Wavetable synthesis (English Wikipedia)

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

refsWebsite
Global rank English rank
3rd place
3rd place
1st place
1st place
2,107th place
1,211th place
9,911th place
6,872nd place
26th place
20th place
1,933rd place
1,342nd place
2nd place
2nd place
low place
low place
low place
low place
1,363rd place
969th place
179th place
183rd place
low place
low place
low place
low place
low place
low place
low place
low place
low place
low place
1,067th place
749th place
800th place
676th place
934th place
low place
3,619th place
2,621st place
3,087th place
2,519th place
207th place
136th place
1,118th place
825th place

120years.net (Global: low place; English: low place)

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

ableton.com (Global: low place; English: low place)

aes.org (Global: 9,911th place; English: 6,872nd place)

books.google.com (Global: 3rd place; English: 3rd place)

  • 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.

creative.com (Global: low place; English: low place)

support.creative.com

doi.org (Global: 2nd place; English: 2nd place)

espacenet.com (Global: 800th place; English: 676th place)

worldwide.espacenet.com

google.co.jp (Global: 934th place; English: low place)

hansotten.nl (Global: low place; English: low place)

retro.hansotten.nl

intel.com (Global: 1,118th place; English: 825th place)

download.intel.com

  • "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*

jstor.org (Global: 26th place; English: 20th place)

mcnabb.com (Global: low place; English: low place)

musicdsp.org (Global: low place; English: low place)

myspace.com (Global: 1,363rd place; English: 969th place)

blogs.myspace.com

psu.edu (Global: 207th place; English: 136th place)

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 (Global: 2,107th place; English: 1,211th place)

  • 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.

stanford.edu (Global: 179th place; English: 183rd place)

ccrma.stanford.edu

ucsc.edu (Global: 3,619th place; English: 2,621st place)

compbio.soe.ucsc.edu

ucsd.edu (Global: 1,933rd place; English: 1,342nd place)

msp.ucsd.edu

  • 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.

uiuc.edu (Global: 3,087th place; English: 2,519th place)

ems.music.uiuc.edu

  • Horner, Andrew; Beauchamp, James; Haken, Lippold (1993). "Methods for multiple wavetable synthesis of musical instrument tones" (PDF). J. Audio Eng. Soc. 41 (5) (published May 1993): 336–356. Archived from the original (PDF) on 2015-04-02. Retrieved 2017-08-21. Multiple wavetable synthesis, the subject of this paper, is based on a sum of fixed waveforms or periodic basis functions with time-varying weights.

washington.edu (Global: 1,067th place; English: 749th place)

courses.cs.washington.edu

web.archive.org (Global: 1st place; English: 1st place)

wikiaudio.org (Global: low place; English: low place)