10MM142 Waveshapes

Sawtooth, square and triangle waveshapes are fundamental to contemporary music production, but what exactly are they? Mark Cousins makes waves.

You need only to glance at a typical subtractive synth to realise that waveshapes form the building blocks of sound creation, whether it’s a sawtooth, square, triangle or pulse waveform or even a simple sine wave. But what are the factors that make a sawtooth wave, for example, so radically different from a sine wave? Not surprisingly, a closer investigation of the theory behind waveshapes offers some remarkable insights into both the process of synthesis and, more importantly, into the nature of sound itself.

Download the complete feature for only £0.99
Click the link above or below, then log in to BT click&buy, confirm your payment and download your file.

This feature first appeared in Music Tech Magazine issue 69
Filed under General Features, Ten Minute Masters, Features

New users, please register here

Please enter your details below to set up your new account. Fields marked with a red asterisk * are required.

Your name
*First name:
*Last name:
Job title:
Company:

Account settings
*Email address:
	Please make sure your email address is correct, as we will send you an email with a link to activate your account.
*Username:
	Choose a username between 7 and 100 characters in length, without spaces or unusual characters. You may use your email address as your username, but note that it may appear in community areas of the site where others can see it.
*Password:
*Confirm password:
	Choose a password between 7 and 100 characters in length, without spaces.
	Remember me on this computer

Your address and contact info
Address 1:

Town or city:
County or state:
Postcode or ZIP:
Country:
Telephone:
Fax:
Website:

	By registering to use the Music Tech website you agree to allow us to contact you with our Music Tech email newsletters featuring news, competitions, exclusive content and special offers, as well as with communications from our carefully selected music technology retail and manufacturer partners. If you provide phone and post details we may contact you by those means as well with special offers relating specifically to Music Tech Magazine and our other publications. WE WILL NOT PASS YOUR DETAILS TO ANY THIRD PARTY. If at any time you wish to stop receiving our email newsletter, simply follow the Unsubscribe instruction on our newsletter. Contact us by email of post if you wish your post or phone details to be removed from our database.

MTM 86	Studio Answers 86 Whether you’re a seasoned pro or a newcomer to the world of music technology, MTM’s experts are always on hand to help you make the most of the experience…	MTM 86	Ableton Live 8 Workshop - Audio Clip Aerobics Nothing blows away the cobwebs like a good old workout. Liam O’Mullane shows you how to flex those musical muscles by flipping audio clips on their head.
MTM 86	Record Workshop - Creating Loops Loops are the bedrock of many compositions, so how about making some of your own – whether for sale or just for your library? Hollin Jones explains how.	MTM 86	Sonar 8.5 Workshop - Beat-making part 2 Last month we looked at creating realistic-sounding drum tracks in Sonar. In this second installment, Hollin Jones looks at programming electronic dance beats.
MTM 86	Cubase 5 Workshop - Using AudioWarp Once, the warping and timestretching of audio was a job for specialist software; now it can all be done within your DAW. Tim Hallas looks at AudioWarp in Cubase.	MTM 86	Logic Pro 9 Workshop - Extreme Compression Logic’s Compressor plug-in can produce a range of extreme compression effects, making your music pump and breathe in a unique way. Mark Cousins gets squashed.
MTM 86	10MM 174 - EQ Types From parametric equalisers through to shelving and phase-linear designs, EQ comes in a variety of different shapes and sizes. Mark Cousins finds the right frequency.	MTM 86	10MM 173 - Surround Sound Most DAWs are capable of producing surround sound, but can we deliver it to the customer? Grant Bridgeman investigates the issues of encoding sound for DVD.

Sign in or register to comment on this article

New users, please register here

See also...

Menu