A History of Spectral Audio Signal Processing
Additive Synthesis
Inverse FFT SynthesisSearch Spectral Audio Signal Processing
Would you like to be notified by email when Julius Orion Smith III publishes a new entry into his blog?
When the number of partials is large, an explicit oscillator bank requires a significant amount of computation, and it becomes more efficient to use the inverse FFT to synthesize large ensembles of sinusoids [34,225,135,134,132]. This method gives the added advantage of allowing non-sinusoidal components such as filtered noise to be added in the frequency domain [228,231].
Inverse-FFT (IFFT) synthesis was apparently introduced by Hal Chamberlin in his classic 1980 book ``Musical Applications of Microprocessors'' [34]. His early method consisted of simply setting individual FFT bins to the desired amplitude and phase, so that the inverse FFT would efficiently synthesize a sum of fixed-amplitude, fixed-frequency sinusoids in the time domain.
This idea was extended by Rodet and Depalle [225] to
include shaped amplitudes in the time domain. Instead of
writing isolated FFT bins, they wrote entire main lobes into
the buffer, where the main lobes corresponded to the desired window
shape in the time domain.H.5 (Side
lobes of the window transform were neglected.) They chose the
triangular window (
main-lobe shape), thereby implementing a
linear cross-fade from one frame to the next in the time domain.
A remaining drawback of IFFT synthesis was that the inverse FFT nominally synthesizes only sinusoids at a fixed frequency, so that a rapid glissando may become ``stair-cased'' in the resynthesis, stepping once in frequency per output frame.
