Subtractive synthesis

Subtractive synthesis relies on source sounds that have overtones, such as non-sinusoidal waveforms like square and triangle waves, or white and pink noise.

Henri Pousseur's Scambi (1957) subjects white noise to filters and uses the resulting sounds to create montages.

[4] Until the advent of digital synthesizers, subtractive synthesis was the nearly universal electronic method of sound production.

[7] It was the method of sound production in instruments like the Trautonium (1930), Novachord (1939), Buchla 100 (1960s), EMS VCS 3 (1969), Minimoog (1970), ARP 2600 (1971), Oberheim OB-1 (1978), and Korg MS-20 (1978).

PSGs were used in many personal computers, arcade games, and home consoles such as the Commodore 64, Atari ST, Mattel's Intellivision, Sega's Master System, and the ZX Spectrum.

Closeup view of waveform in the audio sample.
Closeup oscilloscope of Waveform #1.
Closeup oscilloscope of Waveform #2.
Closeup oscilloscope of Waveform #2.
Closeup of pulse-width modulated Waveform 1.
Closeup of pulse-width modulated Waveform 1.
Closeup of pulse-width modulated Waveform 2.
Closeup of pulse-width modulated Waveform 2.
Combined waveforms and pulse-width modulation.
Combined waveforms and pulse-width modulation.
Enveloped waveform.
Enveloped waveform.
Low-pass filtered waveform.
Closeup of low-pass filtered waveform.
Final waveform
Closeup of final waveform