SOUND ON SOUND
![Figure 10: [top]. Figure 11: [bottom].](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth10_11-0600-68NYYqRsRshDbS2Ny2P.CiH7TfLazGtW.gif)
Every pitched sound can be thought of as a collection of individual sine waves at frequencies related to the fundamental. Gordon Reid introduces a powerful method of synthesis that works by manipulating these individual harmonics.
The Roland Promars helped to usher in a new era of microprocessor-controlled analogue synthesizer, but has subsequently been all but forgotten. Gordon Reid remembers the world's only 'Compuphonic' monosynth.
Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.
Gordon Reid checks out a compact filter module that won't break the bank.
As explained last month, audio-frequency modulation of the amplitude of a signal can be a powerful synthesis tool. The possibilities expand still further when we consider what happens when you use one audio-frequency signal to modulate the frequency of another...
Analogue Solutions' diminutive Minimodular contains all the necessaries to make up a miniature patchable synth. Gordon Reid arches an eyebrow at this innovative and compact sound source.
In Part 1, author Gordon Reid told us how he found one of the world's rarest synthesizers in Australia, and of the trouble he went to to get it home. In Part 2, he explains what it is about the Yamaha GX1 that made it all worthwhile...
![Figure 9: [top] Amplitude Modulation of Signal 1 by Signal 2. Figure 10: [bottom] The harmonic spectrum of the waveform in Figure 9.](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth9_10-bXq4UpZUMH9toL2LbnyGFvUzcrYZRCTp.gif "Figure 9: [top] Amplitude Modulation of Signal 1 by Signal 2. Figure 10: [bottom] The harmonic spectrum of the waveform in Figure 9.")
Last time, we examined the concept of modulation at low frequencies. This month, we speed things up a bit. The result is not just faster versions of the same modulation effects, but a new type of synthesis...
The long-awaited Omega 8 promises much, even if its feature-set is not yet complete. Gordon Reid takes a first look...
![Figure 1: [top] A simple synthesizer. Figure 2: [bottom] Applying this control voltage to the oscillator frequency would result in a short burst of vibrato.](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synthsec1_2-0200-qAtfRQgceyPk0EN0dHZIftHUGToqoWju.gif "Figure 1: [top] A simple synthesizer. Figure 2: [bottom] Applying this control voltage to the oscillator frequency would result in a short burst of vibrato.")
In this month's instalment of his series on the basics of subtractive synthesis, Gordon Reid considers the magic ingredient that makes all the other elements sound interesting...