Synthesis / Sound Design

Dieter Doepfer is known as the founding father of Eurorack, the modular format that now dominates all others — but how did it all come about?

New album Electronica sees Jean–Michel Jarre making connections with a galaxy of other legendary figures from the world of electronic music.

If your plug-in synths sound a bit cold and clinical, there are plenty of ways to inject some life...

In the early 60s, pioneering British composer Daphne Oram set out to create a synthesizer unlike any other. The engineer who turned her ideas into reality was Graham Wrench.

Granular synthesis is the core technology behind the latest time-stretching and pitch-shifting algorithms, but it can also be used to generate extraordinary evolving soundscapes. We explain how the process works and show you how to get the best from the software that uses it.

Although the Ion is already well-respected for its sound quality, its synthesis architecture is also surprisingly flexible. We show you how to get the best from this little beast in your studio.

Although the Access Virus features one of the most knobby control surfaces amongst virtual analogue synths, there's a lot of programming flexibility available which isn't immediately obvious. We show you how to uncover the hidden possibilities?

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.