The Secret Of The Big Red Button
After more than five years, Synth Secrets reaches its conclusion (and conclusions!). Will we ever look at synthesis in quite the same way again?
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After more than five years, Synth Secrets reaches its conclusion (and conclusions!). Will we ever look at synthesis in quite the same way again?
In the penultimate instalment of this long-running series, we delve deeper into what can be achieved with just a few delays and some creative routing...
Effects can play just as important a role in sound creation as the elements in a synth's signal path — provided you have access to their constituent parts. We take a closer look at effects synthesis using simple delays.
When synthesizing sounds, the effects you place after your synth's output are often as important as the synth itself (just think of last month's Leslie). As we near the end of Synth Secrets, we consider how a digital effects processor works.
We conclude our analysis of the fabulously complex beast that is the Leslie rotary speaker.
As with so much surrounding the Hammond organ, there's much more to the Leslie rotary speaker than meets the eye, and synthesizing its effects involves considerably more than just adding vibrato, as we find out in this installment.
So, you can synthesize a Hammond's tonewheel generator -- but what about its all-important effects? This month, we look at recreating the Hammond's percussion, vibrato, overdrive, and reverb -- and find that it's harder than you might think...