Every sound is a sum of sine waves. Draw them, play them, watch them turn as circles on circles, and turn them into a lush pad.
各バーが1つのサイン波です。バーの上をドラッグしてレベルを描くか、バーにフォーカスして矢印キーで調整します（1ステップ 1 dB）。
バーの下の数字：各パーシャルの周波数が音符の何倍か。スケールは上端の 0 dB から -48 dB までです。
下の鍵盤やコンピューターキーボードで C4〜C5 を演奏することもできます：A S D F G H J K、黒鍵は W E T Y U。
各パーシャルは、レベルと同じ大きさで、周波数と同じ速さで回り、前の円に乗っている円です。最後の点の高さを右側に時間とともに描くと、聞こえている波形そのものになります。
パーシャルを豊かでシームレスなパッドに変えます。各パーシャルをランダムな位相を持つ狭い周波数帯域に広げる（Nasca Octavian Paul の PADsynth アルゴリズム）ので、わずかにデチューンした多数のコピーが合唱しているように聞こえます。
100% ブラウザ内で処理——ファイルが端末の外に出ることはありません。
Start from a sine, saw, square, triangle, organ or bell, then drag the 16 bars to set how loud each sine wave is. Stretch the ratios to hear harmonic tones turn metallic.
Hold a note or play with your mouse, touch or computer keyboard. Circles on circles, the waveform and the spectrum all redraw from the same partials you hear.
Generate a PADsynth pad from your partials, set its bandwidth, loop it, and download the WAV for any sampler or DAW.
Additive synthesis builds a sound by adding sine waves together. Each sine is a partial: it has a frequency, usually a whole-number multiple of the note (the harmonics), and a level. Fourier showed that any repeating waveform can be written this way, so a saw is every harmonic at 1/k, a square only the odd ones, and a triangle the odd ones at 1/k².
The circles-on-circles picture is the same idea drawn as motion. Every partial is a circle that turns at its own speed while riding on the previous one. The height of the last point is the sum of all the sines, which is why its trace is exactly the waveform. Make one circle larger and you hear that harmonic get louder.
Real instruments are rarely perfectly harmonic. Piano strings are stiff, so their upper partials run slightly sharp; bells and bars have partials at ratios like 2.76 and 5.4. Moving the ratios away from whole numbers is what makes a tone sound metallic. And in most acoustic sounds the high partials die away first, which is what the Pluck switch imitates.
PADsynth, by Nasca Octavian Paul, takes additive synthesis one step further: instead of one exact frequency per partial, it spreads each partial into a narrow band of frequencies with random phases and computes the whole sound with one inverse FFT. The result is a long loop with no audible seam that sounds like an ensemble, ideal for pads and choirs.
One of the sine waves a sound is made of. Partials at whole-number multiples of the note are called harmonics; partials in between are inharmonic and give bells and metal their sound.
At audio speed the fundamental turns hundreds of times per second, far too fast to see. The picture turns the fundamental once every four seconds and keeps every partial at its true ratio, so the shape is the same as in the sound.
It raises every ratio k to the power 1 + stretch. The fundamental stays put and higher partials move further from whole numbers: a little sounds like a piano string, more sounds like a bell or a gong. Negative values pull them flat.
An algorithm by Nasca Octavian Paul, released into the public domain and used in ZynAddSubFX. Each partial becomes a Gaussian band of frequencies with random phases, and one inverse FFT turns that spectrum into a long loop that repeats without a click. The bandwidth slider sets how wide the bands are.
No. The sound, the pictures and the pad are all computed in your browser, and the WAV is saved straight from it.
TuttiDAW has a full set of synths, from FM to wavetable, right in your browser. Free to start.
TuttiDAWを試す - オンライン DAW、登録不要ですぐ開始