Synthesis / Sound Design

Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.

In the penultimate part of his series on synthesizer technology, Paul Wiffen turns his attention to the problem of emulating acoustic instruments in which the sound is produced by a string or reed, and amplified and modified by the body of the instrument.

Last month, Paul Wiffen looked at how virtual synthesis can emulate analogue synths whilst going beyond their hardware-based limitation. Now he looks at its applications for imitating and exceeding older instruments such as electric piano and organ.

Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.

Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.

Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.

The ball of S&S synthesis had been thrown, and most of the big names in synthesis caught it and ran with it, scoring some notable goals in the process. Paul Wiffen continues his chronicle of modern synthesis with a look at the state of play from the late '80s to the present day.

Paul White finds a few ways around the restricted breath-control facilities of the Yamaha VL70m.