Wavetable synthesis (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Wavetable synthesis" in English language version.

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120years.net

  • Crab, Simon (2013-12-26). "'MUSIC N', Max Vernon Mathews, USA, 1957". 120 Years of Electronic Music. Retrieved 2022-05-26.

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  • Nelson, Jon Christopher (2000). "2. Understanding and Using Csound's GEN Routines". The Csound book. Cambridge, MA, USA: MIT Press. pp. 65–97. ISBN 0-262-52261-6."Csound uses lookup tables for musical applications as diverse as wavetable synthesis, waveshaping, mapping MIDI note numbers and storing ordered pitch-class sets. These function tables (f-tables) contain everything from periodic waveforms to arbitrary polynomials and randomly generated values. The specific data are created with Csound's f-table generator subroutines, or GEN routines. ..."
  • Roads 1996, p. 87, Introduction to Digital Sound Synthesis, "This chapter outlines the fundamental methods of digital sound production. Following a brief historical overview, we present the theory of table-lookup synthesis—the core of most synthesis algorithms. ..." Roads, Curtis (1996). The Computer Music Tutorial. MIT Press. ISBN 978-0-262-68082-0.
  • Roads 1996, p. 125, Sampling Synthesis, "Pitch-shifting ... variation technique as used in 'wavetable-lookup synthesis described in chapter 3." Roads, Curtis (1996). The Computer Music Tutorial. MIT Press. ISBN 978-0-262-68082-0.
  • Boulanger, Richard; Lazzarini, Victor, eds. (2010-10-22). "3.2.3 Table-Lookup Oscillators". The Audio Programming Book. Foreword by Max Mathews. MIT Press. p. 335–336. ISBN 978-0-262-28860-6. In this section ... we will be introduce the table-lookup method for generating waveforms. This method is also called wavetable synthesis ... / Wavetable synthesis is a technique based on reading data that has been stored in blocks of contiguous computer-memory locations, called tables. This sound-synthesis technique was one of the very first software synthesis methods introduced in the MUSIC I-MUSIC V languages developed by Max Mathews at Bell Labs in the late 1950s and the early 1960s. ... / With table-lookup synthesis, it is sufficient to calculate only a single cycle of a waveform, and then store this small set of samples in the table where it serves as a template. ..."
    Note: on the preceding quotation, the authors paraphrased the section title "table-lookup oscillators" as follows: "table-lookup method", "wavetable synthesis", and "table-lookup synthesis".
  • Hosken, Dan (2012). "The Oscillator". Music Technology and the Project Studio: Synthesis and Sampling. Routledge. p. 72–73. ISBN 978-1-136-64435-1. The oscillator generates a cycle of some waveform the appropriate number of times per second for the desired fundamental frequency. This is referred to variously as fixed-waveform synthesis, table-lookup synthesis, or wavetable synthesis.

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  • "1.4 Integrating AC '97 into the System" (PDF). AC '97 Component Specification Revision 2.3 Rev 1.0. Intel Corporation. April 2002. p. 11. Figure 2. AC '97 System Diagram: AC '97 Digital Controller / Optional hw acceleration / SRC*, mix*, 3D positional*, wavetable synth*

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citeseerx.ist.psu.edu

  • Scheirer, Eric D. (MIT Media Lab); Ray, Lee (Joint E-Mu/Creative Technology Center) (1998). "Algorithmic and Wavetable Synthesis in the MPEG-4 Multimedia Standard". 105th Audio Engineering Society (AES) Convention (San Francisco, California). CiteSeerX 10.1.1.35.2773. 2.2 Wavetable synthesis with SASBF: The SASBF wavetable-bank format had a somewhat complex history of development. The original specification was contributed by E-Mu Systems and was based on their "SoundFont" format [15]. After integration of this component in the MPEG-4 reference software was complete, the MIDI Manufacturers Association (MMA) approached MPEG requesting that MPEG-4 SASBF be compatible with their "Downloaded Sounds" format [13]. E-Mu agreed that this compatibility was desirable, and so a new format was negotiated and designed collaboratively by all parties.

soundonsound.com

  • Cullen & Howell 2006, "SOS contributor Steve Howell replies: Wavetable synthesis is actually quite easy to understand. In the early days of synthesis, (analogue) oscillators provided a limited range of waveforms, such as sine, triangle, sawtooth and square/pulse, normally selected from a rotary switch. This gave the user a surprisingly wide range of basic sounds to play with, especially when different waveforms were combined in various ways.
    (HTML version available) Cullen, Michael; Howell, Steve (February 2006). "Q. Can you explain the origins of wavetable, S&S and vector synthesis?". Sound on Sound.
  • Cullen & Howell 2006, "However, in the late '70s, Wolfgang Palm used 'wavetable' digital oscillators in his innovative PPG Wave synths. Instead of having just three or four waveforms, a wavetable oscillator can have many more — say, 64 — because they are digitally created and stored in a 'look-up table' ... Now, if the waveforms are sensibly arranged, we can begin to create harmonic movement in the sound. ... you approach something not unlike a traditional filter sweep. ..." Cullen, Michael; Howell, Steve (February 2006). "Q. Can you explain the origins of wavetable, S&S and vector synthesis?". Sound on Sound.
  • Cullen & Howell 2006, "Other synths have employed wavetable synthesis in one guise or another since then, and there are several software synths available today which incorporate wavetable synthesis capabilities."
    Note: Regarding the previous quotation, a specific wavetable synthesis developed by Wolfgang Palm, known as "multiple wavetable synthesis", is ambiguously referred as "wavetable synthesis". Cullen, Michael; Howell, Steve (February 2006). "Q. Can you explain the origins of wavetable, S&S and vector synthesis?". Sound on Sound.

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  • Puckette, Miller (2002). "Max at seventeen" (reprint). Computer Music Journal. 26 (4): 31–43. doi:10.1162/014892602320991356.
    "For example, the wavetable oscillator used in Fig. 1 made its first appearance in Mathews's Music II (two, not eleven) in the late 1950s. Music II was only one in a long sequence of MUSIC N programs, but the idea of wavetable synthesis has had a pervasive influence throughout the computer music discipline."
  • Cullen & Howell 2006, "SOS contributor Steve Howell replies: Wavetable synthesis is actually quite easy to understand. In the early days of synthesis, (analogue) oscillators provided a limited range of waveforms, such as sine, triangle, sawtooth and square/pulse, normally selected from a rotary switch. This gave the user a surprisingly wide range of basic sounds to play with, especially when different waveforms were combined in various ways.
    (HTML version available) Cullen, Michael; Howell, Steve (February 2006). "Q. Can you explain the origins of wavetable, S&S and vector synthesis?". Sound on Sound.

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