Editing Additive synthesis (section)

==Applications==

===Musical instruments===

{{main|Synthesizer|Electronic musical instrument|Software synthesizer}}

Additive synthesis is used in electronic musical instruments. It is the principal sound generation technique used by [[Eminent BV|Eminent]] organs.

===Speech synthesis===

{{main|Speech synthesis}}

In [[linguistics]] research, harmonic additive synthesis was used in the 1950s to play back modified and synthetic speech spectrograms.<ref name="cooper1951" />

Later, in the early 1980s, listening tests were carried out on synthetic speech stripped of acoustic cues to assess their significance. Time-varying [[formant]] frequencies and amplitudes derived by [[linear predictive coding]] were synthesized additively as pure tone whistles. This method is called [[sinewave synthesis]].<ref name=remez81>
{{cite journal  
 | last         = Remez | first = R.E.
 |author2= Rubin, P.E.|author3= Pisoni, D.B.|author4= Carrell, T.D.
 | s2cid = 13039853 | year         = 1981 
 | title        = Speech perception without traditional speech cues
 | journal      = Science
 | volume        = 212 | issue         = 4497 | pages = 947&ndash;950 | doi=10.1126/science.7233191 | pmid=7233191
| bibcode = 1981Sci...212..947R }}</ref><ref name=rubin80>{{cite journal | last         = Rubin | first         = P.E. | year         = 1980 | title         = Sinewave Synthesis Instruction Manual (VAX) | url         = http://www.haskins.yale.edu/featured/sws/SWSmanual.pdf | journal         = Internal Memorandum | publisher         = Haskins Laboratories, New Haven, CT | access-date         = 27 December 2011 | archive-date         = 29 August 2021 | archive-url         = https://web.archive.org/web/20210829131739/http://www.haskins.yale.edu/featured/sws/SWSmanual.pdf | url-status         = dead }}</ref> Also the composite sinusoidal modeling (CSM)<ref name=sagayama79a>
{{citation
 | last1        = Sagayama | first1 = S. | author-link1 = :ja:嵯峨山茂樹
 | last2        = Itakura  | first2 = F. | author-link2 = Fumitada Itakura
 | year         = 1979
 |script-title=ja:複合正弦波による音声合成
 | trans-title  = Speech Synthesis by Composite Sinusoidal Wave
 | periodical   = Speech Committee of Acoustical Society of Japan
 | id           = S79-39 | publication-date = October 1979
}}</ref><ref name=sagayama79b>
{{cite conference
 | last1        = Sagayama | first1 = S.
 | last2        = Itakura  | first2 = F.
 | date         = October 1979
 |script-chapter=ja:複合正弦波による簡易な音声合成法
 |trans-chapter=Simple Speech Synthesis method by Composite Sinusoidal Wave
 |title=Proceedings of Acoustical Society of Japan, Autumn Meeting
 | volume       = 3-2-3 | pages = 557–558
}}
</ref> used on a singing [[speech synthesis]] feature on the [[Yamaha CX5M]] (1984), is known to use a similar approach which was independently developed during 1966&ndash;1979.<ref name=sagayama86>
{{cite book
 | last1        = Sagayama | first1 = S.
 | title = ICASSP '86. IEEE International Conference on Acoustics, Speech, and Signal Processing
 | last2        = Itakura  | first2 = F.
 | year         = 1986
 | author-link2  = Fumitada Itakura
 | chapter        = Duality theory of composite sinusoidal modeling and linear prediction
 | publisher   = Acoustics, Speech, and Signal Processing, IEEE International Conference on ICASSP '86.
 | volume       = 11 | pages = 1261–1264 | publication-date = April 1986
 | doi          = 10.1109/ICASSP.1986.1168815
| s2cid = 122814777
 }}</ref><ref name=itakura04>
{{cite journal
 | last         = Itakura | first = F.
 | author-link   = Fumitada Itakura
 | year         = 2004
 | title        = Linear Statistical Modeling of Speech and its Applications -- Over 36-year history of LPC --
 | url          = http://www.icacommission.org/Proceedings/ICA2004Kyoto/pdf/We3.D.pdf
 | periodical   = Proceedings of the 18th International Congress on Acoustics (ICA 2004), We3.D, Kyoto, Japan, Apr. 2004.
 | volume       = 3 | pages = III–2077–2082 | publication-date = April 2004
 | quote        = 6. Composite Sinusoidal Modeling(CSM) In 1975, Itakura proposed the line spectrum representation (LSR) concept and its algorithm to obtain a set of parameters for new speech spectrum representation. Independently from this, Sagayama developed a composite sinusoidal modeling (CSM) concept which is equivalent to LSR but give a quite different formulation, solving algorithm and synthesis scheme. Sagayama clarified the duality of LPC and CSM and provided the unified view covering LPC, PARCOR, LSR, LSP and CSM, CSM is not only a new concept of speech spectrum analysis but also a key idea to understand the linear prediction from a unified point of view. ...
}}
</ref> These methods are characterized by extraction and recomposition of a set of significant spectral peaks corresponding to the several resonance modes occurring in the oral cavity and nasal cavity, in a viewpoint of [[acoustics]]. This principle was also utilized on a [[physical modeling synthesis]] method, called [[modal synthesis]].<ref name=adrien1991>
{{cite book |last       = Adrien
 |first      = Jean-Marie
 |chapter    = The missing link: modal synthesis
 |chapter-url = http://dl.acm.org/citation.cfm?id=131158
 |editor= Giovanni de Poli |editor2=Aldo Piccialli |editor3=Curtis Roads |editor3-link=Curtis Roads |title      = Representations of Musical Signals
 |url        = https://archive.org/details/representationso0000unse_k7n4/page/269
 |publisher  = [[MIT Press]]
 |location   = Cambridge, MA
 |date       = 1991
 |isbn       = 978-0-262-04113-3
 |pages      = [https://archive.org/details/representationso0000unse_k7n4/page/269 269–298]
 |url-access = registration
}}
</ref><ref name=morrison&adrien1993>
{{cite journal
 | last1     = Morrison | first1 = Joseph Derek (IRCAM)
 | last2     = Adrien   | first2 = Jean-Marie
 | title     = MOSAIC: A Framework for Modal Synthesis
 | journal   = [[Computer Music Journal]]
 | volume    = 17 | issue = 1 | publication-date = <!-- Spring, -->1993
 | pages     = 45–56 | doi=10.2307/3680569
| jstor = 3680569
 | year = 1993
 }}
</ref><ref name=bilbao2009>
{{citation
 | last      = Bilbao | first = Stefan
 | chapter   = Modal Synthesis
 | chapter-url= https://ccrma.stanford.edu/~bilbao/booktop/node14.html
 | title     = Numerical Sound Synthesis: Finite Difference Schemes and Simulation in Musical Acoustics
 | publisher = John Wiley and Sons | location = Chichester, UK
 | date = October 2009
 | isbn      = 978-0-470-51046-9
 | quote     = ''A different approach, with a long history of use in physical modeling sound synthesis, is based on a frequency-domain, or modal description of vibration of objects of potentially complex geometry. Modal synthesis [1,148], as it is called, is appealing, in that the complex dynamic behaviour of a vibrating object may be decomposed into contributions from a set of modes (the spatial forms of which are eigenfunctions of the particular problem at hand, and are dependent on boundary conditions), each of which oscillates at a single complex frequency. ...<!-- (Generally, for realvalued problems, these complex frequencies will occur in complex conjugate pairs, and the ``mode" may be considered to be the pair of such eigenfunctions and frequencies.) -->''
}} &nbsp;(See also [http://www2.ph.ed.ac.uk/~sbilbao/nsstop.html companion page])
</ref><ref name=doel&pai2003>
{{cite journal
 | last1     = Doel | first1 = Kees van den
 | last2     = Pai  | first2 = Dinesh K.
 | title     = Modal Synthesis For Vibrating Object
 | url       = http://www.cs.ubc.ca/~kvdoel/publications/modalpaper.pdf  <!-- | doi       = 10.1.1.117.2576 -->
 | editor-last = Greenebaum | editor-first = K.
 | journal   = Audio Anecdotes
 | publisher = AK Peter | location = Natick, MA
 | date = 2003
 | quote     = ''When a solid object is struck, scraped, or engages in other external interactions, the forces at the contact point causes deformations to propagate through the body, causing its outer surfaces to vibrate and emit sound waves. ... A good physically motivated synthesis model for objects like this is modal synthesis ...<!-- (Wawrzynek, 1989; Gaver, 1993; Morrison & Adrien, 1993; Cook, 1996; Doel & Pai, 1996; Doel, Kry, & Pai, 2001; O'Brien, Chen, & Gatchalian, 2002; Doel, Pai, Adam, Kortchmar, & Pichora-Fuller, 2002),--> where a vibrating object is modeled by a bank of damped harmonic oscillators which are excited by an external stimulus.''
}}
</ref>