Oscillators are the origin of all sound within a synthesizer. Analog has two oscillators as seen in the UI labeled 1 and 2. Between the two oscillators there is also a noise generator which is another type of oscillator that produces white noise of every frequency. A single oscillator typically sounds thin so most synthesizers have the option of combining multiple oscillators and noise together to generate more complex tones. USE THE VIDEO THAT COVERS THE OTHER FUNCTIONS HERE PERHAPS….
Next we are going to cover the first primary decision you’ll be making in sound design. THAT’S THE CHOICE OF YOUR WAVEFORMS.
So within oscillators 1 and 2 under the shape menu there are 4 different waveform options. Waveforms are what give the oscillator it’s timbre, or quality of sound.
1- The Sine Wave
The first option is the sine wave which is the most mellow.
Sine wave is used a lot for sub bass, pads, leads, any patch we want to be smooth, easy on the ears – go for the sine wave.
2- Square Wave
The next option we’ll go over is the square wave. So while the sine wave has a smooth roll between it’s peaks and valleys the square wave is more of a toggle on toggle off sound. This gives it a hollow or nasal character. It also has a really full bodied sound, which makes it great for blending into patches for that character.
3- Saw Wave
Next up is the sawtooth. This one can be a bit more aggressive and in your face. You can see in the waveform here that it does in fact resemble a saw. It’s most well known for dubstep bass patches and screaming overdriven leads but of course can also be blended tastefully.
4- Noise
The last option is the noise wave. This actually does not produce a pitch that changes depending on the midi information but rather just white noise, of every frequency. It is used quite a bit in sound design which we will get into in another video of this series.
The purpose of this tutorial is to demonstrate this very important first step in sound design, the choice of waveform. Each has it’s own place in the spectrum. Understanding the difference between these shapes and the sounds they produce is the first big step in sound design to grasp.