In this method, the output waveform is calculated according to a set of equations and algorithms derived through extensive analysis of a physical sound source. Then we have granular synthesis, which essentially splits the samples into very short grains and allows them to be manipulated through a variety of playback options. And these can be transposed by increasing the playback speed when different pitches are required. We have sample playback, where recordings of a sound are triggered by a playback device. Then we have wavetable synthesis, which offers a wide selection of digital waveforms and allows them to be layered, filtered, and modulated in various ways.

Then we have frequency modulation, of FM synthesis, where waveforms are used in carrier modulator relationships and tuned according to the harmonic series, which produce overtones in the carrier waves. We have subtractive synthesis in which partials of an audio signal are attenuated by a filter to reduce the original harmonic content of the sound. So, first, we have additive synthesis, which creates a timbre by adding various waveforms together. There are many courses you can take in the LinkedIn Learning library, which go in depth in synthesis techniques. While we're not going to go into synthesis in depth in this course, I did want to give you a quick overview.

The instruments in the Arturia V-Collection use a wide variety of synthesis techniques.

Protools arturia v collection 5 offer