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What Is Synthesis in Music? History, Methods & Tips for Sound Design

• May 15, 2023
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Did you ever imagine you could pull music from thin air?

From drums, rims, kicks, to full-on 88-key classical piano, in the world of audio synthesizers , anything is possible!

What is synthesis, and how is it possible that a single device could end up replicating so many sounds?

Let’s find out!

What Is Synthesis?

Audio synthesis is a technology of producing sounds from scratch , usually through voltage manipulation.

It could be used to replicate real-life instruments or just about any sound effect you would need to enhance a music track both on stage and studio.

History of Audio Synthesis

It’s often told that the very first synthesizer was the Radio Corporation of America’s Mark I  back in 1952.

It took Harry Olson and Herbert Belar the better part of a year to get it done, and it was so huge that it took up a full room to set up.

In a sense, it was an analog computer with applications in music.

By 1957, they were ready to release their second synth, Mark II, which was also nicknamed Victor. The second edition introduced a high and low-pass filter with several effects like glissando, vibrato, and resonance.

However, if you take a look back in early 1920, we’ll see a Soviet innovation in the first electronic instrument, called the Theremin by León Theremin .

The Theremin wasn’t a true synth in the sense, but it still astonished minds by how the music would stream out without continuous human contact with the machine.

You might even be interested in seeing the Theremin in action with a dazzling performance of Harold Arlen’s Over the Rainbow !

Although the first attempts were way less practical than what we have today, it was all a nudge in the right direction.

Soon, the music industry was booming with both analog and digital synthesizers!

Analog vs. Digital: The Two Types of Synthesizers

After the RCA’s Mark series, several companies jumped on the chance to create their own versions of the huge machine.

This includes Moog Music, Korg, Roland, Arturia, Yamaha, Novation, Nord, Sequential, and many others.

If you look at all these brands, you can fit their productions into one of two synthesizer main categories :

Analog Synthesizer

Analog synthesizers first started coming to the music world in the 1960s in the hands of Robert Moog.

Once Musical Instrument Digital Interfaces (MIDI)  became a standard tool for producers, analog synths became even more and more common.

The analog synthesizer is also called the Voltage-Controlled Oscillator or the VCOs  because it relies on the interaction between electric circuits to function.

Now, you can even see virtual versions of the analog synth in Visual Studio Technology or VST plug-ins.

All in all, the analogs are more authentic sounding with a wider range for customization than the digital synth. Plus, their learning curve is easier and less challenging.

Digital Synthesizers

Digital synthesizers were created around the 1970s, and they were designed to be a step up from their analog counterparts.

Several leaps in software technology have helped spread the digital synths deeper into the heart of the music industry.

Take, for instance, how Steinberg’s DAW Cubase  allowed the producers to connect virtual instruments to their computers through MIDIs.

Yet, analogs are still famous for their quality and authenticity. That’s because  Digital Signal Processing (DSP)  doesn’t fully compensate for the analog synth’s electrical circuits.

That’s to say that the digital synth is, in its core, a computer in the shape of a keyboard. Meanwhile, analogs have more in common with true instruments.

Basic Sound Waveforms Used in Audio Synthesis

Before we dig into all the technical jargon, let’s see what’s in a note anyway?

The way we hear sound  is when waves are carried through the air to hit our ears, and thanks to highly sensitive auditory responses, we get to sense the slightest shift in air pressure.

Although there are over 20 different types of synthesizers, the base concept still relies on four basic waveforms .

If you’ve ever worked closely with oscillators, like the LFO, you properly know these waveforms as the sine, sawtooth, triangle, and square.

Each waveform helps shape a certain aspect of music, and knowing how to identify them on an oscilloscope  will save you a lot of hassle.

You can use the sinusoidal wave to create the deep sub-bass notes on the lower-end audio spectrum.

For instance, you can spot the sine or the sinusoidal waves in the low-end portion. That’s because they create sounds that are on the soft side with their round peaks.

They are the most basic of the four waveforms, and layering them in different ways can produce the other shapes.

Triangle Waves

Meanwhile, triangle waves add a little sharpness and are responsible for odd harmonics that lose their volume very quickly.

They’re almost halfway between a sine and a square, but they keep the sound characteristic mostly basic.

Triangles have several applications in audio synthesis. Yet, when I think of a triangle wave, I always end up thinking of a tapering flute, for some reason.

Square Waves

Squares resemble triangle waves. You could even get a square wave sound like a triangle one if you use a traditional low-pass filter.

However, you can tell a square wave on an oscillator by how full and boxy it looks. Plus, they often sound hollow and nasal .

In audio synthesis, you’ll often see square pulses being used to replicate wind instruments like the clarinet.

Another wave with a full graph is the saw, but it has several grooves that decrease in size as the wave comes to a close.

You create a saw wave by merging a bunch of sines , which is the basis of the additive synthesis method, but we’ll get to that later!

Sawtooths also have double the amount of harmonics present in a square pulse, and they’re known for being buzzy. You can see the saw waves used to generate strong bass.

Pulse Waves

Quite often, all four types come together to create a pulse wave. The pulse’s harmonics are a balance of all its components.

However, the word “pulsating” in audio springs up the image of a square wave in mind. That’s because squares close off neatly, giving the implication of a pulsating note .

You can see a common application for this pulsation in pulse-width modulation  seen in older synth models.

How Does Analog Audio Synthesis Work?

Synthesizers contain a generator portion and a resonator portion. The generator portion is where things get technical.

While a digital synthesizer depends on a numerically controlled keyboard that’s hooked up to a computer, the analog synthesizer is all about voltage manipulation .

The voltage signal is triggered by an input controller to induce an oscillator to produce a waveform. Then the wave is filtered, amplified, and modulated.

Let’s see all that in more detail:

1. User Input into the Synthesizer

User input is the way you can initiate a signal on the synth. There are several ways you can input data into an analog synthesizer.

A common controller interface uses keyboards, knobs, and sliders , all of which you can see in devices like the Yamaha DX7.

But you can also get a synth that connects to a MIDI guitar  setup or even something that syncs to an iOS app!

2. Sound Generation (Synthesis)

With analog synths, voltage manipulation is where the actual sound generation begins after you input a signal, hence why the device is called a Voltage-Controlled device.

This voltage signal then flows into the oscillator, which in turn, starts its waves with a specific pitch and frequency depending on the original signal.

Keep in mind that the same wave characteristics, including frequency, amplitude, and velocity , apply to the oscillator’s waveform.

3. Synthesizer Filtration

Once the oscillator produces the waveform that corresponds to the input signal, it then has to go through an audio filter.

Much like an EQ effect, you can use the synthesizer to filter out certain frequencies from the audio spectrum.

The most common type of filter you’ll come across is a low-pass . However, some filters will have both a low-pass and a high-pass filter working in series since parallel routing is more expensive.

Depending on the number of poles in the filter, you get varying degrees of noise reduction. For instance, if you have two poles, you get a total attenuation of 12db per octave.

It might sound trivial, but the filter’s impact on the shape and quality of synthesized tones is immense. You can see the extent of this effect by shifting the cutoff point and comparing.

Keep in mind that filters don’t abruptly eliminate sounds at the cutoff point. Instead, it creates a sloping figure till you reach the desired result.

4. Synthesizer Amplifying and Effect Merging

Once the waveform is filtered out, you should end up with a crisp clean note that’s ready for amplification and envelope effects.

A synth’s amplifier consists of a series of envelope controls working together to spot nuances in the wave’s volume levels.

This amplification step helps create a consistently loud note without shaky spots along with the wave’s lifespan.

5. Synthesizer Modulation

Modulation helps give life and imply movement to the musical notes, and it revolves around LFO principles.

Instead of being an automated step, the producer gets to choose between effects like tremolo by shifting the volume in an oscillating pattern.

It’s also possible to induce vibrato by shifting the pitch periodically after a small delay to replicate a real-life vibrato effect.

What are the Methods of Audio Synthesis?

There are well over 20 types and sub-types of audio synthesizing methods. Some are more common than the others, but they’re all pretty interesting, nevertheless.

Let’s take a look at some of the methods you’re most likely to come across:

1. Subtractive Synthesis

Subtractive synthesizers essentially overproduce their waveform initially and take out what’s unnecessary later on during the filtration step.

I once read how Roland  described the process in terms of “sculpting” out the desired note from a thick waveform, and the analogy stuck with me.

While this method of synthesizing doesn’t cater all that much to authenticity and accuracy, it still offers a wide range of customization options to work with.

You can find subtractive methods in synths like the Moog One, Steinberg Retrologue 2, Roland MKS-50, Native Instruments Reaktor, U-HE Diva, and TAL NoiseMaker.

2. Additive Synthesis

Remember how we covered that basic sine waves can be bundled to shape other complex waveforms?

Additive synthesizers blend in sinusoidal waves to create entirely new harmonics, essentially from scratch.

This method doesn’t require “sculpting” like subtractive synthesis. Yet, you still need a filter in your additive synth to keep the noise down, if nothing else.

Additive synthesis is most common in digital models. However, you might want to check out Alchemy, Kawai’s K5, or VirSyn Cube 2 for a start.

3. Frequency Modulator (FM) Synthesis

In a typical FM synth, you’ll find two oscillators : a modulator and a sine wave carrier. Together, they create new harmonics or sidebands by bending the frequency range.

It’s very similar to additive synths, but producers usually find that FM synthesis works best for replicating the bass attack of electric pianos and bells.

Some of the synthesizers that use frequency modulation systems are the New England Digital Corporation’s Synclavier I.

You might also find virtual plug-ins that are capable of frequency modulation, like Apple’s Retro Synth  for Logic Pro.

4. Amplitude Modulation (AM) Synthesis

AM modulation works in a way that’s similar to FM, except it targets the volume instead of frequency to create new harmonics using a sine wave carrier.

Did you know that amplitude modulation can also be used in the radio industry for sound transmission in the frequency range of 535-1705 Hz?

However, FM synths are often favored over AM ones, both in audio synthesis and radio transmission.

It’s hard to find a synth that relies solely on AM, but you can find it as an added feature in synths like in Tone 2’s Gladiator.

5. Wavetable Synthesis

Wavetable is a little different from traditional analog synthesis. Although they share the same core components, wavetables ditch the concept of voltage manipulation.

Instead, this retro-style synth relies on a series of waveform samples that could be separated and reshaped.

If you do a lot of pad work, you’ll find that wavetable synthesis gives droning sounds a bit of an edge .

A few common wavetable synths are the PPG Wave, Waldorf’s Nave, Kilohearts’ Phase Plant, Xfer’s Serum, Spectrasonics’ Omnisphere, Tone 2’s Icarus, and Native Instruments’ Massive X.

6. Granular Synthesis

A granular synth works by slicing up samples into minuscule time frames between the 100th and 10th of a second to create a “fine grain” that could be reshaped to any note sequence.

However, this method requires an extra step to smooth all the grain together . Otherwise, the sound could end up glitchy and clicky.

Granular synthesis went from devices like the 1970’s Xenakis and Curtis Roads to be a staple in the modern industry.

A few common granular synths are Portal, The Mangel, Palindrome, PolyGAS, Ribs, and Fruity Granulizer. Even with the additive synth, Alchemy is capable of granular synthesis.

7. Phase Distortion (PD) Synthesis

Phase distortion is often referred to as phase modulation or PM synthesis . In a sense, it’s a lot similar to the FM method, but it offers a wider range of harmonic overtones.

In fact, some FM synths follow more of a phase distortion method, like the Yamaha DX7. Other synths like the ZynAddSubFX can synthesize music both ways.

The main difference here is that the FM creates new waveforms that are proportional to the voltage only, while PM waveforms depend on both the voltage and the frequency input.

Just as the name implies, these methods are ideal for creating phasic effects and operator tones.

8. Vector Synthesis

In vector synthesis, the sound is generated by crossfading a bundle of single-cycle sources (usually four) to create the impression of an entirely new waveform on the grid center.

That’s because each one of those four sources takes over a corner on the grid. Moving across this grid, you get distinct sounds.

Many people find the appeal of vector synthesis in using a joystick  to navigate along the X and Y-axis.

A few well-known vector synths out there are the Yamaha TG33, Yamaha SY22, Sequential Circuits Prophet, and UVI Vector Pro.

Tips on Mastering Audio Synthesis

Here are some tips and tricks that can make your life easier when you synthesize music:

Don’t Shy Away from Using Samples and Presets

More often than not, you’ll come across people who take pride in never using pre-set edits and doing every note touch-up themselves.

However, there’s absolutely no shame in using samples and pre-set notes to get you where you need to be. Remember that it’s much better to work smart, not hard.

Avoid Boxing Yourself With One Synth

I get that using a single synth interface every time might be comfortable, but it’s like putting a leash on your capabilities.

Take your time to explore other options. There are way more worthwhile synths than we can even list in a single post, but you might want to start with subtractive ones first.

Preserve Your Progress As You Go

Do you know how you get to a certain sweet spot and device to push further anyway in hopes of getting a better note?

Well, often, you’ll end up wondering how to get back. That’s when you’ll wish you had recorded your progress earlier. Oh, how I wish someone gave me this advice when I was starting.

Don’t Get Lost in the Process

I always recommend experimenting and playing around with your music workshop. However, I also see the point in meeting deadlines.

Set a certain limit, do your best in the given period, and then drop it and move to the next task along the line. It’ll save you a ton of headaches.

Let’s move on and check out some of the frequently asked questions when it comes to audio synthesis:

Q: What is a synth filter cutoff point?

A: The cutoff point (also called cut) is the point at which the filter begins to eliminate the selected range of frequencies .

For instance, you can use a low-pass filter to remove any note that falls lower than 1000 Hz. In this case, your cutoff point is 1000 Hz.

Q: Is an amplifier necessary for a synth?

A: You don’t necessarily need an amplifier if you’ll be working in a closed studio environment, and you’ll be mainly practicing with some notes.

However, I like using the amplifier to make sure my notes are loud, crisp, and clean regardless of where I’m using the synth.

Q: What is granular synthesis reverb?

A: Granular reverb is a regular delay that you add to any sound. However, it lacks a bit of realism.

You can simulate a reverb-like effect by tweaking the spray parameters to scatter the grain just right. You also use both the allpass and the comb filter to get a similar result.

Q: Do you need to play the piano to use a synth?

A: You don’t have to be a piano wizard to synthesize sounds. You just need to know your basics and know your way around the keyboard.

Of course, you also need to be familiar with music production basics, from amplitude, pitch, and samples to EQ and MIDI interfaces.

Q: Can you synthesize any sound?

A: While synthesizers are very handy, they still have their limits, and there’s only so much you can do on the machine.

As a general rule, you need to keep your expectations a tad bit low when it comes to hyper-realistic sounds and complex notes.

Q: Can you hook up headphones to a music synthesizer?

A: Yes, it’s possible to use a synthesizer while wearing headphones as long as you’re using the proper jack or adapter .

If you’re going to buy a synthesizer that doesn’t have a built-in speaker, I’d recommend confirming that the jack is a common size, like ¼ inch or so.

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5 Different Types of Sound Synthesis and What They Do

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The emergence of synthesizers is among the most influential developments to occur in the world of music to date. Synths became the music of the future as they pioneered new frontiers in the realms of sound creation. Jump back to the past and present, and synths are used widely in most genres, ranging from drum and bass to cinematic scores.

We'll go over the types and tools of sound synthesis, so you can better reflect that sound in your head into your audio projects.

Sound Synthesis and Synthesizers

Synthesis can be defined as the combination of multiple elements to form a connected whole. Synthesizers are named as such because they create and combine electrical signals to generate sound. In so doing, they perform sound synthesis. Synthesizers are electronic instruments that usually come in the form of keyboards—though they can be sequencers or arpeggiators too.

Synthesizers use an oscillator to generate an audio signal using diverse sound waveforms and frequencies. Synths come in two forms: monophonic synthesizers and polyphonic synthesizers. Mono synths can play only one note at a time; this makes them great for bass lines and lead synth parts. Polyphonic synths can play multiple notes; this makes them suited to chordal textures.

Nowadays, sound synthesis can occur via software or soft-synthesizers without the need for physical gear beyond your computer.

The Main Tools of Synthesis

While different types of sound synthesis vary in their emitted tone and form of sound generation, they all make use of certain sound-shaping tools. Generally, an audio signal is produced via an oscillator before passing through one or more filters, envelopes, and low-frequency oscillators (LFO). Let's go over what each of these tools does.

An oscillator produces a sound frequency using a particular waveform. Usually, you can choose from sine waves, triangle waves, sawtooth waves, square waves, and pulse waves.

A sine wave represents a pure tone without harmonics, and its waveform is a smooth symmetrical curve. Triangle waves are tonally similar to sine waves, but they produce odd harmonics and have an audible fuzz and edge to them.

Sawtooth waves are named as such because their waveform reflects a sawtooth—a triangular zig zag. They produce even and odd harmonics and generate a brass-like, buzz-edged sound.

Square waves and pulse waves are similar insofar as they function as on/off switches for the audio signal. Their difference lies in the square waves being symmetrical and pulse waves being asymmetrical. Both have a fuller sound compared to sawtooth waves.

The filter parameters let you attenuate or boost certain frequencies in a variety of ways. The most common filter types you can use are low-cut (high-pass) and high-cut (low-pass) filters. These two types let you cut out undesirable highs or lows.

To make the most of this feature, it's important to have a firm grasp of how to use EQs and filters .

Envelopes let you control how a sound starts, continues, and ends. It does so via four parameters: Attack, Decay, Sustain, and Release (ADSR) .

The Attack phase determines how long it takes for the initial signal to reach the maximum amplitude. The Decay phase deals with the time taken for the maximum amplitude to reach the Sustain level. The Sustain phase controls how long a note lasts when you hold it down. And the Release stage determines how long it takes for the sound to fade into silence.

Low-frequency oscillators (LFOs) let you choose from four waveforms just like in regular oscillators. However, they do not emit an audible signal. Instead, their very low frequencies are routed into synth parameters, like filters or normal oscillators, to add modulation. This lets you add features like vibrato, phasing, and tremolo to such parameters at different rates.

Don't forget that you can use automation in your DAW to add some variation and movement to each of these synthesizer tools.

Now, let's go over the different types of synthesis.

1. Subtractive

Subtractive synthesis is the oldest and perhaps most popular kind of synthesis. It provides a harmonically rich fundamental tone which you carve into using filters (for harmonic attenuation) and envelopes (for volume/level alteration). In this manner, you reach your sound of choice.

A good way to think about this type of synthesis is in terms of material sculpting. You start off with a block of material, and bit by bit you whittle away until you achieve your desired form. Its uses can extend into every sphere of music creation, though its notable strengths are its old-school harmonic musicality.

2. Additive

Additive synthesis is the inverse of subtractive synthesis as you combine multiple sine waves, or partials, from distinct frequency bands to achieve the sound you want. You can then edit these different harmonics to alter the tone of your synth.

This form of synthesis is a great way to create expansive soundscapes, pads, and eerie ambiances. It makes it a good choice for sound design lovers and fans of atmospheric music. To add another sound design technique to your toolset, learn to reverse audio . This method can perfectly complement and double the sonic effects you can generate with all types of synthesis.

3. Wavetable

Wavetable synthesis varies from the other types of synthesis as it does not generate the fundamental frequency. Instead, it uses a sample of a recorded instrument or even another synth. From there, it finds common ground with other forms of synthesis.

Wavetable synthesis provides staggering levels of variety that go hand in hand with your ample selection of samples to initially input. It lets you create both highly realistic acoustic sounds and unique growling bass parts.

This form of synthesis has become a hallmark of EDM and bass-focused music genres for its capability to generate unforgettable bass lines.

4. Granular

Granular synthesis functions by sampling a sound source and then breaking it down into very small segments or grains. This allows you to edit or modulate individual grains and then layer them on top of one another.

These features make granular synthesis a popular choice for generating multi-layered ambiances that develop and shift continuously.

5. Frequency Modulation (FM)

FM synthesis uses two oscillators. The first (named a carrier) produces the fundamental frequency, and the second adds extra harmonics over time to modulate the fundamental frequency. FM synthesis lets you go well beyond two oscillators, or operators, and this opens up many possibilities for sound design.

Bear in mind that pleasant-sounding results rely on there being a mathematical relationship between the frequency of one operator and the other (e.g. a carrier frequency of 500 Hz, and another oscillator with a frequency of 1000 Hz). Unrelated frequencies and ratios will lead to chaos and audible messes.

This form of synthesis can generate out-of-this-world sounds as well as realistic bell sounds and harnesses the precision of digital synthesis.

Dive Into Sound Synthesis

Synthesizers are instruments that can improve not only your creations but also unlock your ability to find your unique sound. Select a mono or polyphonic synth and choose a suitable waveform to match the sonic color you're after. Adjust the filter, envelope, and LFO parameters to determine the harmonics, level, and modulation of your synth signal.

You can use granular and additive synthesis for ambiance and sound design, and FM synthesis for digital precision. Add in subtractive synthesis for diverse audio contexts and wavetable synthesis for powerful bass parts, and that sound in your head can become a reality.

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Learn what a synthesizer is, discover the different kinds of synthesizers available, and how you can use synths to generate and manipulate sounds.

It is not an overstatement to say that synthesizers completely revolutionized the world of music.

As synths gained popularity through the second half of the 20th century, certain sounds became iconic, birthing a multitude of new techniques for making music, fresh genres, and futuristic masterpieces.

Digital music production relies heavily on synthesized sounds–both hardware and software. But how does the process work, and what can you do with a synthesizer to add a new dimension to your own music?

The following guide explores what a synthesizer is, the different kinds available, and how you can use synths to generate and manipulate sounds. With this background, you’ll be ready to get behind the controls and start expanding your sonic horizons.

You can follow along with synths from Native Instruments.

Explore Synths

What is a Synthesizer?

We should begin by laying out some core terminology that may be unfamiliar.

‘Synthesis’ is a process of combining elements to form a connected whole.

A ‘synthesizer’ is a category of electronic musical instruments that produce sounds by generating and combining electrical signals.

There are a few ways to play a synthesizer. Keyboards are the traditional input, but you can also trigger looping patterns with a sequencer or arpeggiator.

Sound Waves

Synthesized sounds begin life as basic audio signals generated by oscillators. They come in different shapes, known as ‘waveforms’.

A smooth, continuous curve is called a sine wave. This sounds clean and perfect to our ears because it represents a single frequency.

But we hear all sorts of diverse sounds in the real world, as different timbres add noise and harmonics (i.e. color) to the root frequency, producing more complex, irregular waveforms.

The ‘frequency’ of a wave is the time it takes to complete one oscillation, measured in hertz (Hz). This determines what pitch we hear, and can be tuned to play different notes of the scale.

As signals pass through the components of a synth, the basic waveforms are shaped and sculpted by filters and envelopes. Synthesizers can be used to emulate the varying tones of acoustic instruments, or blast off to entirely new, otherworldly realms.

You can hear synths in a wide range of music–from pop to ambient–as well as soundtrack scores for film, TV, and video games.

Analog vs. Digital Synthesizers

The first synthesizers predate our modern era of computers and digital tools, meaning that early forays into the world of synthesis were exclusively analog.

Analog synths generate sound directly from electricity. Different tones are made by controlling the electrical voltages and the route the signal takes as it passes through the synth’s components, wired into a physical signal chain.

The old analog-synthesis pioneers set the template, establishing precedents that manufacturers and musicians continue to follow to this day.

Meanwhile, the emergence of personal computers has caused a worldwide explosion of new power and potential in digital technology.

Early digital synthesizers allowed you to store data on microchips for the first time and re-construct the modules of analog synthesis in digital binary code, as well as the ability to load and save patch settings.

As computer chips are significantly cheaper to produce than the intricate parts of an analog synth, digital synthesizers could pack in more features and sounds at a more affordable price point.

The exponentially evolving tech pushed innovators and product designers to completely re-think synthesis and invent new types of synth, utilizing the tools of a new era.

Software vs. Hardware Synthesizers

Analog synthesizers make sound by passing electricity through physical components. This is what you hear directly, the signal is never converted into digital audio.

This means analog synths are always hardware. Many producers favor analog specifically for its physicality, resulting in dynamic performances and rich, warm tones .

In contrast, digital synthesizers can be either hardware or software. With the power of modern computers, it is possible to create music entirely ‘in the box’, using music production software and virtual instruments.

This is how most people produce music nowadays, running virtual synths inside a Digital Audio Workstation, or DAW.

A software instrument is commonly called a plug-in, VST (Virtual Studio Technology), or AU (Audio Unit). Soft-synths tend to be cheaper and more adaptable, integrating easily into your DAW project without the hassle of wiring.

On the other hand, hardware digital synths retain the tactile, physical interface of analog gear. Likewise, many producers using software like to connect a controller or keyboard, which send MIDI to synthesizer plug-ins.

Monophonic vs. Polyphonic Synthesizers

Monophonic synths can only play one note at a time, making them ideal for bass or lead lines.

With polyphonic synthesizers, you can play chords. Synthesizers come in all shapes and sizes, so it really depends what kind of sound you have in mind.

Anatomy of a Synth

We’ve touched on the signal chain, the stages of synthesis that a signal passes through to create different sounds.

A signal is generated by an oscillator, sculpted with filters and envelopes, and further warped by adding modulation from a low-frequency oscillator, or LFO.

Oscillators

The signal path begins with an oscillator generating a sound frequency in the shape of a waveform.

Earlier we met the smooth curve of the sine wave, but there are other waveform shapes created by mixing in additional frequencies.

A sawtooth wave is a sharp, triangular zig-zag, the opposite of a sine wave. The sawtooth has more of a buzz, the result of many harmonics filling out the sound.

A square wave acts like a switch, a binary ‘on/off’. A pulse wave is similar, but you can adjust the relative ‘on/off’ time so that rather than a square, the waveform is asymmetrical and it creates more of a reedy tone.

Many synths also feature a noise generator. This is the sound of radio static—a random jumble of frequencies with no discernible shape. Noise can be blended with other waveforms to give them more thickness and crunch.

If waveforms are the raw material of sound, then filters and envelopes are a sculptor’s tools.

The two most common types of filter are low-pass and high-pass. A low-pass filter (LPF) rolls off everything above a chosen cut-off frequency, while a high-pass filter (HPF) does the opposite—retaining the high end of the mix.

Filters can boost as well as cut frequencies, for more radical effects. One of the most instantly recognizable synthesizers is the classic Roland TB-303—its twangy bass sound the star of innumerable acid house and techno bangers.

The 303 nicely illustrates the range of effects possible with filters using ‘resonance’. High resonance creates a loud peak at the cut-off frequency, more of a ringing or shrieking sound, while low resonance is milder and more rubbery. You can use resonance creatively to boost and emphasize particular pleasing harmonics.

Envelopes control how a sound behaves over time from the moment it is struck.

An envelope has four stages: Attack, Decay, Sustain, and Release. To demonstrate these, let’s compare the sounds of a hand-clap and a bell.

A hand-clap is a short, snappy sound that dissipates almost straight away. In contrast, the resonant shape and material of a bell cause it to ring out at a particular frequency, which disperses slowly as the vibrating bell returns to a standstill.

Attack is the initial ascent to peak amplitude, or volume—a long attack sounds like a slow fade in. A hand-clap has an extremely short attack, while a large church bell might take a second to reach its peak as vibrations spread through the metal.

Decay is how quickly the sound dissipates from this initial impact. A hand-clap has a short attack and short decay, while a bell has a slightly longer attack and a much longer decay time.

Sustain is how long a note continues when you hold it down. A piano’s sustain pedal allows the frequency to continue resonating for a few seconds until the string eventually stops vibrating. But synthesizers can sustain a set volume forever—or rather, as long as you decide.

Release determines how long it takes for a note to fade away to silence after you stop playing.

ADSR Envelope Graph

An LFO is a type of oscillator. Instead of generating an audible signal, it transmits a much lower frequency which can be routed into regular oscillators or filters to add modulation.

LFOs are used to create shimmering vibrato or tremolo effects, or add rhythmic fluctuations over time to truly bring your music to life. The wave of an LFO fluctuates back and forth at a fixed rate, just as if you were tweaking a parameter by hand.

LFOs can be set to behave like each of the waveform shapes, either synchronized to the tempo of your project or moving freely for more organic and unpredictable results.

Types of Synthesis

‘Synthesizer’ is really an umbrella term for a wide range of different ways to generate and shape sounds electronically.

Subtractive

The first synthesizers used a process called ‘subtractive synthesis’, i.e. reducing portions of the full frequency range as the base waveform passes through filters and envelopes.

You can think of it like sculpture, whereby the art is formed by subtraction, the desired shape created by chipping away surplus material.

Native’s MONARK offers a good example of subtractive synthesis, as it presents the classic analog signal-flow layout in a compact virtual monosynth.

Analog & Virtual Analog Synthesis

We’ve explored how analog synths produce sound from electrical signals, and the physical presence of the circuitry adds warmth to the tone.

In contrast, digital synthesizers operate just like a computer, constructing sound waves from exact values in binary code.

In terms of sound, this pinpoint precision is both a blessing and a curse. The very unpredictability of analog circuits creates rich, sometimes erratic tones that are pleasing to our ears and can leave digital synthesis sounding cold and lifeless in comparison.

Virtual synth developers have found a remedy for this, working with software algorithms to simulate the complex behavior of analog synthesis in ‘virtual analog’ or ‘analog-modeling’ instruments.

SUPER 8 is a software reimagining of classic analog polysynths. The eight-voice synthesizer is designed to sound and feel vintage, capable of rich strings and pads as well as fat mono tones.

The most famous old analog machines tend to be rare and costly to get hold of these days. Thankfully, many have been reproduced in modern software versions.

For example, RETRO MACHINES is a sample collection of real analog synthesizers, covering the electronic pop heyday of the ‘70s and ‘80s.

In many ways, virtual analog is more practical and reliable than the real thing. It can only ever be an approximation of true analog, but it is getting increasingly tough to notice the difference.

Additive Synthesis

Rather than subtracting from the original wave, additive synthesis works by combining ‘partials,’ multiple sine waves for different bands of the frequency spectrum.

Additive synths can produce strange, complex sounds that are ideal for designing pads, soundscapes, and drones.

RAZOR is a software synth that packs the complexity of additive synthesis into a clean, familiar interface—so you can focus on making cutting-edge sounds.

FM Synthesis

The theory behind FM (frequency modulation) synthesis is quite complicated. It uses two oscillators: one to generate an original frequency, called a ‘carrier’, and a second signal that modulates the first by introducing additional harmonics over time.

FM synths are best known for glassy bells and electric keys that fully embrace the clean, perfect sound of digital synthesis.

FM8 is a popular software FM synthesizer with an emphasis on ease-of-use—the power of digital synthesis in an accessible and intuitive interface. Start playing around in FM8 and you begin to learn the theory of FM synthesis, without needing to decipher any scientific equations.

Wavetable Synthesis

Wavetable synthesis takes sound to epic new levels. Rather than starting with a basic waveform, it uses a sample of a single hit. This can be anything from a recording of an acoustic instrument to a sound generated by another synth. It can then generate wildly different sounds in the shape of this sample.

Wavetable synths can reproduce real-life, acoustic sounds and textures. The possibilities here are practically endless—with so much potential beyond basic waveforms, you have hundreds of sound sources to choose from. The main difference is in generating the initial wave–the later stages of synthesis are the same.

MASSIVE and MASSIVE X are the modern champions of wavetable synthesis famous for the snarling, wobbling bass lines in countless dubstep and EDM hits.

Modular Synthesis

Modular is synthesis at its most expansive and customizable. Whereas most hardware synths contain all the components connected in one box, modular synths are completely deconstructed into separate ‘modules’.

It might be easier to think of a modular synth as a web of mini synthesizers. You can physically re-order the signal chain by wiring it however you like. This is called ‘patching’. Modular gives you complete, open-ended freedom in sound design.

This is more advanced-level sound synthesis, but REAKTOR Blocks offers a pretty comprehensive package to get started in the world of modular —building your own custom synth from scratch.

Granular Synthesis

Granular synthesis works by splitting a sound sample into very short segments, called ‘grains’. These can be modulated and layered to build up unique, ethereal atmospheres that morph and evolve over time.

STRAYLIGHT is a software granular synth offering enormous scope for designing and modulating sounds. PHARLIGHT is geared towards granular effects for vocals, while ASHLIGHT focuses on dark textures and soundscapes.

Physical Modeling

Synthesizers have attempted to recreate the sounds of acoustic instruments since the very early years, but it is very difficult to get an accurate tone using basic waveform oscillators.

This is where physical modeling synthesis comes in handy. Not only can you control the shape of the wave, but also simulate the way it is struck, for example, with a mallet or a bow. This allows for incredibly realistic nuances, capturing the spontaneity of real, live performance.

REAKTOR PRISM is a software polyphonic synthesizer that draws on physical modeling synthesis to produce a wide range of pristine, unconventional sounds.

Dive into Synthesis

In this guide, we have introduced the mechanics of a synthesizer, explained the different types available, and provided some helpful resources for you to explore.

The science behind sound synthesis is deep and complex, but you need not get bogged down in the theory at first. The trick is experimentation. Trust your ears, adjust knobs and parameters, and discover how this affects the sound.

Ready to get started? Explore the Native Instruments catalogue of synths to find your next sound, and check out a complete list of EDM software and VSTs including synths that can help you get the sound you’re looking for.

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Synthesis: Art In Music

Synthesis is a prestigious Italian manufacturing company dedicated to designing and releasing premium hi-fi electronics, with a particular focus on valve amplifier designs.

Where many valve amplifiers leave users having to consider only a narrow pool of partnering speakers, Synthesis' use of push-pull designs in particular means most of their range will suitably power a wider variety of modern speakers. Their meticulous attention to detail throughout the design process, targeted selection of only the best components available for the price, vast experience of transformer designs and keen eye for detail push Synthesis to the forefront of the premium home audio market. As a result they boast countless fans and various awards from around the world.

Designed and manufactured in Italy, Synthesis also produce a variety of source equipment and accessories, allowing you to build a full sound system that flows from start to finish with the core principles Synthesis are driven by: exceptional sound with exceptional engineering. Synthesis truly presents the art in music.

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SOUND SYNTHESIS & SOUND DESIGN (30 episodes) - Make Jean-Michel Jarre sound like a beginner

Throughout history, humans all around the globe have never stopped diversifying the uses of music ─ ritual, recreational, intellectual, etc. ─ and have produced it using their voices and bodies or through the development and practice of musical instruments. Through the 19th century, the basic methods for creating music were the same: Hitting animal skins, rubbing, plucking or hitting strings, and blowing into bone, wooden or metal pipes. Then everything began to change...

In the 20 th century, humans started to interest themselves in manipulating the structure of their environment ─ the atomic bomb being a worst-case example and sound synthesis a best-case one! The idea behind the latter is not to reproduce predefined sounds, but rather to create completely unheard-of sounds from scratch, or to modify the structure of a sound to create another sound. Interesting, isn’t it?

Throughout this series of articles, we will try to define, in the simplest possible way, what sound synthesis is. We’ll start by recalling what sound is made of and what are the parameters we can act upon to modify it. We’ll move on to what the basic elements of any synth worthy of the name are, and what is their function, as well as the main types of synthesis available. We will also provide you some practical examples, as well as an historical recap of the evolution of sound synthesis since it first came to be and a brief exposition of the most emblematic and surprising instruments in the field.

But, first things first…

What is sound synthesis?

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• Sound synthesis, sound design and audio processing - Part 6

The Beginner's Guide to Audio Synthesis

A synthesizer is an electronic musical instrument that generates audio signals. These signals can be played back via a set of speakers or recorded into your DAW. Synthesizers come in all shapes, sizes, and price ranges. Most music producers start off using plugin synthesizers, which are third party software that run within your DAW (digital audio workstation).

Synths are used heavily within Pop, EDM, Hip-Hop, and many other genres. Composing music using synth presets is extremely time-effective, but relying too heavily on them can hinder your creative freedom. Being able to efficiently create original synth patches, as well as clone other synths that you hear, is an invaluable asset when collaborating with other artists, and when writing your own songs.

Synthesizer Fundamentals

Although its less expensive to start off using plugin synths, as opposed to analog synths, plugin synths tend to come packed with so many controls that it's overwhelming. You’re faced with a wall of knobs, faders, and miscellaneous controls labelled with complete nonsense. This experience is quite a turn-off and can deter a lot of people from learning synthesis.

Luckily, synthesis can be learned in a systematic, organized manner. Each synth is unique in it's design and the placement of it's parameters, but for the most part, they all function based on a standard set of principles and controls. If you understand the fundamentals of synthesis, you can learn how to use pretty much any synth by familiarizing yourself with it's interface.

Many synths will include an oscillator section, voicing section, envelope section, LFO section, filter section, and effects section. I’ll be walking you through the fundamentals of synthesis using Serum which is a plugin synth developed by Xfer Records. I’ve chosen this synth because it’s one of the most popular synths on the market. You can download a 3 day trial of Serum from Splice for free that will allow you to follow along with this guide. Alternatively, you can buy Serum for $189 via Xfer Record’s website, or you can rent-to-own Serum for $9.99/month via Splice.

I hope to familiarize you with the concept of synthesis as a whole and get you comfortable using some of the common parameters found amongst a number of synths. You can always refer back to this guide if you need to refresh yourself on a concept regarding synthesis, so make sure to bookmark this page.

1. How to Use a Synth

To effectively use a synth, you need to understand what makes it tick…. or more accurately: oscillate. A synth is merely a collection of different hardware components packed into a user-friendly unit. Oscillators, envelopes, LFOs, filters, and effects are just some of the components that make up many different synths.

Modular synthesis is a type of synthesis that lets you purchase these components individually and connect them together using patch cables. Many die-hard synth lovers swear by modular synthesis because it provides a ton of creative freedom. Learning how these individual components operate will make using any synth a breeze.

2. Oscillators

The oscillator section of a synth generates waveforms at various amplitudes and frequencies. When creating a new patch, your oscillators are a great place to start. They’ll allow you to achieve the fundamental character of the sound you're looking for by selecting an appropriate waveform. Lots of synths use basic wave shapes like sine waves, triangle waves, saw waves, and pulse width waves. Others take this a step further and provide you with access to all kinds of different waveshapes.

You can gather more information about the waves you’re using with a spectrum analyzer like SPAN by Voxengo, and an oscilloscope like s(M)exoscope by Smartelectronix (both of which are free to download). A spectrum analyzer displays signal amplitude as it varies by signal frequency, and an oscilloscope displays the waveform of electronic signals by plotting instantaneous signal voltage as a function of time.

A spectrum analyzer is going to display information about the fundamental frequency, as well as its overtones for each of the following waveforms. The term overtone refers to any frequency greater than the fundamental frequency of a sound. A number of these overtones are known as harmonics. If an overtone is a harmonic, it means that it’s part of the fundamental frequency’s harmonic series. A harmonic series is the sequence of sounds in which the frequency of each sound is an integer multiple of the fundamental frequency (the lowest frequency); meaning the fundamental frequency dictates the harmonic series.

A harmonic series with a fundamental frequency of 100 Hz could consist of the following harmonics / overtones:

• First Harmonic / Fundamental Frequency: 100 Hz
• Second Harmonic / First Overtone: 200 Hz
• Third Harmonic / Second Overtone: 300 Hz
• Fourth Harmonic / Third Overtone: 400 Hz
• Fifth Harmonic / Fourth Overtone: 500 Hz
• Sixth Harmonic / Fifth Overtone: 600 Hz
• Seventh Harmonic / Sixth Overtone: 700 Hz
• Eighth Harmonic / Seventh Overtone: 800 Hz
• *A harmonic series can continue beyond eight harmonics.

A harmonic series with a fundamental frequency of 80 Hz could consist of the following harmonics / overtones:

• First Harmonic / Fundamental Frequency: 80 Hz
• Second Harmonic / First Overtone: 160 Hz
• Third Harmonic / Second Overtone: 240 Hz
• Fourth Harmonic / Third Overtone: 320 Hz
• Fifth Harmonic / Fourth Overtone: 400 Hz
• Sixth Harmonic / Fifth Overtone: 480 Hz
• Seventh Harmonic / Sixth Overtone: 560 Hz
• Eighth Harmonic / Seventh Overtone: 640 Hz

Each simple waveform that I’ll be covering produces a unique harmonic series, which is what gives each waveform its distinct sound. Some waveforms produce only even harmonics (second harmonic, fourth harmonic, sixth harmonic, etc.), while others produce just odd harmonics (third harmonic, fifth harmonic, seventh harmonic, etc.). Many waveforms produce both even and odd harmonics.

Each even-order harmonic jumps an octave from the last, starting at the fundamental; the result is a harmonious sound. The fundamental frequency will determine the harmonic overtone series. For example, if the fundamental frequency is 100 Hz, it’s even-order harmonics will be 200 Hz, 400 Hz, 600 Hz, 800 Hz, etc. The second-order harmonic is always two times the frequency of the fundamental. The fourth-order harmonic is four times the fundamental. The sixth-order harmonic is six times the fundamental, etc.

Odd-order harmonics tend to sound more dissonant than even-order harmonics based on their relationship to the fundamental frequency; they create intervals with the fundamental that are much more dissonant than the octave jumps created by even-order harmonics.

Instruments like guitar and piano do not produce tones with a pure harmonic series. They create complex tones that contain inharmonic partials; overtones that do not match an ideal harmonic. It can be difficult to determine the overall pitch of a note if these inharmonic partials overpower the fundamental frequency and its harmonic overtones; our brains rely on this information to decipher the pitch of a sound.

Oscillators generate an electrical current (waveform) that repeats continuously unless affected; this waveform can be visually represented using an oscilloscope. An oscilloscope displays the signal amplitude and frequency of a waveform over time. Using an oscilloscope, you can zoom in on a waveform to view a snapshot of it’s wave cycle at varying amplitudes and frequencies.

Sine waves, or sinusoidal waves, produce a soft, round, warm tone. They’re often used to create sub basses due to how pure they sound; this characteristic translates well in the low-end of many songs.

On a spectrum analyzer, like the one found in FabFilter's Pro-Q, a pure sine wave will display a fundamental frequency and no overtones.

On an oscilloscope, a pure sine wave will have round peaks (mountains) and troughs (valleys). Smooth periodic oscillation is what characterizes a sine wave.

Triangle Waves

Triangle waves produce a tone that’s similar to sine waves, but that has some edge, and fuzz to it. On a spectrum analyzer, a pure triangle wave will display a fundamental frequency and only odd harmonics.

On an oscilloscope, a pure triangle wave looks similar to a sine wave, but it has pointed peaks and troughs.

Saw waves, or sawtooth waves, produce a tone that's “buzzy” and that sounds somewhat like a trumpet. On a spectrum analyzer, a pure saw wave will display a fundamental frequency with even and odd upper harmonics.

On an oscilloscope, a pure sawtooth wave typically ramps upwards from the bottom until it reaches the top, and then immediately returns to the bottom again. In reverse, or when the sawtooth wave is inverted, the sawtooth ramps down.

Square Waves

Square waves sound somewhat like a sawtooth wave, but significantly rounder, and fuller. This is due to the lesser presence of odd-order harmonics. On a spectrum analyzer, a pure square wave will display a fundamental frequency and predominantly odd harmonics. A triangle wave contains only odd harmonics, but the higher harmonics roll off much faster than a square wave. Due to the harmonic similarity between square waves and triangles wave, it’s possible to make a square wave sound like a triangle wave using a low-pass filter.

On an oscilloscope, a pure square wave will cycle between its peaks and troughs with little to no transition period.

Pulse Waves

A pulse wave is a type of waveform that includes square waves, and other periodic, but asymmetrical waves. Square waves have a duty cycle of 50%, but that’s not the case for all pulse waves; a half pulse in Sylenth1 has a duty cycle of 75%, whereas a quarter pulse in Sylenth1 has a duty cycle of 87.5%. Pulse waves can sound precisely like square waves (because sometimes they are square waves), or they may take on the sound of a “buzzy” variation of one. On a spectrum analyzer, a pulse wave may look similar to a square wave, but its harmonic structure can differ depending on the wave’s duty cycle.

On an oscilloscope, pulse waves will cycle between their peaks and troughs with little to no transition period.

Miscellaneous Waves

Serum is a wavetable synth, which means it's capable of producing all kinds of waveforms; you can even import images and use them as wavetables. Recreating the sound that a wavetable synth generates can prove difficult due to how many waveforms it’s capable of producing. Most Dubstep synth patches use very complex wavetables, and something like an envelope or LFO is used to modulate throughout the wavetable to create interesting tones.

Voicing typically refers to the simultaneous vertical placement of notes in relation to each other. From a music theory perspective, voicing refers to how you stack chords.

For example, you could play a C major triad in close position (CEG) with C on the bottom, E in the middle, and G on top. Alternatively, you could play a C major chord in open position, which is a different voicing. To play a C major chord in open position (CGE), you’d move the E up an octave so that the new chord stack contains C on the bottom, G in the middle, and E on top (now an octave higher).

The voicing section of a synth generally allows you to control its polyphony; the number of notes that can be played at once. Synths that are monophonic only produce one note at a time (in some cases its one note per oscillator), while synths that are polyphonic produce multiple notes at a time. For a manufacturer to increase polyphony count on an analog synth, it can be quite expensive because it requires them to build more signal paths. If they wanted to expand a synth’s polyphony count from 8 to 16, they would potentially have to double up on a number of the synth’s hardware components.

The Moog One comes in two versions: expensive, and really expensive. I mean… 8-voice ($5,999) and 16-voice ($7,999). The price difference based on the voicing alone is a testament of the expense to the manufacturer (or a unique marketing scheme).

Software synths typically allow for a high polyphony count because the only expense to the manufacturer is the time it takes to program the synth. Serum allows for a polyphony count of up to 32, but a voice count of up to 1088 when both oscillator sections, the sub section, and the noise section are engaged.

Clearly, voice count refers to something slightly different than polyphony count. In Serum, if you only engage Oscillator A and set the polyphony count to 1, by default, it will produce only one voice. However, if you turn up the Unison amount on Oscillator A, it can produce up to 16 voices on a single MIDI note. You now have a situation where your polyphony count is 1, but your voice count is 16. Detuning Oscillator A’s voices using the Detune knob will make it easier to distinguish the voices from one another.

If you turn up Serum’s polyphony count to 2 and press two notes simultaneously, the total number of potential voices is now 32. The voice count of each section (Oscillator A, Oscillator B, Sub, and Noise) is multiplied by the polyphony count, and those numbers are then all added together to provide a total potential voice count that’s displayed beneath the polyphony count. It’s generally best to set the polyphony count as low as possible to save on CPU. For example, if you’re only going to be playing triads with Serum, you can set the polyphony count to 3; with every section in Serum engaged and all Unison knobs maxed out, that still allows for up to 102 voices.

4. Envelopes

A synth’s envelope section allows you to control amplitude over time. You can set various ADSR (attack, decay, sustain, and release) values to manipulate the amplitude envelope of a sound.

ADSR can be visualized using a graph that plots amplitude over time. The amplitude of an envelope always starts at zero, rises to a maximum value, drops to a sustained level, and then returns back to zero; this process is controlled using various time values (attack, decay, release), and a single amplitude value (sustain).

In Serum, Envelope 1 controls the synth’s volume envelope. This allows you to shape the volume of Serum’s output over time and decide whether you’d like to create a pluck, pad, lead, etc. When converting a pad into a pluck, manipulating the volume envelope is a good place to start.

Envelopes are not reserved solely for controlling volume; they allow you to control various synth parameters over time. For example, you could map Envelope 1 in Serum to Oscillator A’s Wavetable Position. This would cause Serum to automatically sweep the wavetable position of Oscillator A using the same envelope settings that are controlling its volume. This is an excellent way of making your synths feel “alive.” You could also create an entirely different envelope shape using Envelope 2 or 3 and apply it to various parameters within Serum.

It's possible to apply an envelope to almost any parameter in Serum by clicking and dragging the crosshair of an envelope to a parameter you’re trying to effect. The setting you drop the crosshair on will have a blue halo appear beside it that you can drag to modify the depth of the envelope’s effect.

Attack time determines how long it takes the envelope to reach maximum amplitude. For a patch that you want to hear as soon as you trigger a note, you’ll want a short attack time for the volume envelope. For a sound like a pad, you may want to use a longer attack time, which would cause it to swell to full volume.

Decay time determines how long it takes for the amplitude to transition from its maximum value to the level set with the sustain knob.

Sustain determines the level at which your amplitude will remain constant after it has attacked, and decayed.

Release time determines how long it takes your sustained amplitude level to diminish to zero once you’ve stopped triggering your synth.

The LFO (Low-Frequency Oscillator) section of a synth creates a rhythmic pulse or sweep that allows you to control the synth's parameters over time. LFOs can be applied to parameters in Serum the same way that an envelope can, but the difference is that an LFO isn’t based on ADSR.

An LFO will continuously effect the parameter it's mapped to, and modulate the parameter based on the shape and rate of the LFO. Typical LFO shapes include sine waves, triangle waves, saw waves, or pulse waves. However, Serum allows you to make custom LFO shapes, which means you aren’t limited in your modulation options.

An LFO is typically used to apply audio effects like vibrato, tremolo, and phasing to your audio signal. If you wanted a filter to open and close every quarter note, you could program Serum to do so using an LFO. LFOs are great for adding texture to your patches and are an excellent way to make your synths come to life.

The filter section of a synth cuts, or in some cases boosts the frequencies of the signal generated by your oscillators. Filters are a fundamental part of subtractive synthesis because they allow you to sculpt the character of your sound.

A high pass filter passes frequencies that are higher than the cutoff frequency and attenuates frequencies lower than the cutoff frequency. High pass filters are also sometimes referred to as low cut filters.

A low shelf filter passes all frequencies, but increases or decreases frequencies below the shelf frequency by a specified amount.

A bell filter boosts or attenuates frequencies within a certain range of its center frequency.

A band pass filter passes frequencies within a certain range of its center frequency and rejects (attenuates) frequencies outside that range.

A notch filter or band reject filter, rejects (attenuates) frequencies within a certain range of its center frequency, and passes frequencies outside its range.

A tilt filter boosts frequencies above its center frequency and attenuates frequencies below its center frequency. It can also work oppositely and attenuate frequencies above its center frequency and boost frequencies below its center frequency.

A high shelf filter passes all frequencies, but increases or decreases frequencies below the shelf frequency by a specified amount.

A low pass filter passes frequencies that are lower than the cutoff frequency and attenuates frequencies higher than the cutoff frequency. Low pass filters are also sometimes referred to as high cut filters.

Synths often come loaded with some effects that you can add into your signal path. Common types of effects include delays, reverbs, choruses, phasers, EQs, compressors, and distortions. I’m not going to dive too heavily into effects because they’re often quite unique to the synth, and some synths don’t even contain effects.

Serum has many effects, and if you like them, you can download a separate plugin from Xfer called Serum FX that allows you to apply Serum’s effects to audio tracks independent of the synth engine. You can find Serum FX in your Xfer account once you've purchased a copy of Serum.

8. Types of Synthesis

There are various different types of synthesis, and the type of synthesis used by a synth greatly effects the character of the sound it produces. When attempting to re-create a synth patch (such as from a song you hear), it’s crucial that you re-create the sound using a synth that employs the same type of synthesis. Ideally, you want to use the exact same synth you’re trying to emulate, but information regarding the synth used in your reference material isn’t always available. Sometimes you’ll need to try out a few different types of synths until you come across one that can achieve the sound you’re trying to create.

When I get my hands on a new synth, the first thing I do is identify what types of synthesis it performs; this information is usually apparent based on the controls the unit offers. Serum is capable of multiple types of synthesis including subtractive, wavetable, and sample-based synthesis. Identifying the type of synth you’re using will determine how you go about your sound design process, and ultimately shape your workflow.

Subtractive Synthesis

Subtractive synthesizers generate harmonically-rich partials that are attenuated using a filter; this alters the timbre of the sound. The human voice is a prime example of subtractive sound design. Your vocal cords, or vocal folds, act as an oscillator and your mouth and throat operate as a filter. When you change the shape of your mouth, the frequency response of your filter changes, resulting in an attenuation of frequencies.

When you make the sound “ahhh” using your mouth, the sound produced is rich in harmonics. In comparison, when you make the sound “oooh,” many of the harmonics that were present in the “ahhh” sound are reduced in amplitude. This is an example of your mouth acting as a filter.

Daniel Rothmann has an excellent video tutorial on subtractive synthesis that I highly recommend checking out. It will also review many of the previous sections of this guide including Oscillators, Envelopes, LFOs, and Filters.

Additive Synthesis

Additive synthesizers create timbre by adding sine waves together. They generate upper harmonics (in the form of sine waves) based off a fundamental frequency. You can then manipulate each harmonic to change the tone of the overall sound.

The concept of additive synthesis may seem somewhat abstract at first, but with a bit of explanation, it’s quite easy to wrap your head around it. Audio Masterclass has a phenomenal video tutorial on additive synthesis that explains the concept from start to finish.

Wavetable Synthesis

Wavetable synthesizers create periodic waveforms. They employ a method to modulate the selected waveform in the wavetable. The position in the wavetable selects the single cycle waveform.

If this makes absolutely no sense to you, that’s ok. Basically, wavetable synthesis allows you to sweep through something known as a wavetable and playback a snapshot of it. A wavetable is essentially a bunch of waveforms squished together. In Serum, the Wavetable Position knob allows you to cycle through these waveform snapshots.

You can use an envelope, LFO, or other forms of modulation to affect the wavetable position. Digital interpolation between adjacent waveforms allows for smooth changes of the timbre of the tone produced.

Kermode covers Serum’s wavetable synthesis in detail, and provides a great general explanation of how wavetable synthesis works. If you plan on using Serum as one of your main synths, it’s definitely worth your time to watch Kermode's tutorial. This video is slightly lengthy, but the fundamentals of wavetable synthesis are covered in the first few minutes.

FM Synthesis

FM (Frequency Modulation) synthesizers use a modulator frequency to change the timbre of a simple waveform (like a sine, square, triangle, or saw) called the carrier. The frequency and amplitude of the modulator affect the frequency of the carrier which can create a vibrato effect.

The oscillators involved in FM synthesis are often referred to as operators. You don’t need to stop with two operators; one being the modulator, and one being the carrier. You can chain together multiple operators, and have them modulating each other in all sorts of ways. FM synths allow you to create incredibly complex routings, making them great for creative sound design.

Andrew Huang has a video on FM synthesis that breaks the concept down using post-it notes and string.

Physical Modelling Synthesis

Physical modeling synthesizers compute a waveform using a mathematical model that consists of a set of equations and algorithms to simulate a physical sound source. This sound source is often a musical instrument. These types of synths allow you to change specific characteristics of the modeled sound source, such as the material it’s made out of, the velocity at which you hit the material, microphone position, etc.

Slam Academy put out a video that walks through physical modeling synthesis using Collision, which is an instrument found in Ableton Live. If you’re interested in getting your hands on some third party physically modeled synths, check out the products offered by Applied Acoustics; they helped create Collision in collaboration with Ableton.

Sample-Based Synthesis

Sample-based synthesizers use a form of synthesis that’s similar to subtractive synthesis. They differ in that the seed waveforms are sampled sounds or instruments instead of fundamental waveforms like sine, square, triangle, or sawtooth waves.

Sample-based synths typically require less CPU power than other types of synths, such as physical modeling synths, because they use prerecorded samples on your hard drive as opposed to calculating an output signal in real-time. On top of this, they tend to have higher polyphony counts than analog synthesizers because their circuitry doesn’t need to be duplicated to produce more voices.

Multi-sampled instruments fall under the category of sample-based synthesis. Devices like Kontakt by Native Instruments allow you to load different multi-sampled instrument libraries. The way a multi-sampled instrument is made is by recording a single instrument playing multiple different notes, at different velocities, and with many different articulations. The result is a playable instrument that allows you to emulate the performance of a session instrumentalist closely.

Multi-sampled instruments often require a large number of samples to operate correctly; this can take up a lot of space on your computer, so it’s usually a good idea to save these instruments on an external hard drive. Make sure to use a high-speed connection like Thunderbolt 3 to ensure that samples load quickly off of your external drive.

Joshua Casper has provided a useful tutorial on how to create your own multi-sampled instruments using Ableton’s Sampler. If you’re not an Ableton user no worries, it’s just as easy to develop multi-sampled instruments using Kontakt.

Granular Synthesis

Granular synthesizers sample a sound source and split the samples into smaller pieces called grains. These grains are typically around 1 to 50 ms in length, can be layered on top of each other, and may play at different speeds, phases, frequencies, etc.

Granular synthesis allows you to speed up or slow down audio independent of pitch. This was quite a unique ability back in the day, but now other devices (typically pitch correction software, such as Melodyne by Celemony ) allow you to achieve a similar effect by using methods focused around granulation. 

White Noises released a video that explains granular synthesis using various modules by Mutable Instruments. He demonstrates the abstract concept of granular synthesis using easy-to-understand visuals, and dreamy synth landscapes. A wildly popular synth that uses granular synthesis is Omnisphere 2 by Spectrasonics; it comes with so many excellent presets that people often neglect what it’s capable of under the hood.

Modular Synthesis

Modular synthesis uses modules (separate hardware components) to generate and process signal. These modules can be connected together using patch cables. Modular synths allow you to join together modules from different manufacturers, as long as they fit within the same case and use the same electrical specifications. This makes modular synthesis a dream come true for synth enthusiasts looking to create custom signal chains.

Semi-modular synthesizers are produced by a single manufacturer and are sold as a single instrument. They don’t give you the ability to swap out modules, and the basic configuration comes pre-wired. The thing that makes these units semi-modular is the ability to connect the included modules in different orders using patch cables.

If you watched the previous video on granular synthesis, you might have noticed the synth being used was actually a collection of smaller components. White Noises was handling a case with 12 modules loaded into it, and he was connecting the modules together using patch cables. The synth he was using a modular synth.

Eurorack synthesis is a specific type of synthesis that's based on modules that share the same height and various widths. It allows you to buy modules, racks, and cases from different manufacturers and rest assured that they’ll work together. One of the nice things about Eurorack synthesis is that it’s analog (which is always fun) and you can start off with just a couple of modules. When your budget allows for it, you can grow your Eurorack arsenal, and slowly take over your mother’s basement. She’ll love you for it.

Future Music Magazine has a great video on Eurorack modular synthesis. DivKid breaks down the basics of Eurorack synthesis and builds a sound live using his Eurorack gear. He applies many of the concepts covered in this guide, so what he’s talking about should be quite familiar to you.

To get started with your own Eurorack synthesizer, check out Sweetwater’s Eurorack department.

Audio synthesis is a vast subject, but it’s something that you can have fun exploring with a little bit of knowledge under your belt. You should now have a basic understanding of the components that drive a majority of synths. A trip to Guitar Center may be in order so that you go to town with the display units in their synth section.

I’ve presented you with many different types of synthesis in an attempt to nudge you further down an avenue that may interest you. Now that you know what’s available out there, you can continue to pursue synthesis however you see fit. I’ve covered the fundamentals, but I encourage you to dive deeper; there’s a whole world of creative possibilities waiting for you.

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What is A Synthesizer? A Beginner's Guide to Audio Synthesis

Synthesizers are everywhere in music. Electronic genres are booming, and synths are all over pop and hip-hop. Even in more traditionally guitar-based genres such as indie and metal, many artists frequently use these instruments.

If you’re starting your journey as a music producer, you will need to get to grips with synths.

In this article, we will start with the basics so that you can understand what synths are and how they work.

We’ll explain a little about the history of the synthesizer. We’ll compare analog and digital synths, software and hardware synths, and discuss the difference between monophonic and polyphonic synths.

We’ll go on to explain the different building blocks used to create synthesizer patches, the various types of synthesizers out there, and which you may want to investigate. 

What is a Synthesizer?

Synthesizers are electronic instruments that use analog or digital processing to generate sound. Synthesized sounds start out as very simple audio signals known as waveforms generated by oscillators (more on these below).

As these basic waveforms pass through the various components of the synth, they are sculpted, filtered, and augmented in various ways, allowing us to eventually produce an extremely wide range of complex sounds with these instruments. 

In the early days of synths, they were often used to try to emulate (or synthesize) the sound of traditional acoustic instruments. While they can still be used to do this, synths are much more common these days to create sounds that couldn’t have been dreamed of in the pre-electronic era. 

Analogue vs. Digital Synthesizers

Early synthesizers were produced in the pre-digital era.

That meant that they had to function using purely analog technology. Analog synths, as we recognize them today, were first introduced in the 1960s.

They generate sound directly from electricity, turning it into sound via the synth’s oscillators. Different tones are created by controlling the voltage of the signal and the route it takes through the synthesizer’s circuitry. 

Analog synths are held in high regard today, as many people love the rich, warm tone generated by their circuitry.

However, from the 1980s onwards, digital synthesizers joined the party. Digital technology allowed for entirely new forms of synthesis and much greater flexibility. Digital technology was also much cheaper and at this point, synthesis became much more approachable to amateur musicians. 

Software vs. Hardware Synthesizers

Since the 1990s, music production itself has become a primarily digital pursuit. Alongside hardware synths such as those that were used in previous decades, we can now use software synthesizers that operate entirely inside our DAWs (Digital Audio Workstations) . 

While many synth enthusiasts still prefer the hardware options, there is an incredible range of software synths out there. Some of these very accurately mimic vintage synths, while others use newer technology that allows us to create sounds that were out of reach to previous generations of electronic musicians. 

If you are chasing a truly analog sound , the one way to achieve it is by using hardware synths. You may also like the tactility of a physical synthesizer so may take the hardware route even if you want to work with digital synths. However, it’s worth considering the flexibility and ease-of-use you get with a synth built into your DAW. 

Monophonic vs. Polyphonic Synthesizers

Monophonic synthesizers can only play one note at a time.

That means they are generally more suited to playing lead and bass parts where their inability to play chords is not a problem. You'll need a polyphonic synth if you want to play more than one note simultaneously.

The number of notes that can be played simultaneously on a polyphonic synth is often limited, so look into this when making a purchase.

A synth with ‘four voice polyphony’, for example, will let you play four notes at the same time.

On many software synths, you can change the number of voices available on a particular patch. So you might find a preset you like that is monophonic by default but that can be switched to polyphonic if necessary. 

The History of Synthesizers

We’ve mentioned how, in the 1960s, the first recognizably ‘modern’ synths began to appear.  However, electronic instruments have been around for much longer. The telharmonium was an electric organ that was patented way back in 1897. The first Hammond organ was released in the mid-1930s.

The Theremin is a fascinating instrument controlled without physical contact by the performer. It was patented in 1928, and you may well be familiar with its sound as it has been used frequently since in science fiction and horror films. 

The Moog synthesizer debuted in 1964, and this was really the beginning of the age of synthesis. Early Moogs were large, modular synthesizers (they were built of numerous components or modules that were connected with patch cords). In 1970, the Minimoog was introduced and suddenly synthesizers became much more accessible.

These were the first synths to be sold in music stores. They were expensive and, therefore, would mainly have been used by serious musicians, but this was the beginning of synths really entering the mainstream. They differed from the early Moogs in that they weren’t modular, and they had a keyboard built into them. In other words, they looked a lot like most synthesizers do today. 

Very quickly, more synthesizer companies were established, with brands such as ARP and EMS entering the fray. In the late 70s, digital synths started to appear, and in 1983 Yamaha released the DX7 – the first synthesizer to sell more than 100,000 units. This classic synth remains one of the best-selling of all time and ushered in an era in which the synth became a truly mass-market instrument. 

The 1990s saw the birth of software instruments and a revival in interest in analog synths. During the early 2000s, the analogue synths of the 70s became prized for their warm sound and often sold for much more than their original prices. This led to various companies such as Moog, Korg, and Arturia producing brand-new analog synths in the 2010s for more affordable prices.

Software synths kept developing, with analog emulations becoming much more accurate in sound, while software companies such as Xfer Records and Native Instruments continued to push the boundaries of the kinds of sounds that could be produced through synthesis. 

The Basic Building Blocks of Synthesizers

To start experimenting with synths, it is important to understand how synth sounds are created. This will help you learn how to edit presets quickly and effectively and set you on the road to creating your own sounds from scratch.

Once you get your head around how the sound is generated and sculpted, you will learn how to adjust parameters to create the exact tone you require. Below we’ll introduce you to the basic building blocks of synthesizers and explain what each of these components does. 

Oscillators

The signal path in a synth begins with the oscillators. We already mentioned these above; they generate basic waveforms that form the basis of synthesized sound. A sine wave is the purest, most simple sound. Harmonics can be added to create other slightly more complex waveforms.

Harmonics are overtones – additional higher frequency notes – that are layered on top of our root note or fundamental frequency. They make the sound richer and more complex.

Introducing harmonics can create new wave shapes such as square, triangle, and sawtooth waves. Each waveform sounds different, and on most synths, you can choose which wave shapes you want your oscillators to produce. 

Let’s use an example to explain this process more clearly. A 100Hz sine wave consists of just that single 100Hz tone. However, a 100Hz sawtooth wave is generated by layering multiple additional sine waves on top of that fundamental 100Hz frequency. It will feature harmonics at 200Hz, 300Hz, 400Hz, and so on – with each additional harmonic being quieter than the last. 

It is pretty common for synths also to feature a noise generator. This produces a sound like the static you might hear on a radio set. It can be blended with the sounds produced by the oscillators to provide more crunch and thickness. 

To explain what filters do on a synth, let’s use an analogy. If we compare the creation of a synthesized tone to the creation of a sculpture, when we choose the waveform our oscillator will generate, that’s like choosing the type of rock we are going to carve our sculpture from – we are selecting the raw material.

Filters are like a sculptors tools – we can use them to begin carving a distinct shape out of the raw material we have selected. 

The most common filter types are high-pass and low-pass filters . High-pass filters cut all frequencies below a certain point (they let the high frequencies pass through), and low-pass filters cut all frequencies above a certain point.

We can therefore use these to make our sound thicker or thinner, darker or brighter. Filters can also boost frequencies. You will often see control on the filter section of a synth marked ‘resonance’ – you can use this to create a louder peak at a filter’s cut-off frequency (the point at which it starts filtering out sound).

This creates a ringing sound and can produce some dramatic effects if the filter is adjusted in real time while the synth is performing. 

LFO stands for low-frequency oscillator. This oscillator does something different from those we’ve already discussed – it transmits frequencies that are actually below the limit of human hearing, which means you can’t hear them.

What you can hear is their effect on the sound generated by your other oscillators. LFOs are used to modulate your synth tone – you can use them to create a wobbly vibrato or shimmering tremolo effects.

Think of the classic dubstep ‘wub’ bass sound; the fluctuating tone is the sound of an LFO in action. An LFO can be synchronized to the tempo of your project so that the modulation locks in with the rhythm of your music – or it can move freely.

ADSR Envelope

ADSR stands for attack, decay, sustain, and release.

An ADSR Envelope controls how a sound behaves over time, from the moment it is triggered. How a sound begins is determined by its attack. A sound with a very short attack will begin very suddenly and sharply – think of a drum hit or a hand clap.

As the attack time gets longer, the sound begins more gradually. A swelling violin note has a long attack time. 

Decay is how quickly the sound dissipates from its initial impact. A plucked violin string has a fast decay time, whereas a powerfully struck piano note has a longer decay time.

Sustain controls how long a note lasts while you are holding it down. A plucked violin note has no sustain at all, whereas a held piano note can have a much longer sustain time. A synth can sustain infinitely if we want it to – the sound will continue for as long as we hold the note down.

The release dictates how long the note will ring out for after we have released the note. A very short release means that the note will stop almost as soon as we release the key. A release time of two seconds means that it will take that long for the sound to fade out to nothing once we have let go of the key. 

Types of Audio Synthesis 

There are numerous types of synthesis, and they can be used to create very varied sounds. Below we briefly describe some of the most common types you may encounter. 

Subtractive: Analog & Virtual Analog Synthesis

The classic analog synths worked with subtractive synthesis – and the modern virtual instruments that mimic them operate similarly.

This type of synthesis is described as ‘subtractive’ because you start with a base waveform and remove (subtract) frequency content from it with filters and envelopes until you have your desired sound. 

We have already explained how analog synths are prized for their rich, warm tones. This is due to the complex behavior of a waveform as it travels through the analog synth circuitry. It is colored by these circuits, meaning the sound created is not perfect or pristine – but it does have character.

Older analog emulations tended to sound too clean and digital – they couldn’t match the original machines' sound. However, newer analog emulations mimic the original analog circuits' architecture to get as close to that desired analog sound as possible. They often sound great – much closer in tone to the synths that inspired them. 

Additive Synthesis

Additive synthesis works in the opposite way of subtractive synthesis.

Instead of subtracting from a waveform, we build a new sound from scratch – one harmonic at a time. In additive synthesis, we can create sounds by controlling each harmonic's frequency and amplitude (volume).

That means we can create unusual sounds that would be out of reach if we used subtractive synthesis. We can do off-the-wall things with our harmonics – moving them out of tune, for example. We can end up with incredibly interesting and complex sounds that can be useful in sound design or as unusual sounding pads.

FM Synthesis

Yamaha’s famous and successful DX7 used FM (frequency modulation) synthesis, and the sound is somewhat associated with that era.

So if you want to mimic 80s keyboard sounds, this could be the way. The DX7 piano sound is a classic but sounds very much like a digital version of a piano. It’s very clean and pristine – not much like a real piano at all, but nonetheless, a sound that is associated with numerous classic records. 

This is a fairly complex form of synthesis. It works through the use of two oscillators; the first, known as the carrier, generates the original frequency, while the second oscillator modulates it by introducing additional harmonics over time. 

Wavetable Synthesis

Rather than using basic waveforms generated by an oscillator as the building blocks of their sounds, wavetable synths use a sample of a recording. This can be a recording of anything, from an instrument to an animal call to the sound of rain. A wavetable synth grabs a snapshot, or a selection, of this sample and uses it as its raw material.

This allows for wildly varying sounds, and these synths have become incredibly popular across a wide range of electronic genres in recent years.

Modular Synthesis 

Modular synthesis takes us back to the days of the original Moog! These synths are deconstructed into separate modules – one for an oscillator, one for a filter, and so on. Essentially this form of synthesis allows you to custom-build your own synth.

Rather than buying a closed box that functions in a certain way, you can connect different modules together in any configuration you wish. This synthesis style is possible either with hardware (where you can buy modules individually) or with software that allows you to patch together different module types virtually. 

Granular Synthesis

Granular synthesis is a great way of creating weird and wonderful sounds. It uses a sample as the basis for its sound – breaking the recording into tiny snatches of audio called grains. These grains can then be layered, modulated, and edited to build otherworldly textures that evolve over time. 

Synthesis is an incredibly deep and rich area within the broader subject of music production. Whole subcultures have built up around areas such as modular synthesis alone! We hope that you use this article as a jumping-off point.

Now that you know the basics, you can go ahead and start creating synth patches right away, but you can also zero in on the parts of synthesis that you find more interesting and really begin to get to know them in depth. At the very least we hope that the next time you look at a synth, you won’t find that array of knobs and buttons to be so bewildering!

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Audio Synthesis 101 - An Introduction to Synth Programming for Electronic Music Producers

Producers need to know how to use a synthesizer. it's also good to know the different types of synths used in music. learning synthesis can take a while.  in this post below you'll discover   synth basics , the types of synthesizers, a few types of synthesis methods and 5 steps for learning synthesis .  you'll also find 3 top recommendations for resources to help you learn audio synthesis faster ..

Father,  Forgive Us for Our Synths!

Audio synthesis may initially seem like an obscure arcane art with strange terms like VCOs, LFOs, CV, Subtractive, Additive and Frequency Modulation being bandied about by studio geeks who always seem to exhibit some serious studio tans.

Now, of course, if you want to do audio synthesis properly you’ll want to learn as much as possible about how different synthesizers work and which synth sounds you can produce with them.

There’s a lot to learn when it comes to synths so it could seem like a massive mountain to climb when you start out.

That said, there are different ways to learn basic synth programming and in this post we take a look a 5 ways you can go about learning audio synthesis and keep it fun.

But first, let’s cover a few of the main synth terms, just to refresh our memories on the basics of synths...

Synthesizer Definition:

A synthesizer, in the most basic sense, is an analog, digital or software instrument that produces audio signals . This is achieved in different ways by different synths but in simple terms it’s all about generating and manipulating audio signals and sounds.

Like most things in music production and audio engineering, a synth is a system with inputs, processing and outputs .

The inputs of synths come in most cases from a controller of some sort. A MIDI keyboard or pad is a good example of the typical type of input devices used with synths.  The controller sends pitch, velocity and gate instructions to the synth.

Inside the synth the pitch triggers the oscillator which generates the initial audio.  The velocity instructions control the amplifier and the gate signals do the same, usually via an envelope generator (ADSR).

The audio waveform generated by the oscillator then passes through a filter which shapes the tone by removing frequencies from the signal.  After the filter the signal goes to an amplifier where the volume is controlled.

The oscillator, filter and amp components can all be modulated by modulators such as LFOs and envelopes.

So, let's take a look at the basic components of synths before we delve a bit more into audio synthesis techniques and different ways of learning audio synthesis further below.

Synthesizer Basics:

Oscillators.

Synthesizers are used to generate sound.  In order to do this it needs a generator of some sort, which in many cases are oscillators.

Oscillators can be compared to the vocal folds of the human voice as they serve the same function of being the mechanism or component that generates the sound.

Hardware oscillators are often called VCOs, short for Voltage Controlled Oscillators.  These oscillators, as the name suggests uses the differences between voltages to generate audio signals in the synth.

Software oscillators use 1s and 0s to produce the same waveforms in the digital realm.

The four most used waveforms generated by synth oscillators are:

• Sine - A smooth "pure" sound. Round and hollow.
• Triangle - Similar to a sine but with an added bite in top-end harmonics.
• Sawtooth - Add a bit more fuzz, body and bite.
• Square - Hollow metallic and bright.

In practice you'll load up the oscillator in your synth, crank up the level and Bob's your uncle. 

So, you don't have to know the inner workings of oscillators and the functions behind each to use them in music production and sound design.  Knowing what they do and how the basic waveforms sound is enough to get you started.

So, in that spirit,  here are the 4 most basic waveforms side by side.  See if you can spot which is which.

Warning: Loud AF!

OK. So did you say Sine, Triangle, Saw, Square in that order?  If so you're 100% made for this stuff! ;-)

If not, fret not.  You'll get there sooner than you may imagine.

Once you get a feel for the basic waveforms you'll start to think in terms of how to start new patches and which waveforms to combine to get to the sound you hear in your head.

Filters, as you probably know from the post on audio equalization, allow you to remove frequencies from an audio signal.

Filters are useful in synths because it allows us to shape the sound generated by the oscillators to achieve the tone we want.

The oscillators can create harmonically rich waveforms which you can then tame with the use of filters to produce the synth sound you want.

We'll skip a comprehensive discussion on filters here as the main 5 types you'll use in audio synthesis are the same as the main filters used in EQs.  So, if you want to know more about filters then I suggest you read that section of the post on audio equalization .

Amplifier or amps are circuits or components in synthesizers that allow you to adjust the gain of the synth.

Amps can be used in many different ways inside a synth but will usually be present near the output of the synth to control the output level.

The amp itself can be controlled via a direct knob or slider on the synth interface or via other processors such as controllers and envelope generators that create ADSR envelopes.

Controllers like MIDI keyboards send gate, or more properly note on/note off,  instructions as MIDI to the envelope generator that tells the ADSR envelope generators how to adjust the amp to create the wanted envelope or contour for the synth sound you want.

LFOs - Low Frequency Oscillators

These oscillators aren't used to directly create audio or sound.  Instead,  these oscillators are most often used to modulate other parameters such as the oscillators that produce sound, filters and amps.  This allows for a lot of different types of modulation like sweeps and vibrato effects to mention a few.

In modern soft synths you can modulate just about any parameter with your LFOs.

Envelopes/ADSR

Envelopes allow you to create a contour or shape for your waveform. An envelope shapes the attack, decay, sustain and release of your synth sound.  That's why you'll sometimes see it labeled as ADSR. In soft synths envelopes can be used to automate just about any other parameter in the synth.  Yes, it's originally for amplitude automation.  but it can be just as useful for pitch for example, like when you create a synth kick that needs a fast decaying sweep to mimic a natural kick sound.

A simple envelope has these 4 sections or controllable parameters:

• Attack - The sound from where it starts to its initial highest peak or transient.
• Decay - The fading of the sound from the highest peak to the sustain level.
• Sustain - The level at which the sound stays as long as the note is on.
• Release - The level and speed at which the sound fades to silence after the note is switched off.

Envelopes are important because most sounds in nature have envelopes when measured.  The sound doesn't just start at full amplitude and continue the same way until it suddenly just stops completely. A saw wave generated from an oscillator does just start and stop unless you apply an envelope to shape it.

Analyze a natural sound and you'll usually find it has different characteristics. It may be short or long.  It may come on fast or fade in more slowly.  It may have a high dynamic range or a low one. It could take a while to fade away after you stop the note or it could stop abruptly.

Your envelope gives you control over these characteristics of the synth sound you're creating.

You won't be wrong if you think about envelopes as a type of automation.  The parameters you set tell the envelope generator how to automate each setting to produce the curve you want.

Putting it all together:

We can construct a very basic synth patch with the components we discussed above.

It would look something like this:

Now as you can probably imagine, synth patches get much more complex than the above example.  The basic idea will always be the same.  You need something to generate the sound, i.e. the oscillator.  You need a way to shape the tone, i.e. the filters. You need a way to amplify the signal, i.e. the amp.  You can also add modulators like LFOs and envelopes to change the patch in real time as it plays back.

Now, let's take a look at some of the different types of synthesizers available today...

3 Common Types of Synths Used by Producers:

1. Synthesizer Keyboards

The controller is built into the unit, usually as a piano-style keyboard.

Examples include the Arturia MiniBrute 2, Dave Smith Instruments OB-6 and the Moog Minimoog.

2. Hardware Synthesizer Modules

These modular synth components have no built-in controllers so they need to be controlled by an external controller using CV or MIDI or USB.

Manufacturers include Moog Music,  Doepfer Musikelektronik and Synthesis Technology.

3. Synthesizer Software or Plugins

Soft synths are virtual instruments that produce digital audio signals as a standalone program or plugin in a Digital Audio Workstation .

Examples include Native Instruments Massive, UVI Falcon and Xfer Records Serum.

Now that you know some of the basic types of synths, let's look at some of the types of audio synthesis often used by music producers...

Here Are 4 Different Common Types of Audio Synthesis Methods Producers Need to Know About:

There are over 20 different types of audio synthesis techniques or methods.  For the sake of brevity and clarity we’ll take a quick look at only the 4 types you’ll most likely use often in the studio as a producer.

The main thing to keep in mind here is that most advanced soft synths will use a combination of the types of audio synthesis mentioned below, so it's not an either/or situation. You'll often use all the methods below, plus some others, in one synth.

Still, it helps to be familiar with the basic types of audio synthesis you'll use most often and understand what makes each unique...

1. Subtractive Synthesis

Subtractive synthesis is a method of audio synthesis is where you use filters to remove frequency content from, often harmonically rich, generated waveforms.  The idea is to start with a full sound and filter out frequencies or partials to achieve the sound you want.

So,  any synth that uses filters to modify the frequency content of the generated sound allows you to do subtractive synthesis.

2. Additive Synthesis

With additive synthesis the sum of the output of two or more oscillators are used to create the desired synth sound. 

This techniques is called additive since you add partials, most often sine waves,  together to build your sound up from scratch instead of filtering out frequency content as you would with subtractive synthesis.

The idea with additive synthesis is that any waveform can be represented as a set of sine waves. This means that by adding the sine waves together you can replicate the waveform as long as you have the correct frequencies  present at the correct levels in relation to each other.

3. Frequency Modulation Synthesis

FM synthesis uses a modulator signal to shape another generated signal called the carrier signal.

So, for example.  You could start with one sine wave at a certain pitch.  This is the carrier signal.

Then you take another oscillator and use it to modulate the original signal. This is the modulator signal.

The changes in frequency and amplitude in the modulator signal will cause changes in the pitch and amplitude of the carrier signal.  This creates effects not possible with a single oscillator by itself. You can then further change up the sound of the patch by modulating the modulator signal with another modulator signal.

The best way to grok FM synths is to hear an example and for that I suggest you check this excellent explanation video by Andrew Huang:

4. Wavetable Synthesis

Wavetable synths uses single-cycle waveforms stored in a wavetable as the basis for the sound source instead of periodic functions used by oscillators.

The easiest way to understand this is to realize that it's basically the sound generator in the synth that works differently. Instead of an oscillator using a mathematical function to generate the waveform in real time, the synth uses waveforms that are stored in a sort of database called a wavetable.

The ability to change from one waveform to another with modulation is what gives wavetable synthesis it's unique sound and capabilities.

The video below by Justin DeLay over at Reverb.com gives you superb introduction to the concepts and mechanics of wavetable synthesis:

Learning Audio Synthesis in 5 Steps:

You can of course approach the process of learning audio synthesis in many ways.  You can start on hardware or software and as long as it's a decent synth you'll be fine.  Using modular synths may be one of the best ways to learn because you're working on a component level.  Synth modules can get pretty pricey very quickly,  so there's that fact to consider.

Another approach is to just open any good soft synth and figure it out by trial and error.  This may suit your style of learning but it can also take longer since you have no structure in your process for learning synthesis.

The approach below will give you the best of both the above approaches while at the same time negating some of the cons.

Start with only one good soft synth . Then do this:

1. Use Presets

Almost every soft synth on the market comes with hundreds, if not thousands of factory presets.  Go through the presets because it gives you a good idea of what your synth is capable of.

Yes, some synth puritans may tell you not to use presets in your music, and that's all well and good.  You have to learn when you start out though and using presets will give you a good idea of the lay of the land.

It doesn't stop there though...

2. Analyze & Tweak Presets

Look under the hood and figure out what makes the preset synth patch sound the way it does.

Then turn some knobs, move some sliders and listen to what happens.  This will give you a good idea of which parameter or component in the synth contributes to which aspect of the synth sound created by the preset.

4. Program Your Own Synth Sounds

Using presets will help you get better at audio synthesis. So will tweaking presets.

Nothing however beats programming your own patches from scratch.  So, after you've spent some time with presets you'll start to get the basic flow of a synth.

The process of starting with one or two oscillators or waverforms and then processing the signal to create your own synth patches will be so much easier once you understand the basics of synthesis.

So, program your first kick patch,  then a lead, then move on to a pad, a bass, a riser.  Keep trying new things until you've tested the limits of the soft synth you're working with.

When you're sure you've done that...

5. Try Other Synths

The knowledge and skills you have by this time will be transferable to pretty much any synth. So, now is a good time to test different synths.

There will be a slight learning curve for you on a new synth but you'll quickly pick up the basics because the principles remain the same. Inputs, processing, outputs. Sure, some labels might be different but you'll have the frame of reference of the first synth which you've mastered by this time.

You'll quickly figure out which synths work best for you.

4 Top Recommended Resources for Learning Synthesis:

OK. So, by now you know that learning synthesis is a long game.

Lucky for you that there are some excellent resources that can speed up your progress when you first try to figure out how to use a synthesizer.

Below you'll find some of the best resources for learning synth programming.

1. Synth Secrets

You probably know about Sound on Sound.  It's that really high-quality pro audio publication from the UK.

What you may not know is that they published a series called Synth Secrets by Gordon Reid. It's one of the best and most-loved resources for learning audio synthesis.

The format of many of the articles is based on synthesizing natural instruments.  Along the way you however pick up basic and advanced concepts and knowledge that will give you a solid foundation when it comes to synth programming.

Now, you won't be able to work through the entire 63 parts fast, so keep it bookmarked and delve in when you get a chance.  You'll be glad you did!  Check it out right now:

The Synth Secrets Series on Sound on Sound

2. Syntorial

Yes, Syntorial is a tutorial. Probably one of the best available.  You're not just watching some righteous bro using Sylenth 1 in a Youtube video here. You're also not reading a huge massive long article on audio synthesis either.

Syntorial gamifies the process of learning synthesis a bit more.  This makes it so much easier to connect the parameters of synth programming with the sound you hear in your head and want to create.

You can read my review of Syntorial here right now .

Get Syntorial! Thank us later! ;-)

3. SeamlessR's "How to Synth" YouTube Playlist

SeamlessR has some top-notch music production videos on his channel.  His "How to Synth" series gives you an awesome introduction to audio synthesis with practical examples right in the DAW.  He uses FL Studio but you can use the concepts and skills he shares in any DAW.

Here's the entire playlist in all it's magnificent glory, for your convenience:

The RenegadeProducer.com How to Learn Synths Mini Course:

This free 5 week email video mini course doesn't show you how to program synths.  Instead you'll discover a simple process that you can use to go from completely reliant on presets to synth-programming ultra-ninja .

So, if you wonder how to learn synths and sound design then this is the course to take right now.

Click the button below to learn more...

Conclusion:

Audio synthesis, as you can imagine, isn't something you learn overnight.  The post above give you a good foundation to build on.

Remember that learning audio synthesis is a long game and be patient.  Once you get the basics down you'll realize why synths are just about the most fun thing a music producer has at their disposal and that the sonic possibilities are endless.

Now, go forth and synth!

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Beginner’s Guide: Everything you need to know about synthesis in music production

Synthesis and sound design are vital skills for any music producer. But there’s more to it than fiddling with knobs.

Image: Jose Carlos Cerdeno Martinez

Synthesis has evolved exponentially in the almost 60 years since Robert Moog and Don Buchla unleashed their modular synthesizers on the world in 1963 and 1964, respectively. We’ve gone from analogue to digital technology, from hardware to software, and from subtractive to modelled synthesis – and often right back again.

• READ MORE: A beginner’s guide to compression in music production

Here, we work through this tangled mass of interwoven threads to tease out the things you need to know to become a master of synthesis .

Subtractive synthesis

The first form of synthesis was subtractive. The idea behind subtractive synthesis is to start with a harmonically rich sound source – a sound containing lots of harmonics, AKA partials or overtones – and then subtract some of that harmonic complexity. This recipe is universally popular. It’s intuitive and easy to get to grips with. It’s capable of creating a wide range of voices. And most importantly it sounds awesome.

A subtractive synth’s sound source is called an oscillator. In the analogue domain, this is often referred to as a voltage-controlled oscillator, or VCO. This is because the frequency of the oscillator is controlled by a variable voltage called a control voltage, or CV. For this reason, you’ll often see VCOs in software-based subtractive synths.

An oscillator creates repeated cyclic voltage fluctuations in an electrical signal; the pattern of fluctuations is known as a waveform. Waveforms are named after the shapes they create as seen on an oscilloscope. In sound synthesis, the most commonly used waveforms are triangle, square, pulse and sawtooth. Different waveforms result in sounds with different harmonic content, and therefore each has its own distinct timbre. Some oscillators can also produce sine waves but, because a sine wave is a pure tone containing no harmonics, they are of limited use in subtractive synthesis.

Subtractive synthesis is achieved with a synth’s filter(s), which removes some of the harmonics from the sound, thereby changing its timbre. There are many filter types. The most common is the low-pass filter, or LPF, so called because it allows frequencies below the filter’s cutoff frequency to pass through unaffected, while harmonics of a higher frequency are attenuated.

A filter’s cutoff frequency is not a hard limit that prevents any higher frequencies from passing through. Instead, the further above the cutoff a frequency lies, the more it will be attenuated, resulting in a slope-off of the frequencies above the cutoff. We can represent this using a filter curve graph – see Fig.2.

The other common filter types are high-pass (HPF), band-pass (BPF) and notch (AKA band-eliminate/band-reject – BEF/BRF). As with the LPF, the names of these other filters describe their function.

There’s also the comb filter, which is like a stack of notch filters, each with its own cutoff frequency. Conceptually, it’s like the teeth of a hair comb.

As well as reducing harmonics, most synth filters also feature a resonance control that accentuates the harmonics around the cutoff frequency (see Fig.3).

The final essential element of subtractive synths is the amplifier, known in the analogue world as a voltage-controlled amplifier, or VCA. As well as determining the volume level of a synth’s output, the VCA also controls the way the synth’s volume changes over time, from note on to note off, using an envelope. Envelopes are a form of modulation, a core concept in all synthesis that we’ll come back to shortly.

Learn more about subtractive synthesis here .

Additive synthesis

The opposite of subtractive synthesis is additive synthesis, which builds a complex sound from sine waves, which are harmonically pure waveforms. All sound can be disassembled into stacks of sine waves of different frequencies and amplitudes. So, in theory, additive synthesis can create any and every conceivable sound.

In practice, however, the sheer number of sine waves required to create even something as simple as a monophonic square wave makes additive synthesis quite complicated. Historically, assembling the sufficient processing power to create this plethora of sine wave oscillators has been challenging. However, with modern computers, this is no longer an issue. What remains an issue, though, is the complexity of managing and controlling a stack of sine waves to get the desired results.

If you want to own a classic additive synth, the Kawai K5 is probably the most realistic proposition. But these are rare, awful to program, and rarely give results that are worth the considerable effort involved. If you want to experience a workable, up-to-date additive synth, the VirSyn Cube and Cube 2 are good examples of how modern computing power can be used to harness at least some of the promise of additive synthesis.

Learn more about additive synthesis here .

FM synthesis

We’re all familiar with the vibrato effect, whereby the pitch of a note moves up and down. As long as the pitch fluctuations occur at a rate below the lowest frequency that humans can hear (about 20 cycles per second, or 20Hz), all we hear is vibrato.

However, if we increase the vibrato frequency into pitched territory, we will no longer hear vibrato. Instead, we will perceive changes in sound timbre. In other words, new harmonics are created. This is the essence of frequency modulation, or FM, synthesis.

• READ MORE: The history of FM synthesis

FM is similar to additive synthesis in that harmonic complexity is built from harmonically simple sources. But FM synthesis doesn’t stack sine waves atop each other. Instead, it uses one sine wave to distort another. Because of this, FM can create harmonic complexities with far fewer sine waves than additive synthesis, and much more manageable as a result.

The basic building block of FM synths is the operator. Operators are a combination of oscillator and amplifier, with an envelope to control that amplifier (see Fig.4). If an operator is connected to another operator, it’s called a modulator; if connected to the synth’s output (so that it can be heard), it’s called a carrier.

The number of operators offered by FM synths varies but it’s usually six or four. While the operators in the earliest FM synths only produced sine waves, some later implementations have a variety of waveforms.

The way the operators in FM synths are connected is referred to as an algorithm, which has a huge bearing on the sound that will be created – Fig.5 shows a few examples.

• READ MORE: Learn FM synthesis basics with free DX7 plug-in Dexed

Each block in the diagram represents an operator, and connections run from top to bottom. The lowest operators in each algorithm are the carriers; the remaining operators in an algorithm are the modulators that alter the frequency of the connected operator. Generally, at least one operator can be fed back on itself too.

FM synthesis has a reputation for being complicated. The old Yamaha DX synths, for example, whose only window into their myriad settings was a tiny two-line LCD screen, were very awkward to program. However, this is less of a problem with today’s software-based FM synths. The first step in the FM learning curve is steep but, once you’re over the hump, you’ll find FM much more comfortable.

Learn more about FM synthesis here .

Phase distortion synthesis

Yamaha acquired an exclusive license in 1973 to commercialise Stanford University’s FM synthesis technology so that no other manufacturer could create an exact copy. So Casio , who wanted a slice of the 1980s digital synth revolution, developed its own variation: phase distortion (PD).

Sound-wise, PD is not dissimilar to FM but it tends to have a warmer, fuzzier tone. PD is generally easier to work with than FM too, largely due to PD’s slightly reduced versatility. Sadly, PD is now all but obsolete. There are a few PD plug-in synths available online but, for a true PD experience, hunt down an original Casio CZ or VZ synth.

Learn more about phase distortion synthesis here .

Wavetable synthesis

Wavetable synthesis was the brainchild of synth-design legend Wolfgang Palm. The system is based on the subtractive-synthesis model but uses a digital wavetable oscillator in place of a VCO.

Wavetable oscillators can load data sets (wavetables), tables of data in which each entry is a digitised waveform that differs from those above and below. With careful planning and calculation, it’s possible to devise a series of waveforms that morph smoothly from one shape to another. Fig.6 illustrates this with a series that starts with a triangle wave and ends in a sawtooth.

Thanks to the sheer number of waveforms and the ability to modulate the table position as a wavetable synth’s oscillator plays, this form of synthesis offers phenomenal flexibility with grand scope for timbral variety and expression.

Palm’s original PPG Wave models remain highly prized and valuable; Waldorf, who acquired PPG’s intellectual property, have received praise for their line of wavetable instruments; and one of the most popular and widely-used plug-in synths, Native Instruments Massive, has wavetables at its heart.

Learn more about wavetable synthesis here .

Sample and synthesis

Sample-and-synthesis, or S&S, is a catch-all term that describes the sample-based instruments that came along in the mid-1980s. Though specific implementations vary, most S&S synths are based on subtractive concepts, with oscillators replaced by a sample-playback engine.

S&S synths are essentially samplers with preset, fixed samples, hence also being known as ROMplers. This means they can convincingly emulate real-world acoustic instruments without demanding significant effort from the user. It remains a popular form of synthesis today, particularly in instruments aimed at performing musicians who favour convenience, realism and quality of sound over flexibility and individuality.

Excellent S&S plug-ins include IK Multimedia’s Sampletank. Here, though, the line between S&S and true sampler is blurred, and many instruments that could be described as S&S synths are in fact just sample banks built on top of a full-blooded software sampler such as Native Instruments’ Kontakt or Steinberg’s HALion.

Learn more about sample-based synthesis here .

Granular synthesis

Granular synths use samples as the basis of their sound. But these synths focus on snippets of the source sample – referred to as grains – that are looped in order to create intriguing tones and timbres. Moving the granular sampling point within the source sample reveals entire worlds of. Most granular synths pass this near-infinitely variable sound source through a subtractive engine for further shaping and sculpting.

Granular synthesis is superb for producing pad sounds and ethereal textures, and exploring the range of tones you can squeeze from even the most mundane of source samples is always enjoyable. However, granular synthesis demands something of a trial-and-error approach and so isn’t best suited to creating specific sounds that you may have heard or imagined.

Physical modelling

The aim of physical modelling is to emulate acoustic instruments – not by trying to recreate the sound those instruments make but by mimicking the physics that makes those instruments sound as they do – the plucking of a piano string, a beater striking a bell, etc.

Once you have a model, you can create and edit sounds using real-world concepts, including the length and tension of a string, or the shape and size of a drum.

After more than two decades of research into physical modelling, Stanford University once again buddied-up with Yamaha in an attempt to recreate the runaway success of its FM collaboration. The result was 1994’s Yamaha VL-1.

Although only a monophonic instrument, the VL-1 was capable of producing string, brass and reed instrument sounds whose realism was unparalleled for the time and remains impressive today. The VL-1 didn’t enjoy the success of the previous Yamaha/Stanford tie-up. One reason for that was the arrival of a different type of modelling synthesis…

Learn more about physical modelling synthesis here .

Analogue modelling

Analogue modelling does with circuitry what physical modelling does with musical instruments. The most common approach is to mimic the behaviour of analogue circuits, in some cases right down to the level of individual components. This allows the creation of exceptionally accurate digital recreations of classic analogue synths and entirely new digital synths that combine components in ways that would be impractical in the world of analogue.

Vintage synth lovers will argue that analogue-modelled synths don’t sound as authentic as the real deal. But this method of synthesis offers convenience and affordability, especially in software synths.

Physical and analogue modelling are fundamental components of many current flagship hardware synths, and the latter is used in pretty much all plug-in subtractive synths on the market.

Learn more about virtual analogue synthesis here .

Modulation matters

One of the most important concepts in synthesis is modulation, which is used to automatically modify synth parameters to create movement and flair in patches.

A modulation source creates the modulation signal; the modulation destination is the parameter that is being adjusted. Typically, each modulation mapping of source to destination also includes a way of setting the strength or magnitude of the modulation to control its impact on the destination parameter.

There are three basic types of modulation. Triggered modulation starts in response to an event – such as the pressing of a note – and then continues until the event is finished. Envelopes are the most common example of this: playing a note triggers the envelope’s attack stage, and the envelope will continue to move through its stages until you release the note, thereby triggering the envelope’s release stage (see Fig.5).

Continuous modulation runs all the time. The most common example is the Low Frequency Oscillator, or LFO. These are just like regular oscillators but run at much lower, sub-audible, frequencies, and will typically run at a fixed frequency. Most synths will have at least one LFO source, and many subtractive synths will have an oscillator, often featuring a sine wave, that can be switched into low-frequency mode.

Realtime modulation is generated by your performance while playing a synth and includes functions such as velocity, aftertouch, pitch bend and mod wheel. As such, we use this type of modulation to create expressiveness and to mimic the performance nuances of acoustic instruments.

Synthesis and sound design are remarkably deep topics. There’s a lot to learn. The best way to improve your skills is through practice. Whatever your ability, our ever-growing collection of guides and tutorials is there to fill the gaps and inspire new ideas.

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The basics of sound synthesis.

Article Content

Sound synthesis has been around for well over a hundred years. “The Telharmonium (also known as the Dynamophone) […] was developed by Thaddeus Cahill circa 1896.” ( source ). The basic premise was additive synthesis, and the device used tonewheels, as did the Hammond organ. These electromagnetic and electromechanical strategies provided the basis for the proliferation of innovative electronic instruments and designs in the second half of the 20th Century.

The telharmonium

In 1928, Maurice Martenot invented the Ondes Martenot which was played by with a metal ring worn on the right index finger. The ring was slid along a wire to produce pitched electronic tones. Later versions had a non-functioning keyboard which gave the player a visual indication of pitch based on their position on the wire. In the later versions a functioning keyboard was introduced along with other features which were to become standard in modern synthesizers such as touch sensitivity, vibrato and the use of multiple waveforms. This instrument was used in several landmark compositions, most notably in Olivier Messiaen’s Turangalîla-Symphonie . It’s an absolute masterpiece you should hear performed live if you ever get a chance.

Probably the most recognizable electronic sound of the 20th Century is the Theremin , invented by Leo Theremin also in 1928. The spooky electronic vibrato sound became an iconic fixture in horror and suspense film scores and is still a favorite among contemporary composers.

What remains magical about this instrument is that it does not require physical contact to be played. Instead, the performer uses one hand to control the frequency and the other to control amplitude via proximity to two antennas. In the hands of virtuosic performers such as Lydia Kavina , the Theremin is capable of expressive and precisely pitched string-like lines. Robert Moog was known to be fascinated by the Theremin and built his own at the age of 14 from plans in Electronics World magazine.

The modern-day Vocoder owes its existence to early developments and research at Bell Labs, where Homer Dudley invented the technology. Initially intended to reduce the bandwidth of a signal so it could travel long distances, the robotic sound was popularized by Kraftwerk , the iconic German band that were pioneers of early electronic music.

This article will provide an overview of current synthesis models now in use with several links along the way to articles that take a deeper dive into each method. It will include a list and description of common parameters, control methods and a discussion of hardware versus software. But since we are talking about electricity and sound, let’s start with signal flow.

Typical Sections and Signal Flow

In all cases, there is some sort of user input that initiates the signal in a system. Even in the extreme case of algorithmic or AI based models, someone needs to program the underlying architecture and hit the start button. But as we are talking about instruments, consider the various ways a musician can instigate a sound.

There are myriad controllers available that can be connected to synthesizer modules or a computer. Typically MIDI (although not always), they include: keyboards, MIDI guitars, breath controllers, knob and slider devices, iOS apps and all sorts of alternative controllers.

Check the articles below for more about controllers.

• “The Complete Guide to Choosing a MIDI Controller”
• “8 Unusual MIDI Controllers for Music Production”

Sound Generation

Following some sort of user input is the sound generation section. The nature of this section is dependent on the method of synthesis being used and could be comprised of oscillators, noise generators, recorded samples, wavetables, sound-generating algorithms or any combination.

After some sound is generated it is often sent to a filtering section where frequencies can be sculpted using the full complement of filter types, although the low-pass filter is the most commonly used.

Amplification

The last of the three major sections in the signal flow is where the signal gets amplified and shaped before being sent to the output. This section will typically include an envelope that is triggered by the input of the user and will have generally four basic stages: attack, decay, sustain and release (ADSR) — more on this later.

This section is not inserted in the signal flow per se. Instead, it includes data-generating tools to alter the parameters in other sections and sometimes even parameters of the modulators themselves. These modulators can include LFOs (low frequency oscillators) , envelopes , step sequencers , etc.

Effects Section

Modern synthesizers (especially soft synths) have onboard effects sections that can include distortion, saturation, chorus, flange, reverb, delay, panning and EQ. These are usually inserted before or after filtering depending on the device. More elaborate synths often have send/return capability and more sophisticated routing possibilities.

Not all synths have all these sections and some have sections unique to the method being used (e.g. granular or component modeling synths). But if you can get a firm grasp of the basic signal flow outlined above, you will be much better prepared to understand just about any synth you might come across.

The Methods

Additive synthesis.

As mentioned, additive synthesis is one of the oldest types out there. One challenge for using this method is that you need many more oscillators to produce rich timbres when compared to other methods. This was a particular problem when computing was in its nascency. As described by Curtis Roads, “additive synthesis is a class of sound synthesis techniques based on the summation of elementary waveforms to create a more complex waveform.” (Roads, 2012, p. 134)

For more on this method check out: “The Basics of Additive Synthesis”

Subtractive Synthesis

This method is generally comprised of the main sections mentioned above and uses the filtering section particularly to generate rich timbres and variety. It requires far fewer resources than an additive model — only a rich sound source like a sawtooth wave or noise generator and a robust filtering section.

More on subtractive synthesis: “The Fundamentals of Subtractive Synthesis”

FM Synthesis

Frequency modulation synthesis is based on the idea of using one oscillator (the modulator) to modulate another oscillator (the carrier). From this essential idea, an incredible amount of timbral variety can be produced. The introduction of the revolutionary DX7 by Yamaha in the early 80s blew the lid off the possibilities of digital synthesis given the limitations of computing power at the time.

More on FM synthesis here: “Introduction to FM Synthesis”

AM Synthesis

Amplitude modulation (AM) is more of an effect than a primary means of synthesis. It also uses modulator and carrier oscillators to produce an effect known as ring modulation where the amplitudes of a waveform periodically dip to zero causing additional frequencies to be created. By changing the depth and DC offset of an amplitude modulated signal, AM can produce a variety of tremolo based sounds at low modulator frequencies and audible sideband frequencies and higher modulation rates.

More in this article: “The Fundamentals of AM Synthesis“

Phase Distortion Synthesis

This method was used by Casio in the CZ-101 and some other models introduced back in the early 80s. It holds a special place in my heart as my first synth. It uses an interesting and unique idea that involves scanning “through a basic sine wave lookup table at an increasing and then decreasing speed while keeping the overall frequency constant as it relates to the pitch or note”.

More on this method here: “The Fundamentals of Phase Distortion Synthesis”

Vector Synthesis

This method uses the idea of mixing the output of two or more sound sources. These are typically oscillators although there are several sampling instruments that use a similar approach: blending combinations of sampled sounds using some sort of XY pad interface. In its simplest form, you can consider combining more than two oscillators a form of vector synthesis, but typically there are more, and often oscillators can be detuned in relation to each other. Many subtractive synth models use a vector approach to instigate a rich sound source as input for the filtering section.

Wavetable Synthesis

Wavetable synthesis involves reading through a lookup table which can include anywhere from a single cycle waveform to dozens or hundreds. The process of reading through these forms and morphing between shapes can be modulated and controlled by the user. “The interpolation between wave shapes is what creates the characteristic sound of a wavetable synth.”

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More here: “The Basics of Wavetable Synthesis”

Component or Physical Modeling

This method can be computationally high compared to other models and includes using complex algorithms. Often the metaphor of a vibrating string is used to create unusual and often unworldly timbres that are perfect for sound design applications. I am also a fan of the percussive mallet-like sounds possible with this method that seem to lie somewhere between the acoustic and electronic worlds.

More on the subject here: “The Fundamentals of Physical Modeling Synthesis”

Granular Synthesis

This is another method that was once considered impractical in terms of real time applications due to computer requirements. Those days are long gone, and real time granular synthesis is now completely possible on any computer, tablet or smartphone. The essential idea is to take a recorded sample and chop it up into small pieces or grains, anywhere from 1 to 100ms in duration. These grains can then be operated on independently by pitch shifting, reversing, reordering and other methods.

More about this here: “Overview of Granular Synthesis”

Although not strictly speaking a form of synthesis, samplers need to be included here because many of the techniques found in synthesizers can also be found in samplers including filtering, effects processing, modulation methods and vector style morphing as mentioned earlier. Pure samplers use recorded sounds as the main sound source(s). There can be hundreds of samples in one instrument, as is often the case with so-called deep-sampled instruments. An example is an acoustic sample library like a piano, where every key might be sampled independently at a variety of dynamic levels or with different pedal techniques. This painstaking process is why some orchestral libraries are so expensive.

More on samplers here: “The Fundamentals of Sampling Instruments and Libraries”

Hybrid Instruments

Several of the methods discussed above might be found within one single device as more and more hybrid instruments continue to emerge. Sometimes being a jack of all trades is indeed possible in the synthesis world. But specialization has its benefits, so if you want a great granular synthesizer, for instance, look for something billed as such.

Common Modulation Methods

The humble lfo.

I would say that about 90% of my beginning students can identify an LFO as a low frequency oscillator. But only about 25% can tell me what that means or how it’s used. These simple oscillators churn out periodic data based on a chosen waveform shape at rates typically well below the audio rate of 20 Hz. They can be extremely slow like 0.1 Hz or slower. They can be used to modulate any parameter in the device as long as the instrument allows the signal path.

More here: “5 Essential LFO Parameters You Should Know”

The typical ADSR (attack, decay, sustain and release) envelope that most people can identify is usually attached or hardwired to amplitude. But envelopes can be used to modulate any parameter that LFOs can. The difference is that envelopes are often tied to user input. For example, as a MIDI note-on event is triggered, an envelope might also be triggered that is tied to the cutoff frequency of a low-pass filter. Think of envelopes as a table of data that is released over a user-defined amount of time. This is often triggered by the pressing and releasing of a MIDI key.

More on this subject here: “The Basics of Synth Envelope Parameters, Functions and Uses”

Step Sequencers

Step sequencers send out user specified data for every step which can be used to modulate synth parameters. These devices are usually synced to the tempo of the session if they are in a DAW, or they can be synced internally or externally by means of a clock or sync signal. While it is true that drum machines are clearly step sequencers, do not limit yourself by only thinking in these terms. These devices are superpowerful modulation sources that should be explored in depth.

Here’s an article to get you started: “The Basics of Step Sequencing (+ 9 Great Step Sequencers)”

Other Modulation Sources

There are many unique and fantastic modulation ideas to be found in the wide array of synths on the market. Developers have used all sorts of creative approaches that defy categorization.

Here is an article that explores some of these approaches: “A Guide to Synth Modulation Sources and Controls”

Less Understood Parameters

There are some synth parameters that seem harder to wrap your head around than others such as key follow, octaves expressed in feet and others. Even the difference between legato and mono settings can elude newcomers.

Read this article for a look at some less talked about parameters: “18 Synth Parameters That Are Often Misunderstood”

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Roads, Curtis. The Computer Music Tutorial . MIT Press, 2012.

Philip Mantione

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Synthesizers 101: The Definitive Guide To Mastering Synths

Synthesizers are the cornerstone of modern music production.

They can generate a vast series of sounds, from replicating traditional instruments to creating entirely new audio experiences.

Synthesizers also serve as tools for experimentation and innovation in music, allowing you to shape soundscapes that were once unimaginable.

As a music producer, it’s important to know all about synthesizers to fully harness their capabilities and enhance your music.

Plus, helps you stay ahead in the ever-evolving landscape of digital music production.

In today’s article, we’ll break down:

• The basic concept of synthesizers ✓
• Synthesizers in studio and live settings ✓
• The distinctive qualities of analog & digital synthesizers ✓
• Integrating drum machines with synthesizers ✓
• Key features & innovative functionalities of synthesizers ✓
• Technical aspects including filters & frequencies ✓
• The significance of MIDI in synthesizer production ✓
• Personalizing your synthesizer with settings & add-ons ✓
• Troubleshooting common synthesizer problems ✓
• Proper maintenance of your equipment ✓
• Creative applications of synthesizers in music ✓
• Much more ✓

By the end of this article, you’ll possess an all-encompassing understanding of synthesizers in the context of music production.

Plus, you’ll be equipped to leverage their full potential, creatively integrate them into your work, and operate them with the finesse of a true professional.

Whether you’re crafting the next chart-topping hit or exploring new realms of electronic music, mastering synthesizers is pivotal.

So, let’s dive in…

Table of Contents

What are Synthesizers?

Producing studio sounds with synthesizers, synthesizers in live performance dynamics, analog synthesizers, the digital synthesizer revolution, integrating drum machines with synthesizers, essential features for synth mastery, innovative features in modern synthesizers, mastering synthesizer filters, understanding synthesizer frequencies, midi in synth production, personal preferences in synth settings, optional add-ons for enhanced synth play, identifying and resolving feedback issues, maintaining your synthesizer for longevity, bonus: diagnosing & solving synth issues, final thoughts.

Synthesizers, at their core, are electronic instruments that generate sound.

They’ve evolved significantly since their inception, becoming central to modern music production.

Synthesizers manipulate electrical signals, transforming them into audio sounds that can range from mimicking traditional instruments to creating otherworldly tones.

The beauty of synthesizers lies in their versatility, including features like:

• Oscillators

This versatility makes them a staple in studios and on stages across the world.

Synthesizers aren’t just musical instruments 一 they can enhance your tracks in more ways than you can imagine.

They have opened doors to new genres and styles.

Their impact is evident in various ways, across countless musical landscapes, from pop and rock to electronic and experimental music.

As a tool, they provide musicians with a platform to express their creativity and push the boundaries of sound.

Synthesizers in Studio and Stage

Now, let’s delve deeper into how synthesizers have become indispensable in both studio settings and live performances.

In the studio, synthesizers are a powerhouse, bringing richness and depth to music.

They help you layer sounds and create complex audio landscapes.

The use of synthesizers in the studio has revolutionized music production 一 offering an unprecedented level of control over your sound.

Synthesizers’ ability to replicate a wide range of instruments, from strings to brass , makes them invaluable in the studio .

They not only save space and time but also open up possibilities for sound manipulation that traditional instruments can’t offer.

As a result, they’ve become a mainstay in the music production process .

On stage, synthesizers transform live performances, providing musicians with a dynamic tool to engage their audience.

They allow for real-time sound manipulation, adding an element of spontaneity and uniqueness to each performance.

The integration of synthesizers in live setups has changed the face of concerts and shows, making them more interactive and immersive.

Performers use synthesizers in many ways, like: 

• Enhancing their live sound
• Creating ambient backdrops
• Driving the rhythm of their music

Their adaptability makes them ideal for producing in live settings, where flexibility and reliability are crucial.

With synthesizers, musicians can experiment and improvise sounds they love 一 bringing a fresh and exciting element to their live performances.

Analog synthesizers are renowned for their warm, nostalgic, rich sounds.

They generate sound using analog electronics and are often praised for their organic and nostalgic qualities.

The resurgence of interest in vintage gear highlights the timeless appeal of analog synthesizers in modern music production.

Analog synthesizers are cherished for their unique imperfections 一 subtle variations and warm distortions that digital synthesizers often struggle to replicate today.

The tactile experience of using knobs and sliders to shape sound adds to their charm.

This makes them a favorite among purists and enthusiasts, from America to Germany and everywhere in between.

The advent of digital synthesizers marked a significant shift in music production.

These synthesizers, of various prices, use digital signal processing (DSP) to generate sounds, offering greater precision and versatility.

They’ve expanded the sonic possibilities beyond stock sounds 一 allowing for more complex and varied soundscapes .

Digital synthesizers are often more compact and portable than their analog counterpart series, making them suitable for musicians on the go.

They also tend to be more affordable, bringing synthesizer technology within reach of a broader range of artists and producers.

The flexibility and accessibility of digital synthesizers have made them a popular choice in modern music production.

Drum machines have become an integral part of music production, especially in genres like hip-hop , electronic , and dance music .

They provide a stock and programmable rhythm section, which, when combined with synthesizers, creates a powerful tool for music creation.

The integration of drum machines with synthesizers opens up new avenues for creativity.

Producers can layer synthesized melodies with rhythmic patterns 一 crafting unique and compelling soundscapes.

This combination has become a signature sound in various music genres.

It showcases the versatility and creative potential of electronic instruments in endless ways.

Drum machines, with their precise timing and diverse sound libraries , complement the expressive capabilities of synthesizers.

Together, they form a formidable duo that can produce a complete musical experience, covering both melodic and rhythmic elements .

Synthesizer Features: Breaking it Down

Synthesizers come packed with a range of stock features you can checkout that allows for extensive sound manipulation and creativity. Let’s dig a little deeper in how you can use them to create legendary beats.

Understanding the essential features of synthesizers is crucial for mastering their potential.

Some key features are:

• Oscillators 一 which generate the raw sound.
• Filters 一 which shape the tone, are fundamental to synthesizer operation. 
• Envelopes and LFOs 一 which further sculpt the sound.

They all add dynamics and movement, needed to stand out.

Learning how these features interact is a significant step toward mastering synthesizers.

Oscillators set the initial sound or ‘waveform,’ which can then be molded using filters that alter frequencies to create different textures.

Envelopes control aspects like attack and decay, determining how a sound evolves over time.

LFOs (Low-frequency Oscillators) add modulation, creating vibrato or tremolo effects.

These features are pivotal in shaping the character and feel of the music you produce and the place you bring your audience.

Modern synthesizers go beyond basic sound generation, offering various innovative features.

These may include: 

• Advanced modulation options
• Built-in effects like reverb and delay
• Extensive patch memory for saving and recalling sounds

Some models offer unique synthesis methods like wavetable synthesis or FM synthesis all in one place.

This opens up a world of sound possibilities close to your heart.

These innovative features empower you to push the boundaries of sound design , which is a sign of professionalism. 

The ability to intricately craft and manipulate sound with modern synthesizers has led to the emergence of new music genres and sonic landscapes.

It displays the endless possibilities of electronic music production .

Technical Aspects of Synthesizers

Synthesizers are not just about the sounds they produce for any subject or topic, but also about understanding the technical aspects that make these sounds possible.

Filters are a critical component of synthesizers, shaping the sonic characteristics of the sound produced.

They work by selectively emphasizing or attenuating certain frequencies.

Low-pass filters , for example, allow low frequencies to pass through while cutting off the highs 一 which can create a warmer, more subdued tone people love.

Understanding and effectively using filters can dramatically change the texture and mood of the music.

Experimenting with different filter types and settings can lead to discovering unique sounds , making filters a key tool in the synthesizer arsenal for any music producer.

Frequencies are the backbone of synthesizer sound.

Each note played on a synthesizer deals with a specific frequency, with lower notes having lower frequencies and higher notes having higher frequencies.

Synthesizers allow for precise control over these frequencies 一 enabling you to create harmonically rich and intricate sounds.

Manipulating frequencies can involve: 

• Adjusting oscillators
• Fine-tuning modulation sources
• Employing frequency-based effects like EQ

A deep understanding of how frequencies work and interact is essential for crafting professional-quality sounds with synthesizers.

As well as making your music stand out and generate serious momentum.

MIDI (Musical Instrument Digital Interface) plays a crucial role in modern synthesizer production.

It’s a standard that allows synthesizers, computers, and other electronic musical instruments to communicate and synchronize with each other.

MIDI sends information about how music is played (the notes, the velocity, the duration) but not the sound itself.

Using MIDI , producers can control various aspects of the synthesizer from a computer or another MIDI instrument .

This includes: 

• Triggering notes
• Adjusting parameters
• Even automating changes over time

MIDI integration has become a staple in digital music production, so you can receive more complex and precise control over synthesizers.

So, take a page from professionals and make sure to incorporate it.

Customizing Your Synth Experience

Personalizing the synthesizer experience is key to creating a sound that truly represents your musical identity today, tomorrow, and the next day.

Customizing synthesizer settings according to personal preferences in your account is a crucial part of the creative process.

This could involve: 

• Tweaking the oscillators for a desired timbre
• Adjusting the filter and envelope settings for a particular texture
• Using modulation to add movement and interest to the sound

Each musician has their own set of preferences when it comes to synthesizer settings.

It’s all shaped by your musical style and the specific requirements of the project you’re currently working on. 

Experimenting with different configurations and setups can help you receive that unique sound that defines one’s musical voice. 

NOTE: If you’re confused about anything your synthesizer deals with or offers, there’s no issue with contacting the company. 

You can either email them or contact them through their social media page for help.

When you order a synthesizer, optional add-ons, and accessories you can request will significantly enhance the capabilities of a synthesizer.

These might involve:

• External modules 一 For additional sound shaping.
• Expanded memory 一 For storing more stock sounds.
• Specialized controllers 一 For more intuitive hands-on control.

These add-ons provide more ways to interact with and manipulate the synthesizer, offering a more immersive and customized experience.

Whether it’s for live performance, studio recording , or just personal enjoyment, these optional components can make a significant difference in how you use your synth.

Feedback is a common issue faced by many synthesizer users, especially in live settings or when working with certain sound combinations.

Identifying the source of feedback (whether it deals with an external microphone , an amplifier, or the synthesizer itself) is the first step in resolving these issues.

Once identified, resolving feedback requires:

• Adjusting levels
• Changing the position of speakers or microphones
• Using specific settings on the synthesizer to minimize unwanted noise

Understanding how to quickly and effectively deal with feedback is an essential skill for any synthesizer user.

It can help you achieve a clean and polished sound in any setting 一 which is a sign of a professional.

The Build Quality of Professional Synthesizers

The construction quality of a synthesizer greatly influences its durability, sound quality, and overall user experience.

Professional synthesizers are typically built with high-quality materials that withstand the wear and tear of studio use and live performances.

Attention to detail in the build process, from the robustness of the keys to the durability of the knobs and sliders, is crucial.

High build quality not only ensures longevity but also impacts the tactile feel.

The build of a synthesizer often reflects its sonic capabilities.

For example, synthesizers designed for complex sound manipulation may feature a more comprehensive interface with numerous controls.

This offers greater flexibility and precision in sound design.

Understanding the relationship between a synthesizer’s build and its functionality is key when you invest in equipment that aligns with your specific needs and preferences.

Regular maintenance is vital to keep a synthesizer functioning at its best.

This includes simple routines like: 

• Dusting the surface
• Cleaning the connectors
• Ensuring the firmware is up-to-date

Periodic check-ups can prevent common problems like sticky keys or unresponsive knobs, which can hinder performance and creativity.

NOTE: For synthesizers with vintage components, maintenance can be more challenging but equally rewarding.

Preserving these instruments often orders specialized knowledge and a gentle touch, especially when dealing with delicate electronics or rare parts.

Proper care not only extends the life of the synthesizer but also maintains its sound quality 一 which can evolve beautifully over time.

Troubleshooting is an essential skill for synthesizer users and music enthusiasts .

Common problems might be:

• Unresponsive keys
• Unintended distorted sound
• Connectivity issues 

Learning to diagnose these problems involves understanding the synthesizer’s signal flow, from input (enter) to output (exit), and identifying where the issue may arise.

Solving these issues may require a range of approaches 一 from recalibrating settings to repairing or replacing hardware components.

In some cases, reaching out to the manufacturer for support or consulting online forums can provide valuable insights (for great savings on what you order, too).

Being proactive in addressing problems enhances the user experience and ensures the synthesizer remains a close, reliable tool.

Understanding synthesizers is more than just a technical skill; it’s an art form that opens up a universe of sonic exploration.

Whether you’re customizing your setup with personal preferences and optional add-ons or simply maintaining your gear, each aspect contributes to your development as a music producer.

From the warm, nostalgic tones of analog synths to the precision and versatility of their digital counterparts, we’ve explored how they shape the soundscapes of modern music.

The knowledge you’ve gained here will not only enhance your proficiency but also inspire you to push creative boundaries and explore new musical horizons.

To further elevate your synthesizer journey, the free Serum Essentials pack is invaluable.

This pack contains 16 serum presets, each meticulously crafted to offer the cleanest, most polished, and professional sounds for various genres.

These presets are not just sounds; they’re a canvas for your creativity.

Each preset in the Serum Essentials pack is fully loaded with macros and flexible parameters 一  allowing you to tweak, customize, and truly make each sound your own.

The versatility and quality of these presets align perfectly with everything we’ve discussed, providing you with an invaluable resource to apply your newfound knowledge and skills.

Embrace these tools, let your creativity flow, and watch as you transform your musical ideas into reality, synthesizing sounds that captivate, inspire, and move your audience.

Until next time…

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9 easy sound-tweaking tips for any synth

From the basics to the different synth styles, here’s how to master your synths and then your sounds

One of the things that may have held back your sound design aspirations is just how complex soft synths can look. 

Sometimes this is done deliberately – developers want their creations to look feature-packed, so pack in more dials and sliders on that UI than are strictly necessary. And sometimes this is done because devs are basing the software on some classic hardware; they want to replicate that hardware down to the nearest button. 

However, when it comes down to it, most synths have pretty much identical – OK, very similar – sections and controls, and once you understand those sections, you’ll be amazed at just how easy it is to create new, complex sounds, just by tweaking a very few options.  

So if you want to get designing sounds with any synth, you’ll need to understand the basics of how the audio signal in a typical synth works, so let’s take a quick (and we mean quick!) look. 

The easy guide to how synths actually work…

It’s all about the signal flow with most synths, and that usually means starting at the left with one or more oscillators that generate the sound, a filter that removes part of it (the most popular synthesis type is ‘subtractive’ named because of this type of removal), and then an amplifier so you can hear it. 

These three sections – the oscillator, filter and amplifier – can be found in every softsynth. And most will then add envelopes to control how quickly the filter and amplifier come into play, and a low frequency oscillator that can be applied to add an up-and-down movement to most parameters. And that’s it: synthesis in a nutshell. So, you could say that sound design with synths simply hinges on how you manipulate those parameters. 

Get tweaking

Now, armed with the basic sonic structure for any synth you own, you should be able to identify those sections. The oscillators act as the sound generators (often placed top left), with everything else flowing left to right. The controls for each section are where you can make your sweeping changes - we’ll give you a quick rundown of what each control does, so you’ll know which can have the most dramatic impact on your sound.

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The oscillators will have tuning dials – often fine and coarse – which essentially control the note being played. There will also be options to change the waveform that the oscillator is producing. All synths will have a sawtooth (quite a buzzy sound), often used on the initial patch when you first load the synth up. Other options include a pure sine wave, and square, although many more types can often be found. 

For the filter, this is where you start subtracting different frequencies from the sound. You get the filter type: usually low pass, high pass and band pass. These make the filter do exactly that: remove high frequencies – set by the frequency control – low frequencies, or a range of other frequencies. The resonance control is like an emphasis option, promoting frequencies around the point in which the filter frequency operates. Both frequency and resonance are commonly used by sound designers as they can quickly introduce drama.

The amplifier section will usually have a level out (volume) and be linked to an envelope which will control the volume of the note being played over time. So you get the Attack (how long it takes to come in); Decay (how long it takes to get from maximum level to the sustained level); Sustain (how long it lasts); and Release (how long it takes to fade from the sustain level). 

Finally, LFOs (low-frequency oscillators) are important as they can manipulate most parameters by way of modulation (which we’ll come to later) and are essentially another oscillator that introduces a positive/negative cycling variance to most parameters on your synth to, say, introduce vibrato to an oscillator.

That’s another quick overview of what is essentially the subtractive synthesis found on most softsynths, especially those that emulate classic analogue models (VA or Virtual Analogue), and the main controls your sound design experiments should cover. But there are one or two other common synth types that you’ll probably come across.  

Other synthesis options

FM (frequency modulation) synths are less common than VA – probably because they are more complex. However, they’re still great options for sound designers as they can focus more on real-world instruments like bells and pianos , rather than electronic (which analogue synths tend to be good at). FM synthesis has a carrier signal which determines the pitch and a modulator acting upon it resulting in more complex timbres. Different combinations of these can result in very varied sounds. 

Wavetable synths offer more varied sounds than either FM or subtractive. This is because they not only have more complex waveforms in their oscillators (on top of the square, saw and sine ones used in VA), but they also allow you to morph between several of them which are stored in a ‘wavetable’. 

Other synthesis types that are becoming more popular include physical modelling – which models real (and sometimes off-) world acoustic instrument properties – and granular, where your source is smashed into grains, which is great for more extreme sound design. 

By following these tips you should find your way around any synth. We’ll start with the basics of your sound: the oscillators. Load your initial preset (usually called Init) or any other sound. Starting on the top left (usually) we’ll select different oscillators, the core of our sound. Try going from the sawtooth that usually loads in to a square for a rounded, less harsh tone. 

Looking to create fatter sounds in an instant? One of the easiest and most effective ways to liven any synth sound up is to bring in some detuning between your core oscillators, so here we’ve simply added Oscillator 2 in our trusty Zebra CM (which you can get via our Plugin Suite ) and detuned it by 12 semitones so that it’s an octave below Oscillator 1. 

Time to make some noise. Many synths will come with a noise oscillator which adds white or pink noise into your sound. Obviously tread carefully  with this, but bringing in noise can produce quite glitchy and ’80s video game sound results if used well.

The envelope Release dial is your friend for sound design. Here we’ve simply increased it to make our noisy sound last longer. It can turn any stab into a dramatic lead sound. 

Turn a bass into a pad… and vice versa. The envelope section is also where you can easily turn any shorter bass-style sound into a pad. Here we’ve increased the Attack and Release to make the sound fade in and out. Turn a pad into a snappier bass sound by doing the opposite. 

Filtering is hands-down the most important (and easy) sound design area on your synth’s front panel (bar modulation, which we’ll come to), with tweaks to the Frequency dial giving you big ‘meow’ changes while the Resonance option adds a ‘squeal’-style effect.

Filter changes can be dramatic. In fact switching filter type can be as dramatic as the oscillator type in Tip 1 above. Most synths will have high, low and band-pass filter options. Changing from low to band-pass, as here, can give a ‘telephone’ quality. Not always good, but it can make a sound stand out in a mix. 

Delays can really add something special to a sound. Many synths come with effects, and of course these can be your sound design friend. But we recommend switching in the delays first, as they can really liven up any sound. GForce knows this and makes the delay effects prominent in its Oddity (above).

Modulation is your best sound design tool. We have a whole section dedicated to this, but get to know your LFOs and other modulation sources, and you can liven up (usually) any parameter by adding movement. Now you know which synth controls can be easily tweaked for maximum results.

Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited the magazines Future Music, Keyboard Review, MusicTech and Computer Music, which he helped launch back in 1998. He owns way too many synthesizers.

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Written by Sam Elsley

The click of a pen by itself? A boring sample. But run through granular synthesis, that same pen sample can transform into a song lead, a shimmering soundscape, and all sorts of new, beautiful instruments.

It’s this nearly limitless potential that makes granular synthesis so useful for musicians, sound designers, and anyone working with sound, especially if you’re struggling with new ways to take your production.  

Think of this as a quick-start guide. No getting bogged down in the weeds of granular synthesis, just the information you need to know what it is, how it works, if it deserves a spot in your workflow, and how to get started.

What is Granular Synthesis?

Granular synthesis is a sound design technique that breaks down an audio sample into small pieces, or “grains”, and then reconfigures these grains to create new sounds. 

Picture running your sound through a digital woodchipper. The resulting spray is your original sound chopped into hundreds or thousands of micro sounds, which you can alter in all sorts of ways.

How Does Granular Synthesis Work?

For the depth of sound it can produce, granular synthesis works in a relatively simple way: 

You run your original audio file through a granular device, which slices your file into grains on the millisecond scale—often, but not always, between 10 – 250 milliseconds. 

You can then manipulate these grains in all sorts of ways through parameters like:

• Grain Size: Controls the length of individual sound grains; smaller sizes create more staccato sounds, while larger sizes produce smoother textures.
• Grain Shape: Determines the envelope of each grain, affecting how grains fade in and out (e.g., smooth, sharp).
• Pitch: Modifies the pitch of the grains, allowing for shifts up or down.
• Spray: Adds randomness to the starting point of each grain, increasing texture and complexity.
• Width: Adjusts the stereo width, making the sound more mono or stereo.
• Reverse: Reverses the playback of grains, adding variation and unpredictability.
• Detune: Slightly shifts the pitch of grains to create a richer, chorus-like effect.
• Delay: Adds echoes to the sound, with feedback controlling the number of repeats.

Who Is Granular Synthesis For?

Granular synthesis is useful for musicians, sound designers, and anyone experimenting with sound, really. 

But depending on what you want, you may want real-time granular processing instead of granular synthesis.

The two often get lumped together, but there is a significant difference in the feeding of the original audio:

• Granular synthesis processes fixed audio (ex. recorded vocal loop)
• Real-time granular processing processes incoming audio (ex. live piano playing)

This may seem like a small difference, but it can affect how you produce. 

Prefer a non-real-time process where you can manipulate your sound at the pace you like (i.e. bedroom producer)? You probably want granular synthesis. 

Looking to manipulate sounds live and get immediate feedback (i.e. live performer)? Real-time granular processing might be a better choice. 

What Can You Make with Granular Synthesis?

Granular synthesis breaks down samples into micro grains you can arrange and manipulate in nearly limitless ways. So, what can you make with granular synthesis? Many, many things , but you commonly see it used for: 

Ambient Textures

Sometimes you’re going for more of a feel than a melody; granular synthesis is your friend here, helping you create lush, ambient tones or droning atmospheres from something as simple as a single piano key. 

How to create ambient textures with common granular synthesis parameters:

• Size: Set the grain size to be relatively large. This creates smoother transitions between grains and a more fluid sound.
• Shape: Use a gentle, rounded shape for the grain envelope to ensure each grain fades in and out smoothly.
• Pitch: Slightly detune the pitch for a more ethereal effect, avoiding extreme pitch shifts to maintain a cohesive sound.
• Spray: Increase the spray parameter to randomize the starting point of each grain, adding texture and complexity.
• Width: Set the width parameter higher to create a wider stereo field, making the sound more immersive.
• Delay: Apply delay with moderate feedback to add depth and space to the sound.

Looking for more ways to create atmosphere in your sound? Don’t miss our guide on impulse responses .

Evolving Plucks and Pads

Build pads that overlap and evolve over time for smoother, more organic sounds. This can lend to a more relaxing sound by blending everything together or more tension as your pads evolve.

How to create evolving pads with common granular synthesis parameters:

• Size: Set the grain size to be medium to large This allows for a smooth and continuous texture, essential for evolving pads.
• Shape: Use a rounded shape for the grain envelope to ensure each grain fades in and out gently, maintaining a smooth sound.
• Pitch: Modulate the pitch subtly over time. This can be done using an LFO or manual automation to create slow pitch variations that add movement to the pad.
• Spray: Increase the spray parameter to introduce randomness in the grain start points, adding texture and variation without becoming chaotic.
• Width: Set the width parameter higher to create a wide stereo field, making the sound more expansive and immersive.
• Reverse: Occasionally reverse some grains to add interesting backward textures and variations.
• Detune: Slightly detune the grains to add a rich, chorus-like effect, enhancing the evolving nature of the pad.
• Delay: Apply delay with moderate feedback to add depth and create evolving echoes that contribute to the pad’s movement.

Glitchy Effects

Mr. Robot, Social Network, any documentary about AI: these soundtracks have a distinctly digital, glitchy feel to them—use granular synthesis to follow in their footsteps. 

How to create glitchy effects with common granular synthesis parameters:

• Size: Set the grain size to very small. This creates choppy, stuttering sounds characteristic of glitch effects.
• Shape: Use sharp or percussive grain envelopes for more abrupt changes.
• Pitch : Apply extreme pitch modulation. Rapidly change the pitch for a chaotic effect.
• Spray: Maximize the spray parameter to randomize the starting point of each grain.
• Width: Keep the width moderate to maintain focus on the glitchy texture.
• Reverse: Frequently reverse grains to add unexpected variations.
• Detune: Apply significant detuning to create a dissonant effect.
• Delay: Use delay with high feedback to create repeating glitches.

Time Stretching and Pitch Shifting

Stretch your sound longer, change its pitch without altering its tempo, and warp your sound in other time-related ways such as reversing. You’ll often find dedicated parameters for changing a sample’s size, pitch, and other time qualities.

New or Refreshed Sounds

Create something musical out of the most ordinary sounds or add a fresh spin to old sounds on your hard drive. There’s no one way to do and comes from experimenting until you hear what you like. 

Getting Started With a Granular Synth Plugin

So, those are the basics of granular synthesis—but what about the actual tools you need to get started?

Depending on your DAW, you might already have what you need. 

For example, Ablelton has a stock plugin called Granulator. There’s also Logic’s Alchemy and FL Studio’s Fruity Granulizer.

But these focus on granular synthesis in isolation; there’s a new generation of plugins that allow you to combine granular synthesis with all sorts of other sound design techniques. 

Granular Synthesis + Filters + Convolution Reverb = Endless Possibilities

Picture everything you can do with granular synthesis, add in the option for even more transformation through convolution reverb and filters, and you have our multi-effects plugin, BEAM.

As shown by sound designer and musician, Dash Glitch, in the video below, you can combine BEAM’s Space ( convolution reverb ), Grain (granular synthesis), and Filter nodes to:

• Add rhythm and glitchiness with customized trans gates
• Transform ordinary sounds into beautiful, versatile soundscapes or instruments
• Add magical, otherworldly quality to your sounds with shimmering reverbs

The best part is that these examples are just the tip of the iceberg; working with all three of the plugin’s nodes, the possibilities within BEAM are nearly endless.

Learn more about how BEAM transforms your sound.

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