Synthesis / Sound Design

Having completed his study of analogue synthesis last month, Paul Wiffen takes a look at FM and its related digital synthesis types, which rocked the synth world throughout the 1980s.

This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.

Somewhere in the North-East of England, electronic musician and designer Ron Berry has been applying an old-style analogue modular synth to the creation of a very contemporary phenomenon — physical modelling synthesis. Jonathan Miller finds out how it's done.

After all the political talk in recent years about a return to traditional values, Paul Wiffen kicks off a major new series on synth programming by arguing the Analogue Fundamentalist Party case — that an understanding of the basic elements of traditional analogue synths is essential to fully exploit the various types of synthesis available today.

Paul Farrer looks at ways of using Proteus 2 samples to create a convincing orchestral arrangement.

In the first of a 2-Part series, Paul Farrer offers some hints and tips for improving the sounds you can coax from Emu's popular Proteus range.

24 tracks? Pah! How about a whopping 24 notes? Steve Howell concludes his series on the modular system of yore by taking a look at the somewhat capacitorially-challenged analogue sequencer...

Set the controls for the heart of the bass: Nick Magnus reveals just how low your digital synth can go...

Nick Magnus puts on his Indiana Jones hat and treks ever deeper into the heart of your digital synth. This month's Holy Grail is analogue brass.

Nick Magnus continues his quest to emulate analogue sounds on digital instruments. This month, he shows you how to recreate analogue strings.

Though sound synthesis has a relatively short history, its progress has been rapid, with the result that the basic concepts of synthesis are now becoming lost in the mists of time — yet to effectively programme current synths, it really helps to know them.

Make your digital synth put on an analogue hat. Does the current passion for analogue mean you have to put your digital synth back in its box and track down an analogue instrument? Not if Nick Magnus has anything to do with it!

Greater reliance on hi-tech instruments in the studio means there's more demand for people able to programme them. Paul Gilby spoke first to Karin Clayton about her recently formed agency that supplies programmers for studio sessions, and then to Fairlight programmer Simon Lloyd about his work.