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Techniques: Synthesis / Sound Design
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 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?
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.
We show you how to edit and save your synth's Patches, and helps 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...