Subtractive Synthesis

General

– Is the Most used Synthesizer Model, whether it is Analog Based or Virtual Based

– Subtractive Synth means, a Sound is Derived from a Sound Source (from Waveforms) and then you are Subtracting Things from it (via Filters, Envelope, Modulators)

– Workflow starts from a Keyboard Trigger (Midi Keyboard) –> Sub Oscillator (Sin, Tri, Saw, Sqr) –> Filter Section (Cutoff, Res etc.) –> Amp Env (ADSR) –>Output Stage

Sawtooth (Subtractive)

– Contains All Harmonics, Even & Odd to an Infinite Level 

– so in Subtractive Mode you Shape & Cut Harmonics of Such as Shape with Filters, EQ etc. 

– the Harmonics are Spread All the Way Up to the Limit of the System, which in the Case of a Virtual Analog Synth will be Half of the Sampling Rate

– After Half of the Sample Rate, “Aliasing” occurs (i.e. they Extend to the Nyquist Limit)

– Saw Wave is Suitable for a Variety of things such as Pads, Strings or Basses etc.

Square (Subtractive)

– Sometimes Called “Rectangle”

– Contains All Odd Harmonics to an Infinite Level 

– also Subtractive Options to Cut & Shape Harmonics with Filters, EQ etc. (as the Saw Wave)

– the Harmonics are Spread All the Way Up to the Nyquist Limit (as the Saw Wave)

– gives the Characteristic Hollow Sound

– Square Wave is Suitable for “Cheesy” Sounds such as Chip Sounds, Computer Sounds etc.

– in Order to Turn a Single Sine Wave to a Square Wave, you basically Skip all Even Harmonics and Pull In Only the Odd Harmonics along the Fundamental (1,3,5,7 etc. instead of 1,2,4,6 etc.)

Triangle (Subtractive)

– Contains Only “Odd Harmonics” (as the Square Wave), but with a Much Quicker Release (Drop Down in Level) of the Odd Harmonics than in Square Wave

– so the Triangle Does Not Sound as Bright

– Triangle Wave is Suitable for Reed or Flute Instruments

Pulse (Subtractive)

– Re-Introduces the Even Harmonics, Depending on the Pulse-Width Settings

– the Base of Many Classic Analog Type Sounds