Part 2: Introduction to Synthesizer Programming

Part 2: Introduction to Synthesizer Programming

10 October, 2007 | 4.22AM

• Section: Music News Topics: Guide To Synthesis, Technology
• Written by: francispreve

Last week, I kick started my ‘Guide To Synthesis’ blog by taking a look at the different types of synthesis: sampling, subtractive and FM (frequency modulation) and discussed the pros and cons of each.

Now in part two, we’ll continue by looking at the remaining types of synthesis, physical modeling and exotica, before jumping into the longest running debate in the electronic music world - hardware synths versus software synths.

Physical Modeling

Sometimes referred to as PM, physical modeling is one of the most recent developments in synthesis, since it requires extreme computational resources to generate its sounds.

PM forms the basis for software-based vintage keyboard emulations like AAS Lounge Lizard (electric piano), AAS String Studio (clavinets and guitars) and Native Instruments’ B4 (tonewheel organs).

More complex virtual synths, like Apple Logic’s Sculpture, are also available.

Sculpture [right] is arguably the most comprehensive physical modeling synth for the mass market, so if you’re serious about physical modeling, then Logic’s Scuplture is the only way to go.

It’s the deepest synth of its kind available today.

How it works: Physical modeling is unique in that it mathematically recreates the actual physics behind acoustic and mechanical instruments.

The behavior of vibrating strings, wind instruments, and struck metal objects can be converted into complex equations, which are then manipulated using knobs and sliders.

If you want to play a 20-meter glass flute or an iron tower struck with a hammer, this is the way to go.

Pros: Extremely complex acoustic-sounding instruments can be designed entirely in software.

Cons: Due to its complexity, PM is very hard to master. In fact, it’s possible to set up the parameters so that no sound is created, due to oddities in the behavior of acoustical physics.

Exotica

In addition to the above forms of synthesis, there are several other less common methods that are used for various sounds and effects.

These include additive synthesis (Camel Audio’s Cameleon 5000, and the vintage Kawai K5), vector synthesis (Arturia’s Prophet V and Korg’s Wavestation), and phase distortion (Casio’s vintage CZ and VZ synths).

Camel Audio’s Cameleon [right] is an extremely powerful additive softsynth.

As if this weren’t enough, monster softsynths like Native Instruments’ Reaktor can be used to create hybrid instruments that use any or all of the above approaches.

Softsynths vs. Hardware

One of the longest running arguments in the electronic music world revolves around the perceived strengths and weaknesses of hardware synths versus software synths.

Thankfully, there is no clear winner here, since thousands of amazing tracks have been produced using either approach — or more often than not, a combination of the two.

Rather than take sides, here’s a quick rundown of the pros and cons of each.

Softsynths

Softsynths are plug-in applications that run inside a host application, most often a digital audio workstation (DAW) like ProTools, Ableton Live or Apple Logic.

Each DAW and associated computer platform (Mac, Windows) has its own set of criteria for plug-in compatibility.

The most common formats are VST, DirectX (Windows), AudioUnit (Mac OS X), TDM/RTAS (ProTools), and MAS (Digital Performer).

Pros: Extremely affordable. Total recall of a virtual studio configuration. Great sound. A single computer can host hundreds of different synths. Easier to use on a plane than a Moog modular system.

Cons: When a DAW or operating system is upgraded, compatibility can sometimes break, forcing an upgrade and/or extreme inconvenience.

Unless special care is taken when mixing, tracks made entirely from softsynths can sometimes suffer from a one-dimensional sound. Working with a mouse-and-monitor interface can be cumbersome for certain users.

Hardware

Hardware synthesizers are for many, “the real deal,” and come in every synthesis flavor described above.

Some users prefer hardware for a variety of reasons, including stability (hardware synths rarely crash) and having a tactile, hands-on user interface.

Others find it inconvenient to dedicate an area of their living space to stacks and racks of geeky-looking electronic artifacts.

Pros: In the case of pure analog synths like Dave Smith Instruments’ new Prophet 08, there’s an extreme presence and punch.

Great for gigging live. Knobs make adjustments a fun and intuitive process. Generally very robust and stable. Compatible with any studio configuration.

Cons: Much more expensive than software. External MIDI control can create timing inconsistencies (due to the archaic transmission rate of MIDI data).

Vintage equipment requires periodic maintenance for tuning and such. Compared to laptops, not very portable.

A real Moog Modular [above] won’t fit on an airplane tray-table, but Arturia’s softsynth version will — and does an admirable job of recreating its sound.

Conclusions

So that’s the high altitude view of what’s available for modern producers.

As this series progresses, we’ll pop the hood on each type of synthesizer and expose the engine lurking within. Next up: Getting started with subtractive synthesis.

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