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A R E a S Onably Brief G U Id E T O S Y Nthesizers

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A R E a S Onably Brief G U Id E T O S Y Nthesizers ynthesizers s o t e d i u g f e i r b y l b a n o s a e r a WTF IS A SYNTH? ?????? ?????? ?????? ?????? ?????? ?????? ?????? ?????? syn·the·siz·er 1. an electronic musical instrument, typically operated by a ‘sinTHə,sĪzər | noun keyboard, producing a wide variety of sounds by generating and combining signals of different frequencies. 2. beep boop machine ANALOG Analog synthesizers use analog circuits and signals to generate sound electronically. No computers, no programming: just varying electronic voltages. Here’s how they work. Analog synthesizers contain a voltage-controlled oscillator (VCO) and a voltage-con- trolled filter (VCF). The synth produces sound through the adjustment of voltage; adjusting the oscillator’s voltage creates a waveform with a constant pitch at a fre- quency. This waveform is handed off to the filter of the synthesizer to further change its sound properties. There are 4 main waveforms that most synths produce: sine, triangle, square and sawtooth. The filter is where wave manipulation takes place. Analog synthesizers have an array of buttons and knobs that adjust voltages (and, consequently, the sound). These sounds are passed to a voltage-controlled amplifier. The amplifier can change a note’s volume at various times throughenvelope controls. The envelope has 4 parameters: attack, decay, sustain and release (collectively, the ADSR envelope). Attack is how long it takes for the note to reach it’s maximum vol- ume when a key is struck. Decay refers to the amount of time between the attack level and the sustain level (typically quieter than the attack volume). Sustain is the volume that is maintained for as long as the key is held after the attack and decay periods. Fi- nally, release is the amount of time it takes for the sound to fade back to silence when the key is released. A higher release time means the sound will take longer to die out. Additionally, sounds can be further shaped through the use of modules. A module is a sound processing unit that serves one particular purpose, like pitch adjustment. A low-frequency oscillator (LFO) is a popular module that appears on many classic analog synthesizers. By itself, the LFO oscillates a signal at a frequency that is quieter than what our ears can hear. Thus, it is applied to other modules; applying it to the VCO in- troduces vibrato (a rapid variation in pitch). It can also be applied to the VCF to produce that wobbly dubstep sound. Another popular module is a white or pink noise generator, which can add a layer of “static” to the sound. The Minimoog Model D comes with this zine built in. D I G I TA L Digital synths utilize microprocessors, microcontrollers, programmed mathematical algorithms and functions to generate sounds. A stream of bits that flows at a stable rate is converted into an analog signal that can be heard through a set of speakers. Digital synthesizers differ from their analog counterparts. Analog voltage-controlled modules are replaced by digitally-controlled modules; for example, digital synths make use of digitally-controlled oscillators, rather than voltage-controlled oscillators. Digital synths are basically computers; the main sound synthesis protocol is always happening in the background, and the modules are like smaller programs that run concurrently. The synthesis protocol acts as a loop that repeats per sample, so the modulation subprograms run once per sample period (yet some run once per note per sample period). Thus, the number of notes that can be generated concurrently and the complexity of each note is dependent on the synthesizer’s CPU speed. There are many methods of digital synthesis. Additive synthesis is similar to how natural sounds are created. These types of synthesizers typically have multiple oscil- lators that all generate sine waves with independently controllable frequencies and amplitudes that are combined to create more complex sounds. Analog synthesizers form sounds through subtractive synthesis, in which harmonics are whittled down from the oscillator output through modules. This additive synthesizing beast, the Fair- light CMI, created the soundtracks for Terminator 2,Scarface, Full Metal Jacket, and Killer Clowns from Outer Space. Sample & synthesis (S&S) makes use of pre-recorded samples that can be played. When this technology was first developed, samples were stored onROM (read-only memory) cartridges that could not be modified. Early ROM cartridges had a very limited storage capacity, so a sample’s attack and sustain were recorded, and the sustain was looped for as long as a key was held. S&S is also called pulse code modulation (PCM). A Roland Sound Library cartridge for the Roland D-10, D-20 and D-110 Wavetable/wave sequencing/vector synthesis/linear arithmetic makes use of multiple waveforms being morphed or cycled through over time. These waves are stored in a digital data structure called a table (get it?). Phase distortion (PD) creates sounds similar to how an analog synthesizers shape sounds, but phase distortion synthesis automates the process. Plus it sounds cooler. Frequency modulation (FM) synthesizers also make use of oscillators, but they are typically referred to as operators. Each operator on an FM synth can have its frequen- cy, amplitude and envelope customized. FM synthesis differs from additive synthesis in that the output of one operator (oscillator) is sent to the input of the next operator, rather than the two being mixed. The final operator in this mix is theoutput opera- tor, and it is responsible for handing everything off to the digital-to-analog converter (DAC) to be turned into audible sound. The manner in which operators are intercon- nected in FM synthesis is called an algorithm. The 32 algorithm layouts of the Yamaha DX7. Each tiny box represents an operator. Physical modeling/software synthesis/virtual synthesis happens on a desktop com- puter, rack module or a keyboard synth. When a note is played, a digital signal proces- sor (DSP) figures out the data stream required to create the desired sound and hands off the result to a DAC. These types of synthesizers can sound indistinguishable from real instruments that are being emulated, but don’t be fooled: all sound generation is happening in real time. PM synths can even emulate other forms of synthesis. Many high-quality software emulators of classic synthesizers exist because of PM synthesis. A VISUAL HISTORY* 1963 1935 1906 The Mellotron RCA coins the term The phrase “synthetic is released “synthesizer” harmonizer” is coined by James Robert Milne 1965 1968 1969 Robert Moog begins Switched-On Bach The first film with a selling the Moog is composed by synthesized score is modular synthesizer Wendy Carlos released (On Her Majesty’s Secret Service) 1971 1969 Rober Moog introduces Electronic Music the Minimoog, a portable Studios (EMS) releases version of the Moog modular the Synthi VCS3 1975 1976 1978 The Moog Polymoog, a Yamaha releases Sequential Circuits releases velocity sensitive polyphonic the CS-80 the Prophet-5, an early keyboard, is released polyphonic synth with programmable memory 1980 1979 1978 Yamaha releases Casio releases Korg releases the GS-1, the first the VL-1, the first the MS-20 FM synthesizer digital synthesizer * I realize this isn’t everything, but it should be a pretty good overview 2018 2016 2011 Moog produces the Korg releases the Teenage Engineering Minimoog Model D Korg Minilogue introduces the OP-1 app for iOS 1994 1996 2004 Clavia introduces the AudioSim, an early Elektron begins selling Nord Lead, an early software synth, is the Monomachine virtual analog synth released for MS-DOS 1990 1989 1985 Korg introduces Cubase is released Korg introduces the Wavestation for the Atari ST the DW-8000 1981 1983 1983 The PPG Wave is Yamaha releases MIDI is introduced the DX7 standardized 1980 1980 1980 Perfomance Music The first keytar, the Roland releases Systems invents the Moog Liberation, is the TR-808 Syntar produced 9 QUESTIONS WITH LOOK MUM NO COMPUTER (aka Sam Battle) “Sam Battle is an English musician, inventor and produc- er based in London. He has gained popularity through a number of different projects, including popular indie band ZIBRA (2013-2016). His videos have received over 17 million views in total across various platforms including his current YouTube channel LOOK MUM NO COMPUTER” Why did you decide to “It started because I had no money, the idea of being able build your modular system to buy a modular synth of a useable size was out of my from scratch, as opposed league, so I tried building it. Initially I built something to using premade that didn’t work for ages, but I persisted in parallel with modules? Where do you circuit bending and managed to get something working. even begin with something It’s rather hazy, but it was a lot of sleepless nights trying of that magnitude? different things. The other thing was I bought a broken MS10 which I fixed, and I caught the bug to extend its functions, and that was Big jack and 1hz/oct. which no modules did, so another reason to go DIY.” Your YouTube videos “Yes I try to! It’s a lot of stress to tour with my stuff, but I’m sometimes feature getting better at it not consuming my every thought, and crazy projects and weird trying to have some fun, bring some stuff along! It’s just equipment. Do you ever a lot of carrying things haha very heavy.” incorporate these into live shows? Is your electronics “Self taught, when I was a kid I built Lego and took things knowledge self-taught, apart, so since I was young I was trying to understand or do you have some things.
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