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.
每根柱子是一个正弦波。在柱子上拖动来画出它们的电平，或聚焦某根柱子后用方向键调整（每步 1 dB）。
柱子下方的数字：每个分音的频率是所奏音符的几倍。刻度从顶部的 0 dB 到 -48 dB。
也可以用下面的琴键或电脑键盘弹奏 C4 到 C5：A S D F G H J K，黑键是 W E T Y U。
每个分音是一个圆：大小等于它的电平，转速等于它的频率，并骑在上一个圆上。最后一点的高度随时间画在右侧，正是你听到的波形。
把你的分音变成丰满、无缝循环的铺底音色：每个分音被抹开成一窄带随机相位的频率（Nasca Octavian Paul 的 PADsynth 算法），听起来像一群略有失谐的副本在合唱。
100% 在浏览器中处理——文件不会离开你的设备。
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.
探索 TuttiDAW——在线音频工作站，无需注册即可开始