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francispreve
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Oscillators: Mixing and Blending
Once you understand the harmonic characteristics of the basic oscillator waveforms, the real fun begins. By tuning and mixing various waves, you can create entirely new sounds from scratch.
This week, we’ll cover the essentials of how to tune and mix oscillators.
Note: If you want to follow along at home, fire up your demo version of Reason, create a Subtractor synth and make sure oscillator two is turned on (the orange box next to “Osc 2” should glow).
Oscillators: Essential Waveforms
Now that you have a handle on the signal flow of subtractive synthesizers, it’s time to dig into the specifics of the oscillator module.
To begin, let’s take a look at the most common waveforms you’ll find in an analog-style synth.
Each has its own distinct sound, so it’s important to understand their individual strengths.
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Hot new DJ kit and studio gear
Welcome to Beatportal’s seasonal series on the hottest new gear and technology releases.
Everything covered here is something that we’ve actually tested extensively, so you can rest assured that the opinions contained herein are not subsidized by advertiser dollars.
If we’re raving about it, it’s because we believe in it.
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Some call it Analog: How subtractive synthesizers work
The term ‘subtractive synthesis’ refers to the sound generation method used by many modern software synths, as well as all analog synthesizers – new or old.
The fundamental principle consists of taking a sound source, called an ‘oscillator’, then feeding that signal into a filter.
The filter then subtracts frequency content from the oscillator signal, allowing it to be made brighter, duller, squeakier, and so on.
After the filter, the overall volume of the resulting sound can be adjusted to create percussive sounds, long swells, and so forth.
If this sounds too complex to grasp, fear not.
The secret to understanding subtractive synthesis lies in comparing it to other, more familiar, concepts from the DJ world.
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Part 2: Introduction to Synthesizer Programming
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.
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Introduction to Synthesizer Programming
To kick off our first series on music production techniques, we’ll begin by going deep into synthesizers. Sure, we all know that synths are musical instruments that form the essence of all club music (a broad statement, but that’s a fact).
But did you know that there are upwards of five distinct types of synthesis technology that serve as the basis for most software and hardware synths?
When producers talk of a “synthesizer” they are generally referring to analog synthesizers like Moogs, Prophets and classic Roland gear, but that’s only one type of synthesis.
In the pantheon of synthesis techniques, there are quite a few methods for creating new sounds that can be played via keyboards, drum pads, even MIDI-fied wind instruments and guitars.
So, to get everyone warmed up, here’s a round-up of the most common sound generation tools available today.
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