Note: technically all MONOPHONIC synths are paraphonic but the term is most commonly used to describe multiple-oscillator (voiced) synths due to their unique treatment of multiple notes. PATCH – a sound made up from a combination of OSCILLATORS and/or samples combined with FILTERS, ENVELOPES and EFFECTS that is pre-programmed into a synthesizer.
It’s interesting to note that most additive synths don’t consist of any filters (in the traditional sense) as these are sculpting tools, where additive sounds are essentially built from the ground up. Native Instruments’ Razor is as sharp as it sounds.
No matter what level of “synthesist” you are, this A-to-Z of Synthesizer Terms is a resource you can use to translate the language of the synth. ADDRESS – A location in the MEMORY where a particular piece of DATA is stored. ADDITIVE SYNTHESIS – The opposite to SUBTRACTIVE SYNTHESIS.
Fine salt is also known as table salt or iodized salt in common terms. Due to the good presence of anti-clumping agents that are usually metal-based, fine salt has a signature metallic taste which might be unpleasant for several professional chefs. This is also one reason many people consider coarse salt over fine salt.
Generally, coarse is the control that adjusts the pitch of the modulator by half steps or octaves to quickly get near to where you want, and fine is the control that adjusts by cents or even less to get to exactly where you want it. Think of it like transposing vs detuning a 2ns oscillator on an analog style synth.
if you were looking at a keyboard, fine tuning would allow you to get to the places that exist "between the keys". take an example: you show up to the gig, everyone else has already tuned but you weren't there. you ask for an E and they seem a few cents flat of true. no problem, fine tune can get you to where they are.
Analog, Digital, Hybrid, Modular, and More Explained In many people's minds, synthesizers can be divided into two categories: analog and digital.
Create Cool Sounds With The Best Synthesizers ASM Hydrasynth 49-key Virtual Analog Synthesizer. Novation Bass Station II Analog Synthesizer. Moog Subsequent 37 Analog Synthesizer. Arturia Hybrid MicroFreak Synthesizer. Sequential Profit 6 – 6-Voice Analog Synthesizer.More items...•
1:402:58Casio Privia PX-350 Tutorial: Fine Tuning - YouTubeYouTubeStart of suggested clipEnd of suggested clipThe down arrow to go lower of course. See how it's the note is getting a little higher and frequencyMoreThe down arrow to go lower of course. See how it's the note is getting a little higher and frequency pain musicians might hear it at this point. We're just about to b-flat right. Now.
Being proficient on the piano is optional for playing synthesizers. Not every synthesizer is keyboard-operated. Learning synth programming is arguably more important than keyboard playing. Of course, knowing the basics of keyboards is useful if the synth is keyboard-controlled, but is not necessary.
A digital synthesizer is a synthesizer that uses digital signal processing (DSP) techniques to make musical sounds. This in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, which play back digital recordings of acoustic, electric, or electronic instruments.
Just like any other musical instrument, it is much easier to learn how to play a synthesizer if you are having fun. However, it can be extremely frustrating for people who would like to compose or play music, but struggle with the hardware or software.
The Arturia MicroBrute is your best option if you're looking for a very hands-on, analog synth. This synth has an incredibly classic sound to it, all packaged in a very compact box. While it's a monophonic synth (it can only play one note at a time), that doesn't mean it lacks power.
The best synthesizers for beginners are the Korg Minilogue, Arturia Microfreak, Arturia Minibrute 2, Novation Bass Station, Moog Mother-32, Make Noise 0-Coast, and the Korg Volca Series.
Eight is good because on most eight voice polysynths you can layer two sounds together and still have four note polyphony. Sometimes less is more...but here.... 8 will always be better than 6... However...
Last edited by TomViolenz on Tue Apr 22, 2014 9:41 pm, edited 1 time in total.
Daniel_S wrote: In Analog, you have parameters for Octave, Semi and Detune. When someone refers to Course and Fine tuning, are they referring to the Octave and Semi parameters?
Last edited by TomViolenz on Tue Apr 22, 2014 9:41 pm, edited 1 time in total.
A New Kind Of Science: Six wondrous excursions into a brave new world made of sound...
Subtractive (Analog Modelling) The subtractive synth is traditionally the most commonly used amongst producers. It works, as its name suggests, by beginning with a rich sound source and removing frequencies until the desired sound is sculpted (subtracted). A subtractive synthesiser consists of an Oscillator, Filter, Amp and LFO.
Whereas subtractive synths work by sculpting a sound, chipping away at parts until the desired sound is created, additive synths combine different sine waves of different frequencies and levels until the desired sound is created. You start with nothing and build additional harmonics until synthesising the desired sound. Sine waves are the most commonly used in this instance, as they are regarded as the purest of waves with no unwanted harmonics, and when combined can be easily controlled. It’s interesting to note that most additive synths don’t consist of any filters (in the traditional sense) as these are sculpting tools, where additive sounds are essentially built from the ground up.
Wavetable synths were originally designed primarily as hardware digital synths, so although these shouldn’t be used to try and emulate natural instruments they work extremely well at producing bells and pluck style sounds. Wavetable synthesis exists more predominantly now in the realm of software synths and is created using complex oscillators which let sounds cycle through waveforms over time. This can sound harsh depending on the speed of the oscillation but if tweaked to perfection the sound can gracefully glide between producing a much smoother sleeker result.
The epic sound sculpting tool, Di va, from u-He is a must-have for any producer looking for a powerful subtractive synth. It’s become so popular among producers due to its ability to capture the spirit of various analog synthesizers. Many of Diva’s components, including those in the envelopes, filters and oscillators, were modelled on some of the legendary monophonic and polyphonic synths of yesteryear and it comes equipped with over 1200 presets for you to experiment with.
As the name implies, Sample-Based synthesis relies on recorded sample sounds spread across a keyboard and then pitch-shifted to sound like different notes. Zones are usually required, which span around five keys as, once a sample is pitched much further than this, it becomes less organic sounding. These types of synths are a must-have in your set up as they’re designed to manipulate audio and can yield fascinating results, from real instruments to otherworldly textures, quickly.
Serum is one of the most popular on the market and for good reason. As well as many of its standard features, the synth includes the option for users to import their own audio to use as a custom wavetable, which can be manipulated on playback in real time.
DUOPHONIC – A synthesizer that can play two notes or sounds at the same time. A duophonic synth features two independent synth blocks (a block contains independent OSCILLATOR, FILTER/S, ENVELOPE/S and AMPLIFIER ). DYNAMIC – The range of volume in an audio signal, soft to loud.
DIGITAL – In synthesis terms, sounds are stored as a binary code (of 1’s and 0’s called a sample) then converted to an analog signal by a Digital to Audio Converter (DAC) inside the synth.
OCTAVE – the interval between any given FREQUENCY and it’s double or it’s half. for example the next octave up from Concert A 440Hz is 880Hz. To the human ear, an octave sounds like the same note but at a higher pitch.
HARMONICS – specific OVERTONE FREQUENCIES that are generated by an instrument. Harmonics are found at intervals that are equal to the FUNDAMENTAL FREQUENCY. for example harmonics of a 20Hz tone will be found at 40Hz, 60Hz, 80Hz and so on.
LA synthesis is all DIGITAL (linear) and a summing (arithmetic) of sounds and is an entirely different method of synthesis to frequency MODULATION. LOOPING – A function to automatically restart a SAMPLE at the end of the sample’s cycle providing a continuous loop of audio.
AMPLITUDE – The technical term for a signal’s volume or loudness. AMPLITUDE MODULATION (A.M.) – The changing of the AMPLITUDE level by a control signal. AMPLIFIER – A circuit that increases the output power (gain) of a signal.
BAND – In EQ, a range of FREQUENCIES. BAND PASS FILTER – A type of FILTER that allows only the band of FREQUENCIES surrounding the CUTOFF frequency to pass through unaffected and rejects the frequencies outside that band. BAND REJECT FILTER – A FILTER that removes from a signal all frequencies around a set FREQUENCY.