Pure Data (or pd if you’re cool) is a “graphical programming language” that’s geared specifically towards audio. Pure Data is an open-source project that shares its roots with the commercially-maintained Max/MSP program, both of which are the brain-child of computer-science professor Miller Puckette. For me, pd has been an interesting way to program my own digital synthesizers, which can be realized (relatively) quickly for real-time-audio playback.
This patch represents a frequency-modulation synthesizer (almost always called an FM synth for short), with highly extensible input/output capabilities. Because FM-synthesis is predicated on cross-modulation between different waveforms, this modular design is exceptionally useful.
Most “””real””” synths allow you to program a sequencer by playing the notes on the keyboard. This video is the last in a series that demonstrates how to store polyphonic information for sequenced playback.
Here I demonstrate the somewhat unique (though not completely novel) concept of additive synthesis. While most analog hardware-synths are described as subtractive due to their use of a downstream filter to band-limit the signal, my synthesizer adds harmonics one at a time with independently addressable sine-wave generators. What is this good for? Other than making a heinous amount of noise, this paradigm can be leveraged to create inharmonic overtones; those which are not perfect integer-multiples of the fundamental. When deployed subtly, this effect can create dreamy bell-like tones. At its extreme, you’ll create sounds that are probably only useful for scoring a horror film.
Jonathan Zonenshine 