthese.....................................................................36 1.5.2.2 Additive Synthese/ Fouriersynthese...........................................42 1.5.2.3 FM-Synthese (Frequenzmodulation) .........................................44 1.5.2.4 Wellenformsynthese .....................................................................46 1.5.2.5 ROM-Sample-Synthese................................................................48 1.5.2.6 Linear-Arithmetische Synthese...................................................49 1.5.2.7 Phase-Distortion-Synthese ..........................................................50 1.5.2.8 Time-Slice-Verfahren ...................................................................51 1.5.2.9 Physical Modeling/ PM-Synthese ...............................................52 1.5.2.10 Karplus-Strong-Synthese ........................................................56

1.5.3

Sampling.................................................................................................56 1.5.3.1 Aufbau eines Samplers.................................................................58 1.5.3.2 Aufnahme von Klängen...............................................................58 1.5.3.3 Nachbearbeitung der gesampelten Klänge ...............................62 1.5.3.4 Abspielen der Samples .............................