soundmodel wrote:Xenobioz wrote:I don't want to use samples because my intent is/was making a plugin. Still I always prefer purely synthetic sounds. It is just a preference that maybe originates from when I started to make music. The first software I used for music used a softsynth. After I went over to sampled based software it felt like I always was dependent on somebody else's sounds and could not tweak the sounds. Although in the end I ended up modifying the sounds. I love sound design so pure synthesis is just more fun for that, even if it's possible with sampled sounds too.
I use samples though for some sounds like drums, vocals and strings because for those sounds the sound quality is important for me. But my dream is that all sounds could be synthesized with good quality. Maybe when SSDs with super huge storage sizes become cheap, I wont care if I use samples for real instruments.
I used to go through this philosophical hypothesis briefly and it was one of the contributing factors that made me go study math in a university.
As said above, the "Designing Sound" book is state-of-the-art literature on this subject matter. However, by viewing just that book, one can also come to understand the limitations of sound synthesis. In theory one could synthesize any sound if one knew how to construct its Fourier series. Another method is so called numerical simulation in which the idea is to synthesize the wanted sound by modelling its physics. In theory also one could synthesize any sound if one knew how to combine other sounds to form the final sound.
However, in practice Fourier series is often used for resynthesis. I.e. when one starts with a sample and wants to give it a "synthetic" representation. And in practice no-one ever synthesizes any sound by combining existing audio. So there are limitations to this "any sound can be synthesized" thinking.
In real world audio one ought to understand what methods are best suited for what tasks.
what i find interesting is how similar two sounds can appear in a spectrogram, but sound very different. the same overtones are there but small differences visually that you wouldnt fail to hear. in the voice especially, isolate a single harmonic in a vowel and you can often identify it. almost like every part of the sound has an inprint from the whole. speech is probably the best proof of this, a model will get you 80 percent there, you can do it with a model if you artisan handcraft a two second clip, text to speech still is plagued by the 'i have no soul' accent