In these days of 64-note polyphony and 32-part multitimbrality, it's easy to forget the importance of note-priority systems in analogue monosynths — yet they can have a drastic effect on what you hear when you play or trigger an old synth. Gordon Reid provides a refresher course.
You are here
Every pitched sound can be thought of as a collection of individual sine waves at frequencies related to the fundamental. Gordon Reid introduces a powerful method of synthesis that works by manipulating these individual harmonics.
Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.
Christina Aguilera's debut single was a worldwide smash hit last year, thanks in no small measure to the distinctive work of producer and co‑writer David Frank. Mike Senior finds out how he did it.
As explained last month, audio-frequency modulation of the amplitude of a signal can be a powerful synthesis tool. The possibilities expand still further when we consider what happens when you use one audio-frequency signal to modulate the frequency of another...
Having laid bare the inner workings of oscillators, contour generators and filters, Gordon Reid turns his attention to something which at first sight seems entirely self-evident. Can the humble voltage-controlled amplifier really hold any Synth Secrets?
Gordon Reid reveals some of the limitations of the 'classic' ADSR envelope with reference to a practical synthesis example, and explains some of the different types of envelopes found on 'classic' analogue synths, from AR envelopes right up to highly flexible digitally controlled EGs.
In Part 1 we explained how the tones of most real instruments can be reduced to patterns of harmonics, which can be generated using sine, saw, square or pulse waveforms. This month, we consider the sonic raw materials needed to imitate unpitched percussion.
How to find this classic multi-part 'synthesis explained' tutorial series on the current Sound On Sound site.