Synthesis / Sound Design

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...

In this final instalment of our series of XG programming tips, we take a look at how the advanced modulation parameters can bring your layered sounds to life.

Layering voices is one of the best ways to maximise the potential of your XG sound module, so here are a variety of ingenious ways you can use this technique — you can even turn your synth into a high-spec step sequencer!

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.

There are lots of XG-format synthesizers in home studios, but their General MIDI heritage discourages many owners from using them. However, there's life in your XG module yet if you're willing to explore its hidden depths.

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.

In the final part of our series on Roland's family of sound modules, we show you how the more advanced synthesis parameters can breathe life into your patches.

We show you how to edit and save your synth's Patches, and help you maximise the effects potential of your multitimbral setups. Plus there's advice on troubleshooting thorny panning problems, and tips on automating levels without changing your individual sounds.

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...

If you followed last month's advice, you'll know how to synthesize a basic Hammond tone on a Roland Juno 6. But can the same technique be applied to any other synth?

We untangle the intricacies of the XV file system, as well as track down some useful software utilities and web sites for Roland synth users.

Long before Bob Moog built his first synth, there was the Hammond tonewheel organ; effectively an additive synthesizer, albeit electro-mechanical rather than electronic. So emulating a Hammond with an analogue synth shouldn't be too hard, right? Well...

Ubiquitous though Roland's long-lived range of sound modules appear to be, not many users get the best out of the vast synthesis and processing potential they offer. So here's how to coax circus-pony tricks out of your studio workhorse.

As we saw last month, there's much to synthesizing a convincing flute sound — and yet basic analogue monosynths have offered reasonable flute patches for 30 years. Surely the process can be simplified?

The Monty Python team once famously claimed that being able to play the flute was a simple matter of 'blowing here, and moving your hands up and down here'. But there's a lot more to it than that...

The characteristic sound of flute-like instruments is complex — but fortunately not so complex that it can't be emulated fairly successfully with a synthesizer...

The skilful articulation of a synthesized string patch can improve it no end, even one created using very basic building blocks, as we saw at the end of last month. But we can take this approach much further...

After putting all our bowed-string synthesis theory into practice on a Korg 700 last month, we found that the result was only acceptable as a string sound with a lot of wishful thinking. Can we improve on it?