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from Flesh by waxcide

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7

This week, we're exploring one of the newest methods of synthesizing sound: pulsar synthesis. While most synthesis methods we use now are based in tech from the 20th century, Pulsar synthesis was first published in 2001 by Curtis Roads but implemented first in 1991 then again but improved in 1999 by Alberto De Campo, and is built upon 2 basic principles: impulse generators (think Mannequins' Mangrove) and amplitude modulation synthesis. It holds similarities with those and ring modulation synthesis explored last week.

At its most basic, Pulsar synthesis is amplitude modulation synthesis of any signal by any other signal. More specifically, those signals should be phase locked (not hard synced) such that they start at the same phase; they should be tonal rather than atonal (so an actual wave instead of noise); and the modulation signal should have an obvious period of silence within the total period of the waveform which can be varied. Multiple modulation signals with lower frequency than the period may be employed for a unique smearing effect, and they can be of differing shape. It gets more advanced from there which you can read about in the original paper here: static1.squarespace.com/static/5ad03308fcf7fd547b82eaf7/t/5b75b1181ae6cfab10991421/1534439741265/SoundCompwithPulsars.pdf (this also covers potential musical uses if you're into that)

TL;DR, start with 2 sine waves that start in phase and are integer ratios of each other and have one amplitude modulate the other, and go from there. Modulation and subtle external effects like light reverb are open. Have fun, and I'll have a new one next Friday!

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from Flesh, released January 4, 2023

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waxcide Wales, UK

music producer Thomas Wulfe a.k.a Waxcide and dj DNSK - both representing and releasing the material via Waxcide Collective, a new music collective for minds alike in techno, house, acid, etc

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