Knowledge

Waveshaper

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is difficult, and not well understood. The effect will be amplitude-dependent, among other things. But generally, waveshapers—particularly those with sharp corners (e.g., some derivatives are discontinuous) -- tend to introduce large numbers of high frequency harmonics. If these introduced harmonics exceed the
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The sound produced by digital waveshapers tends to be harsh and unattractive, because of problems with aliasing. Waveshaping is a non-linear operation, so it's hard to generalize about the effect of a waveshaping function on an input signal. The mathematics of non-linear operations on audio signals
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With relatively simple, and relatively smooth waveshaping functions (sin(a*x), atan(a*x), polynomial functions, for example), this procedure may reduce aliased content in the harmonic signal to the point that it is musically acceptable. But waveshaping functions other than polynomial waveshaping
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Sin, arctan, polynomial functions, or piecewise functions (such as the hard clipping function) are commonly used as waveshaping transfer functions. It is also possible to use table-driven functions, consisting of discrete points with some degree of interpolation or linear segments.
408: 820:{\displaystyle \sum _{n=0}^{N}a_{n}{\Bigg (}\alpha {\frac {e^{j(\omega t+\phi )}+e^{-j(\omega t+\phi )}}{2}}{\Bigg )}^{n}=a_{0}+\sum _{n=1}^{N}{\frac {a_{n}\alpha ^{n}}{2^{n-1}}}{\frac {(e^{j(\omega t+\phi )}+e^{-j(\omega t+\phi )})^{n}}{2}}} 1268: 509: 1653: 1491: 198:. In practice, the input to the waveshaper, x, is considered on for digitally sampled signals, and f will be designed such that y is also on to prevent unwanted clipping in software. 224: 169: 1523: 1594: 1553: 840: 63:
of a guitar or bass. Some synthesizers or virtual software instruments have built-in waveshapers. The effect can make instruments sound noisy or
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that changes an audio signal by mapping an input signal to the output signal by applying a fixed or variable mathematical function, called the
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functions will introduce an infinite number of harmonics into the signal, some which may audibly alias even at the supersampled frequency.
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From the above equation, several observations can be made about the effect of a polynomial shaping function on a single sinusoid:
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Polynomial functions are convenient as shaping functions because, when given a single sinusoid as input, a polynomial of degree
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Yeh, David T. and Pakarinen, Jyri (2009). "A Review of Digital Techniques for Modeling Vacuum-Tube Guitar Amplifiers",
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can somewhat but not completely alleviate this problem, depending on how fast the introduced harmonics fall off.
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The shape of the spectrum produced by each monomial term is fixed and determined by the binomial coefficients .
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th harmonic of the sinusoid. To prove this, consider a sinusoid used as input to the general polynomial.
403:{\displaystyle f(x)=a_{n}x^{n}+a_{n-1}x^{n-1}+\cdots +a_{2}x^{2}+a_{1}x+a_{0}=\sum _{n=0}^{N}a_{n}x^{n}} 1750: 1726: 1768: 118: 91: 1505: 55:
to achieve an extra-abrasive sound. This effect is most used to enhance the sound of a music
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by altering the waveform or vowel. Rock musicians may also use a waveshaper for heavy
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down to the fundamental, and all even monomial terms generate even harmonics from
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to transform back to trigonometric form and find coefficients for each harmonic.
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The weight of that spectrum in the overall output is determined solely by its
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All of the sinusoids generated are harmonically related to the original input.
1762: 1665: 1263:{\displaystyle a_{0}+\sum _{n=1}^{N}{\Bigg }}=a_{0}+\sum _{n=1}^{N}{\Bigg }}} 1669: 75: 56: 216: 60: 504:{\displaystyle \sum _{n=0}^{N}a_{n}(\alpha \cos(\omega t+\phi ))^{n}} 1751:
http://www.music.mcgill.ca/~gary/courses/2012/307/week12/node4.html
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http://www.music.mcgill.ca/~gary/courses/2012/307/week12/node2.html
40: 36: 190:, which in general may vary as a function of time. This parameter 106:
from systems theory). The function can be any function at all.
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are produced from simple tones by altering the shape of the
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Le Brun, Marc (1979). "Digital Waveshaping Synthesis",
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Computer Music: Synthesis, Composition, and Performance
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In digital modeling of analog audio equipment such as
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Jersey (1997). 16:For the Swedish electronic musician, see 1739:Journal of the Audio Engineering Society 1761: 1659:Problems associated with waveshapers 13: 1409: 1183: 957: 14: 1780: 202:Commonly used shaping functions 85: 51:Waveshapers are used mainly by 1744: 1731: 1720: 1707: 1686: 1470: 1467: 1452: 1449: 1434: 1431: 1241: 1226: 1223: 1208: 1047: 1032: 1013: 998: 995: 983: 802: 796: 781: 762: 747: 736: 629: 614: 595: 580: 492: 488: 473: 461: 416:will only introduce up to the 237: 231: 210: 158: 155: 149: 143: 137: 131: 1: 518:to obtain complex sinusoids. 164:{\displaystyle y=f(a(t)x(t))} 1555:generate odd harmonics from 1502:The frequency never exceeds 7: 182:is the input function, and 10: 1785: 1679: 219:is a function of the form 15: 1563:down to DC (0 frequency). 178:is the shaping function, 1518:{\displaystyle N\omega } 1528:All odd monomial terms 46: 1715:Computer Music Journal 1649: 1590: 1549: 1519: 1487: 1400: 1315: 1264: 1174: 1103: 948: 877: 821: 690: 548: 514:Next, use the inverse 505: 450: 404: 379: 165: 1696:, "Glossary", p.438. 1650: 1591: 1589:{\displaystyle a_{n}} 1550: 1548:{\displaystyle x^{n}} 1520: 1488: 1366: 1295: 1265: 1154: 1083: 928: 857: 822: 670: 528: 506: 430: 405: 359: 166: 18:Waveshaper (musician) 1600: 1573: 1532: 1506: 1276: 841: 525: 427: 225: 119: 53:electronic musicians 33:distortion synthesis 111:waveshaper equation 90:A waveshaper is an 1645: 1586: 1545: 1515: 1483: 1260: 817: 501: 400: 161: 1717:, 33:2, pp. 89-90 1643: 1416: 1364: 1249: 1190: 1152: 1056: 964: 926: 830:Finally, use the 815: 731: 638: 104:transfer function 100:transfer function 35:in which complex 1776: 1769:Electronic music 1753: 1748: 1742: 1735: 1729: 1724: 1718: 1711: 1705: 1690: 1654: 1652: 1651: 1646: 1644: 1642: 1641: 1626: 1625: 1624: 1615: 1614: 1604: 1595: 1593: 1592: 1587: 1585: 1584: 1554: 1552: 1551: 1546: 1544: 1543: 1524: 1522: 1521: 1516: 1492: 1490: 1489: 1484: 1482: 1481: 1480: 1474: 1473: 1423: 1422: 1421: 1408: 1399: 1392: 1380: 1365: 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148: 145: 142: 139: 136: 133: 130: 127: 124: 87: 84: 48: 45: 9: 6: 4: 3: 2: 1781: 1770: 1767: 1766: 1764: 1752: 1747: 1740: 1734: 1728: 1723: 1716: 1710: 1703: 1702:0-02-864682-7 1699: 1695: 1689: 1685: 1677: 1673: 1671: 1667: 1666:Nyquist limit 1638: 1635: 1632: 1628: 1621: 1617: 1611: 1607: 1581: 1577: 1568: 1565: 1562: 1558: 1540: 1536: 1527: 1512: 1509: 1501: 1498: 1497: 1496: 1493: 1464: 1461: 1458: 1455: 1446: 1443: 1440: 1437: 1427: 1424: 1413: 1410: 1393: 1389: 1385: 1377: 1374: 1371: 1367: 1359: 1356: 1353: 1349: 1342: 1338: 1332: 1328: 1311: 1306: 1303: 1300: 1296: 1292: 1287: 1283: 1279: 1246: 1238: 1235: 1232: 1229: 1220: 1217: 1214: 1211: 1205: 1201: 1187: 1184: 1170: 1165: 1162: 1159: 1155: 1147: 1144: 1141: 1137: 1130: 1126: 1120: 1116: 1099: 1094: 1091: 1088: 1084: 1080: 1075: 1071: 1067: 1053: 1044: 1041: 1038: 1035: 1029: 1026: 1023: 1019: 1010: 1007: 1004: 1001: 992: 989: 986: 980: 976: 961: 958: 944: 939: 936: 933: 929: 921: 918: 915: 911: 904: 900: 894: 890: 873: 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221: 214: 205: 195: 191: 187: 183: 179: 175: 173: 110: 108: 99: 95: 92:audio effect 89: 86:How it works 69: 50: 28: 22: 211:Polynomials 76:vacuum tube 57:synthesizer 29:waveshaping 217:polynomial 65:overdriven 61:distortion 1636:− 1618:α 1513:ω 1465:ϕ 1456:ω 1441:− 1428:⁡ 1397:⌋ 1383:⌊ 1368:∑ 1357:− 1339:α 1297:∑ 1239:ϕ 1230:ω 1215:− 1156:∑ 1145:− 1127:α 1085:∑ 1045:ϕ 1036:ω 1024:− 1011:ϕ 1002:ω 990:− 930:∑ 919:− 901:α 859:∑ 794:ϕ 785:ω 776:− 760:ϕ 751:ω 724:− 706:α 672:∑ 627:ϕ 618:ω 609:− 593:ϕ 584:ω 567:α 530:∑ 486:ϕ 477:ω 471:⁡ 465:α 432:∑ 361:∑ 302:⋯ 291:− 275:− 82:limiter. 41:waveforms 1763:Category 1680:Sources 186:is the 37:spectra 1700:  174:where 80:diode 1698:ISBN 184:a(t) 180:x(t) 47:Uses 1425:cos 468:cos 98:or 78:or 23:In 1765:: 215:A 67:. 43:. 27:, 1704:. 1639:1 1633:n 1629:2 1622:n 1612:n 1608:a 1582:n 1578:a 1561:n 1557:n 1541:n 1537:x 1525:. 1510:N 1478:] 1471:) 1468:) 1462:+ 1459:t 1453:( 1450:) 1447:k 1444:2 1438:n 1435:( 1432:( 1419:) 1414:k 1411:n 1406:( 1394:2 1390:/ 1386:n 1378:0 1375:= 1372:k 1360:1 1354:n 1350:2 1343:n 1333:n 1329:a 1319:[ 1312:N 1307:1 1304:= 1301:n 1293:+ 1288:0 1284:a 1280:= 1255:] 1247:2 1242:) 1236:+ 1233:t 1227:( 1224:) 1221:k 1218:2 1212:n 1209:( 1206:j 1202:e 1193:) 1188:k 1185:n 1180:( 1171:n 1166:0 1163:= 1160:k 1148:1 1142:n 1138:2 1131:n 1121:n 1117:a 1107:[ 1100:N 1095:1 1092:= 1089:n 1081:+ 1076:0 1072:a 1068:= 1062:] 1054:2 1048:) 1042:+ 1039:t 1033:( 1030:k 1027:j 1020:e 1014:) 1008:+ 1005:t 999:( 996:) 993:k 987:n 984:( 981:j 977:e 967:) 962:k 959:n 954:( 945:n 940:0 937:= 934:k 922:1 916:n 912:2 905:n 895:n 891:a 881:[ 874:N 869:1 866:= 863:n 855:+ 850:0 846:a 813:2 807:n 803:) 797:) 791:+ 788:t 782:( 779:j 772:e 768:+ 763:) 757:+ 754:t 748:( 745:j 741:e 737:( 727:1 721:n 717:2 710:n 700:n 696:a 687:N 682:1 679:= 676:n 668:+ 663:0 659:a 655:= 650:n 644:) 636:2 630:) 624:+ 621:t 615:( 612:j 605:e 601:+ 596:) 590:+ 587:t 581:( 578:j 574:e 562:( 555:n 551:a 545:N 540:0 537:= 534:n 497:n 493:) 489:) 483:+ 480:t 474:( 462:( 457:n 453:a 447:N 442:0 439:= 436:n 418:N 414:N 396:n 392:x 386:n 382:a 376:N 371:0 368:= 365:n 357:= 352:0 348:a 344:+ 341:x 336:1 332:a 328:+ 323:2 319:x 313:2 309:a 305:+ 299:+ 294:1 288:n 284:x 278:1 272:n 268:a 264:+ 259:n 255:x 249:n 245:a 241:= 238:) 235:x 232:( 229:f 192:a 176:f 159:) 156:) 153:t 150:( 147:x 144:) 141:t 138:( 135:a 132:( 129:f 126:= 123:y 20:.

Index

Waveshaper (musician)
electronic music
distortion synthesis
spectra
waveforms
electronic musicians
synthesizer
distortion
overdriven
tube amplifiers
vacuum tube
diode
audio effect
transfer function
polynomial
Euler's formula
binomial formula
Nyquist limit
Oversampling
ISBN
0-02-864682-7
http://www.music.mcgill.ca/~gary/courses/2012/307/week12/node2.html
http://www.music.mcgill.ca/~gary/courses/2012/307/week12/node4.html
Category
Electronic music

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