Using Distortion as Part of Synthesis and Sampling Workflows

In audio production, nonlinear distortion is normally referred to as a change in an output signal that is not proportionate to the input signal. This is widely used in a variety of ways: from subtle saturation applied in mastering, to aggressive distortion in black metal guitars. The aim of this research is to explore sound design techniques for percussive elements using radical nonlinear systems. Different use cases of noise and distortion will generate alternative ways of thinking about them, creating analogies between sonic processes used in sampling, synthesis and distortion. The analysis will focus on individual samples and loops, looking at the benefits of considering distortion to be the beginning of a compound process in music production, as opposed to the mix-centric approaches of considering distortion as a stand-alone process or as an artifact. By doing so, the aim is to document and provide a theoretical background for some modern production styles that use similar approaches. Additionally, these features can serve as a guideline to be implemented in hardware and software drum synthesis or processing plugins, following current trends of comprehensive sound-synthesis and manipulation engines.