![]() ![]() ![]() With just four oscillators to play with, this additive-like approach will never produce harmonically rich sounds, but it does open the door to a level of purity that a filtered saw can never deliver. Sonically speaking, what you should notice is an organ-like quality to the sound, arguably with the oscillators representing the different pipe lengths in a pipe organ, for example, or the drawbars of a Hammond organ. Oscillator B is then pitched an octave higher, forming the second harmonic, while Oscillators C and D are pitched +19 and +24 respectively, to form the third and fourth harmonic. ![]() Oscillator A, therefore, becomes our fundamental, tuned to the same pitch as the played note. The key to additive synthesis is the tuning of each oscillator, often following the same ordering as the harmonic series. We also need to use all four of Alchemy’s oscillators – A, B, C and D – if we want the sounds to have a sense of sonic interest. As before, we’ll start with the VA oscillators, although this time we’re going to opt for a choice of purer waveshapes rather than the sawtooth of PWM square waves used last time.Īs the principles of additive synthesis involve the layering of individual harmonics, you’ll need waveforms largely based on the fundamental – either a sine wave (the purest waveshape) or a triangle. Alchemy includes a dedicated additive section, but to better understand the concepts, we’re going to initially start with the parts of the synthesiser we used last time. ![]()
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