Synth Secrets

Surely the only convincing synth pianos are sample-based ones? A sound as rich and expressive as that of an acoustic piano is far too complex to be rendered by subtractive synthesis... isn't it? Let's find out...

Having learned last month how to synthesize tuned bells, we turn this time, in the last of this series on the subject of percussion, to untuned bells — in the form of the humble cowbell — and claves.

Having come up last month with a reasonably realistic cymbal patch, it's time to take the principles of synthesizing metallic percussion one stage further, and produce bell sounds. But there's more to this than you might think...

Synthesizing realistic cymbals is complex, but not impossible — after all, over 20 years ago, Roland's TR808 drum machine featured synthesized cymbals. We look at how they managed it, and attempt to create cymbals on another affordable analogue synth.

Having analysed the complex process by which a cymbal makes its sound, it's time to synthesize our own...

The task of synthesizing convincing metallic percussion defeated many synth giants — you only need to listen to Kraftwerk's weedy cymbals on 'The Model' to be persuaded of that. So why is it so difficult? We find out...

Last month, we revealed just how hideously complex the sound-producing mechanism of the snare drum can be. Nevertheless, synthesizing the sound is not as hard as it seems, as we find out with the aid of a Roland SH101...

If you thought synthesizing realistic bass drums was complex, that's nothing compared to snares. So how is it that the analogue snare sound is so well known? And how do you go about creating it? We find out...

Moving from last month's theoretical bass drum synth patch to its practical application on affordable analogue synths, we also take a look at how the world's most famous drum machines produce this fundamental rhythm sound.

Ever wanted to synthesize unpitched membranophones? No? Well, you might if you knew that bass and snare drums are of this percussion type. We show you how...

Building on the theory of what makes up the sound of timpani, this month's Synth Secrets reveals how to synthesize realistic kettle drums using a Korg MS20 and a Yamaha DX7.

Synth Secrets turns its attention to the synthesis of percussion instruments, beginning with pitched drums.

Having proved that subtractive synthesis of an acoustic guitar is completely impractical, Gordon Reid tries his hand at the electric variety, and deconstructs some past attempts to emulate the sound via analogue means.

Having explained last month the reasons why analogue synthesis of guitar sounds should be well-nigh impossible, Gordon Reid puts the theory to the test...

Having dealt exhaustively with the mechanics of brass instruments and how to go about synthesizing them, we turn to instruments that use plucked strings to generate their sound, taking the complexities of the acoustic guitar as an example.

Gordon Reid concludes his attempts to adapt an idealised analogue brass patch so that it can be programmed on real synths. This month, he looks at the Roland SH101 and ARP Axxe.

Last month we looked at how analogue modules can reproduce the sound of a real trumpet. All very well if you own a wall-sized modular system — but what if your means are more limited? Gordon Reid adapts theory to practice with a Minimoog.

Gordon Reid builds on the acoustic theory of wind and brass instruments he introduced last month, and explains how to produce a convincing analogue trumpet sound.

Gordon Reid embarks on a journey to synthesize convincing woodwind and brass. This month, he considers how these instruments make their sounds in real life.

Ever heard a synth talk? If you have, it's due to formant synthesis. Gordon Reid explores the theory of analogue formant synthesis, how it relates to the human voice and modern digital synths like Yamaha's FS1R.

Onboard effects may seem like a relatively recent synth innovation, but even old modular synths offered analogue effects. Although they were basic, the freely patchable nature of modular synths allowed them to be used to create convincing acoustic instrument sounds — thus effectively physical modelling. Gordon Reid explains how.