Actual sound production is carried out by an ensemble of several synthesizers and samplers that operate in parallel and draw on different aspects of the analysis and the sample archive.
The spectral synthesizers, for example, take snapshots of the overtone spectrum of an original recording and resynthesize them using additive synthesis. Each partial is generated using a separate waveform sample. Depending on the variant, these waveforms are selected from recordings that are geographically or temporally close, thereby binding the sound to place or year.
The analysis synthesizer, by contrast, works directly with the raw frequency and confidence data from the backend. It uses multiple waveform samples simultaneously and modulates between them. This results in complex, non-static timbres that are microtonally controlled and react immediately to the analysis.
The melody synthesizer draws on the generated pitch events and records short MIDI phrases, which are then looped. These phrases remain microtonal and are not quantized, thereby preserving the ambiguity of the analysis.
The sampler instruments—such as the fundamental-tone sampler or the scale sampler—specifically employ sub-samples and sustained samples to establish sonic relationships between different recordings. The fundamental-tone sampler in particular creates an acoustic cartography by spatially placing samples according to geographic relationships, making distance and direction audible.
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