Granular Synthesis draws on the principle of amplitude synthesis (since a sound demands the addition of perhaps thousands of grains) and also offers possibilities for sound transformation. In addition to the direct synthesis of grains, acoustic sounds can be 'granulated', and the parameters of pitch and time then separated as in phase vocoding. One of the first composers to use the technique was the American Curtis Roads, who in the course of a series of experiments starting in 1975 composed several pieces using the technique either in part or, in the case of 'Prototype' (1975), throughout. More recent research by Barry Truax has concentrated on methods of controlling granular synthesis in real time. (Source - Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press.)

La synthèse granulaire agit selon le principe de la synthèse d'amplitude (puisque, dans ce cas, un son peut nécessiter l'ajout de plusieurs milliers de grains) et offre également des possibilités pour la transformation du son. En plus de la synthèse de grains, les sons acoustiques peuvent aussi êtres “granularisés” et les paramètres de hauteurs et de temps sont alors être séparés comme dans le vocoder de phase. Un des premiers compositeurs à utiliser cette technique est l'américain Curtis Roads qui a, à partir d'une série d'expériences qui ont débuté en 1975, composé plusieurs pièces employant cette technique dans une de leur partie ou sur l'ensemble comme dans Prototype (1975). Plus récemment, Barry Truax a concentré ses recherches sur les méthodes de contrôle de la synthèse granulaire en temps réel. (Source - Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press.)

La sintesi granulare funziona attraverso il principio della sintesi d'ampiezza (poiché, in questo caso, un suono può risultare dalla somma di migliaia di grani) ed offre molte possibilità per la trasformazione del suono. Oltre alla sintesi diretta dei grani, anche i suoni acustici possono essere “granulati”, e i parametri di altezza e di tempo possono venire separati come nel caso del vocoder di fase. Uno dei primi compositori ad utilizzare tale tecnica fu l'americano Curtis Roads il quale, durante una serie di esperimenti iniziati nel 1975, compose molti brani sia sfruttandola localmente sia, nel caso di Prototipe del 1975, come principio generativo di tutto il brano. Più recentemente, le ricerche di Barry Truax si sono concentrate sui metodi di controllo della sintesi granulare in tempo reale (Fonte - Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press).

Granular Synthesis draws on the principle of amplitude synthesis (since a sound demands the addition of perhaps thousands of grains) and also offers possibilities for sound transformation. In addition to the direct synthesis of grains, acoustic sounds can be 'granulated', and the parameters of pitch and time then separated as in phase vocoding. One of the first composers to use the technique was the American Curtis Roads, who in the course of a series of experiments starting in 1975 composed several pieces using the technique either in part or, in the case of 'Prototype' (1975), throughout. More recent research by Barry Truax has concentrated on methods of controlling granular synthesis in real time. (Source - Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press.)

La Síntesis Granular se basa en el principio de la síntesis de amplitud (dado que un sonido demanda la suma de, quizás, miles de granos) y también ofrece posibilidades de transformación sonora. Además de la síntesis directa de granos, también los sonidos acústicos pueden ser "granulados", y los parámetros de altura y tiempo separados, tal como se hace con el Vocoder de Fase (Phase Vocoding). Uno de los primeros compositores en usar esta técnica fue el norteamericano Curtis Roads, quien en el curso de una serie de experimentos que comenzaron en 1975 compuso varias obras empleándola ya sea parcialmente, o como en el caso de "Prototype" (1975), en toda ella. En investigaciones más recientes, Barry Truax se ha concentrado en métodos de control de la síntesis granular en tiempo real.

(Fuente: Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press)