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A A A #o A 1- A A h ... " A .... " A A A A ... A •"• A ... A A A "' " I• A A A :::::::::::::::::::::::::A:--:A:< A:::::::::::::::::A:A: AA A lo ::::::. ::::l A ... ,: .... w u z cc z 0 en w ct FREQUENCY Frequencies near a filter·s cut-off point are made louder by turning up the RESONANCE control 43 Low Pass Filter Low pass filters attenuate frequencies above the cut-off point.
This is equal to the difference in frequency of waves A and B (5Hz - 4Hz= 1Hz). At audio frequencies this will be heard as ·beating• 38 Making Waves SYNTHESIZER CONCEPTS If one oscillator is tuned to A 440Hz, and another tuned slightly sharp to A 441 Hz, the frequency difference between them is 1Hz. When these two oscillators are mixed together, the resulting sound will become louder and softer at a rate of once per second. If the tuning difference between them becomes greater, then the rate of the beating will increase.
Since the partials are of much less amplitude than those of a square wave's, the triangle has a much duller sound . , Sine The sine wave is sometimes available as an audio waveform. It has no partials in its spectrum, only a fundamental. The timbre of a sine wave is pure and very dull. With the exception of pulse width, the only parameter of any of these waveshapes that can be controlled by other synthesizer functions is frequency. Sync If an instrument has more than one oscillator, often one of them has a selectable feature called SYNC (because a pair of oscillators is required to take advantage of this feature).