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  • Synthesis

    Transféré par

    Alexei Michailowsky
    52 vues6 pages

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    52 vues6 pages

    Synthesis

    Transféré par

    Alexei Michailowsky

    Droits d'auteur :

    Attribution Non-Commercial (BY-NC)
    Téléchargez comme PDF, TXT ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 6
    Even if you don’t know your oscillator from your elbow, right here is where you start down the path to becoming a superlative synthesist Cay Oc) 56 CaetMC cu SPECIAL > Synthesizers have intitrated every nook andcranny of themusicscene. Thereis nary genreremaining whereina synthesiser ‘cannothefound only youlookhard enough, and nowadays even the most stalwart of technophobicbiles and country musicians arerrtabove hauling a synth onstage intiew of ‘amassive Hammond organ or string section. ‘And, ofcourse, synthesizers are absolutely fife inelectronic musi -In fact they along, with thelr synthesis taden sibling, the ‘Sampler willoften be the only instruments Supporting vocalist whose voice might in {urbe manipulated using techniques culled from synthesis technology! Indeed, synthesis techniques such asfitering, ‘adulation nd envelope generation have now ‘Became an essential part ofthe music making ‘mainstream you'tegoing to keep up with ‘adern production techniques, youre going to ‘eed to know what makes synesisestick and ‘ere importantly, how they can work for you Getting started Fortunately, the rgesse of sotwaredevelopers ‘makes it prety easy to get started. Though you ‘an spenda petty penny on some sick top-othetine hardware everything you relly eed to explore every aspect of synthesis can be had forte or normeney. There are tree instruments availabe for 05 X Windows and even Linux. These cays there are even cheap, fully featured synths avaiable or our smartphone or tablet computer Worenot going to pretend that synthesis s ceasytomaster-theres.alotofsienceand Targon tounravel You can. of cours, ust tina few prepatched sounds ram the selection that, ‘comes with your preferred instrument, and some ff hem might even come closet that sour you Imagined in your head. I you want to carve out your own mustal identity however, youre going towantto go bevondthe factory presets ane customise or create sounds that are speciclly ‘voursand that's where we come: ‘Over the next saxpages, we're going togive you the lowdown rom the ground upon every Synthesis technique that you are kal to encounter Wee goingto teach you thebest \ways to apo each technique and even show you how odin your own unique patehes fom serateh Youlfean al about oltre, ‘modulators and a whole tot more. So what are you waiting for Fir up your preferred DAW and letsgetourtweak on! Breaking it down: ‘There have been tral thousands of hareware ‘and software syntesisers produced since Or MoogSstrst analogue modules it the market ‘back inthe mic+1960s Surprisingly however ‘there are only a handful of synthess techniques thathave proven tobe commercially viable ~ard ‘nef them reigns supreme, though mary ‘srnthesists may not realsai Were speaking ot Sbkracive syntesis For many, theterm subtractive synthesis delineates enanslogue instrument. wherein voltage mulated or actual areused to ‘oenerate, control and modulate simple ‘wavelorms. Those wavetormsare then subjected toafiter which used to shape andhone that \wavetorminto somthing new. Thisfiteris ‘where subtractive synthesis gets its name. However, sublractive sythesi isnot restricted toanalogve instruments. Its. nfact.used ine ‘wide variety of synthesiters and even samplers For example. wavetableand PCMsynths ten have iter sections as well-mareon that na bi Fist lets concentrate on good o analogue subtractive synthesis Voltage contralled ‘nalogue synthesis was the fist commercially Successful synthesis technology, being brought {omarket virtually simultaneously by Dr Robert Moogin New Yorkand Don Buchanan Francisca twas Moog Mnimoog that slong With British companyENS VCS3, put synthesis Intothe hands of the gigging musician. Wie the \VCS3' semimodular design ane poor stably lentitse to atonal psychedelic exporaions the ‘irmplified nar wiree Winimoeg would ‘ermanently deine how synthessers might be ‘made Itconssted ofa small Keyboard apairot “whee tothe let one for bending the pitch one {or introducing meduistion) and 2 smattering of knobs across the front pane Tne signaltiowed fromiettoright with to of oscllators feeding subtractive synthesis Intoa simple mixer along with white noise). This ‘iver was then sent tothe lowpass iter before Being patthrough theampliier section. Both the iter and ampier could be modulated bya dedicated envelope generator (called contour ‘ona Moog). The envelope generator contelied Pow the sound was shaped avertime oncea note was triggered, Addon he td osctator Couldactasalow-requencyosciater or LF. youre new tosynihs, many ofthe termsin the above paragraph might be unfamiliar to you~ Fest assured hough, that you understand each fd everyone of tem before youve ised Fading this guide. We've descibed the architectureof the Minimoog because itserved {asthe blueprint for synthesise forever ater. Te know the Minis toknow every synth that fellowed right up tothe ones that doubtless ‘amebunled with your DAW. ‘Analogue synthstike the Minimoog were prety muchallthere was uti the ealy 1980s, ‘ring whichanumber of newer digital technologies temperaiy knocked analogue synthesis romits postion the topo the pl. Eventually however, musician reaiscovereathe Joyfulsimptcty and immediacy of analogue Synthesisand manufacturersand software ‘evelopers wasted itl te n reproducing the ‘esse analogue sound in dgtl form, Well be Usinga couple of theseto help us getour heads round nalogue and subtractive) synthe ‘ur tutorialson the folowing pages The dininoog Ot atthe stgetor ‘tuayevery syntdeson tat hab synthesis < Essential listening Morton Subotnick - Silver Apples Of The Moan (1967) Anearty recording made with some ‘ofDonald Buch’ frst synthesicer ‘modules, this album stil resonates, {today Attimes startling often ‘langeorous,itvergeson the avant ‘garde yetremainea fascinating Tsten.Allofthebasicsof analogue ‘synthesis canbe ound within, rom Wendy Carlos - A Clockwork Orange (1972) ‘Theres no doubt that Switched On ‘Bachis Carlos landmark work, but Wt'sthis later soundtrack thatreally shows off her skill with the Moog From the vacoded chorale inher {ake on Beethoven's Ninth Symphony {tothe exquisitely chiling umbres in ‘the original Timestops thiststheone that leaves even seasoned ‘synthesists oper-mouthed in ‘wonder. I possible, get Cates! ‘ersion rather than the soundtrack. four, or the full Timesteps ander recording ofRossin's The Thieving ‘Magpie. Inspiring stu Tangerine Dream - Exit (198) Masters of analogue instruments, Tangerine Dream were also pioneers Injustabout every synthesis {technology te come down the pikein ‘thepast40 years. Exit makes thelist for TD'scoplous useot the PPG ‘Wave, the fest of the wavetable synthesisers that would become (ndremain) theindustrys preferredsynthesistechnology. Wendy Carlos - Digital Moonscapes (1984) W's Wendy again,butcan wehelp tit ‘sheconsistentiy it the way forward forsynthessts? One of only afew bums tobe created entirely with _adaitive synths, Digital Moonscapes ‘Contains some frankly astonishing ‘examples of orchestral emulations ‘reatedonanadditive synthesise Level 42 - Running In The Family (1987) ‘Thanks othe popularity of Yamatats blockbuster DX7.you'dbe hardpressed tofind apop album recordedinthe 1980s that didnt use FMynthesis eventhough most ‘synthesists of the day were happy tosimply diatin one ofthe factory presets) and thissafineexample. COMPUTER MUSIC SPECIAL | 57 The path well-trodden ‘Thebasicanaloguesignal path has changeaiiten the past 40 years Inahardware instrumental starts ‘wth the performance contro, but this isnot necessary the case with ‘software instrument. You willmost sly be triggering your synths from ‘thera harcware controler ran ‘event from your sequencer. You might sti aveaccessto some performance eting such at Polyphony thowmany notes can be Played simultaneous) and glide or portamento (Gradual piten change from that ofa previous note toa nent triggered not) Some performance controls faldecisedy Unde the neacing of modulation ‘and well be looking int that late. The audi signals generated by anosclator Oxlltorsproduce waveforms andanalogue slats generate simple Waveforms with varied harmonic Content Most of themcan generate 2 sinusoidal for sine) wave. This the simplest wave we can hearand consists ony ofthe tundamental Frequency with no harmonic overtones. A triangle wave site ‘more complex. anasounds bit brighter tana sine wave, ‘A square wave consists ofthe fundamental frequency lus some todd harmonics Is righer si! thanthe triangle and asa pleasantly hallow sound, sort ofthe 2 woodwind instrument The interesting ting about ‘asquare waves that the relationship negative cycles canbe modulates to produce what is known as. pulse wave. Well ‘experiment with one of those nour tutorials ‘Most analogue oe ‘synths wil3is0 give you KorgsPetyoters ont oneoscltrbutfetreran sawtooth wave This semecurethat eushoudbe geting toknow by om ‘consists ofthe fundamental frequency pliseven provide variations suchas supersaw ‘andoddhamoniesabovethe _orramp waves or pulse waves with fundamental. resulting na buzzy. sot widths However, thelrroleisthe brassy character thats perfectfor same to provide fodder forthe fiter leadsounds. Some osllators may towarkits magi Were going to take youthrough bulaing asimolebut useful seth basspaten naseresot step by step \wathroughs each esting 8 Gtflerentsectionof ihe synthesise. Wel! look atosciatosfest using the fee TAL-intager 2(0n the CO or Togu ‘Audio Line. re tup n your st DAW. ‘The deaut preset SawBass) 259008 place ostartas any! >Noise ‘Most syntshave te abittyto ‘Senerate some sor of white or Plokroie Whitenoselsa Combination of al requences at ‘eves simultaneously The fesultssoundsomething Ike Staticorrushng wind Youcan {Use noise tomake everything fromhellcopter sounds to snare ‘pono adasubte eam tay picked string sours: Pirie Is feally ust whe nse wih fewer Trequences onde sounds obit lessexcing.Thetunny thing bout nots tht synthesiser Sesigners never seem quitesure ‘wheretoputit-yournght ting Inthe ceclator section the mer section thefts se Quem’ The sound isasimple brash bass Now pay your sound again Youre tone Tae aloo atthe op ofthe GUL cutter hearing only the raw react orr. onda sentooth wavetrom ose R3 bra, Upper righ. To better understanahow ‘Zscropcown mento select the sine toch cur waveform sound, weneed Waveandhave aply withthat one too tobe ableto single them out solets Isa ot lessexctng because here are {Wem he Ose VOwe 2 mixknod al the noharmonisinit Nex, ry selecting way tothe Ose2sie.and turn the Sub ‘nd paying thet wave hat abe Oscknad athe way down. ‘angle waver, The triangles somewhere between Tryplaying and holding anote we {he sine ond sawtooth waves Giving the BW knob a span tor aly characer Latstiy the remaining Wave counter clockuseto fully clockwise {heree or rectangle wavetorm = thats ‘Changing the pulse wath has able nother name ora pulse wave Take 3 ‘tlectonthe sound, Note that 9 oelock IookatthePwknob tothe right ofthe land 3ocock sound the same because twavetorm menu it iscurenty st ead they have essentially the same ave ‘entre such the waveform your shape only he phase ofthe wave’ 'Sasquare wave.sineboth postive and {yc sipped sel tne PW nate the negate eyes ae of equalength ‘Woelock pestiondetore moving on S:SPECIAL The all-important filter ‘Thetteris. as we've suggested, the bitthat pus the subtractive into subtractive synthesis. Think ofthe (scllators.as providing lg block ‘of marble romich the sculptor (Ghats be you) chips away withthe filter unt the site form revealed Inthe care. thefteris Used ofiter out requencies while cuttingout the high Frequencies. Exactly where tiscut should oceur determined bythe fiterscutot requency ‘Yeumay also see high-pass band pass and notch titers. The highpass varetyis self-explanatory Towars titer = thats ters out synthesis < ree ‘eneratedby the oscilators ‘There are a wide varity of ters ‘out there Some synthe may only have one while others may offer Mode’ refersto te typeof titer far andaway themest common being thelow-pas itr As the name suggests. thelowpass iter allows low lequenciesto passthrough bandpass ter cus out alo thelow trequencies,A abuts natrow bandef quencies Selected bythe cutot setting Conversely anochfter allows. butaselerted narrow band of Frequencies to pass through The cutot requency coneotis usualy accompanied bya resonance parameter. AlsocaledQ Coremphass this providesa gain Bboostin theimmediate area of the selected cutof frequency YoU ilsee titers elerredtoas 1268 o 2408, 2pole and dole and 3000. lof these describe the SAAS ALAA ALR) Se Memicaes: at "Bae tettiorona abs Bacar tate titers stop’ orhow precise A ‘2B ters itl Bit stopper than 12 24dBfterinthat tallow tle ‘more ofthe material immediatly beyond thecutt requency to squeak trough Lote continue where weleftofin ‘tr let tutorial Weve Seady ‘portrait waviorms on te Fst powever iets ve out iter Something to chew on Set the Ose VOse itcrank the Sub Oseknob upto aroun 2odlock Play ana or two Thats cretespecialefecte he shortwave Resonance to somewhere around tne Teclock postion nasethe atott nab to alow) Bedok Play some Biter compe tanks to therelativety high Resonance stn, Lets look at thefiter section its ‘slag LP itr Ths cao controls tre Single mostinportartineb nhs {ul that means noting s being tered fut lay andhald note whe sony Seeing the Eat nb alte wo hearth sound get nereasiay lL Inkeeping with its retro nent, TACViniager 2 ited to lonepass tering. Upto ths pont weve Deen Using the 1248 or 2 poe te slope, but ‘many symnesist preter the more prec sound o! the Moog style 24¢B titer Fortunately TALYintager2 provides tat option as wel Lets sleet {he Le2daB mode sing theirs Aropsoun menu. ‘The Resonance contol responsible for many athe sounds ‘weassocate wth theterm analogue ‘e'dhighirrecommend that you resice ‘Your speaker or neacpnene volume for thisnertbt Now crank the Resonance knob al he way up. then play and old note whe sweeping the Cutt nod ‘hreugh ts entre range Lets sett we can hear the aference between the twotiter slopes Pay and hoa note and sweep the Cutot ‘noo through is entreranga. Now ‘Svteh bsecover tothe biter ane do the same Hear he ctlerence? Try, again itn shigher Resonance tng tot knob othe 8 detock poston and ‘he Resonance 01 ociock COMPUTER MUSIC SPECIAL / 59 Get modulated Mogulationis where al he action Nomatterhow much you iter an ‘oscilators wavetorm theresult wil beastatictimbre, he roleof modulations toadd dynamics to {the sound. Ther are mary forms of modulation, bu the most commen ‘ate envelope generators and lowtrequency osctators Envelope generatorscontrothow ‘asoundisshaped overtime onceit, hasbeen triggered (usualy by Soundto reach ui volume once hasbeen triggered, whietne releate determines how ong it takes to fade away aftr thenote hasbeen released. ‘Thefourstage ADSR envelope sed decay and satan segments Sustain controls the level ofthe signal whe the notes being hela while Decay controls how ong it takes to decay from thefullevel achieved by the attack stage to that otthesustain, ‘eating oe inate setae keyboard or sequence. Almast ‘every synth wi havean envelope Simplest envelope generator ‘consists of to stages, called ‘tack andrelease The ttack ‘determines how longi takes the ur soundisnonetoointeresting at thispant so we needto get some eve gotautesitotmoddaton ” ‘tors inthis particular symtnesser Some modolaton sourceshave dedleated sections but we're gogo Stare one found the ier section ise Try playing some nets wile turning up te Velotty knob, ‘The Contour knob controls how Inuch the cuteff ibe flected by theftersenvelope generator Playa few notesof various lengths. ana look at the'ite'senvelope generator knobs ‘Turnthe Decay kno downto about tlockand ploy somenotes. That's pretty drama Try turning he Sustaln Lp to9eelock. too, and nudge he Release knob itis higher than hat. 6C SONPETaE A Sa SPECIAL Alowrequency oscilator or FO ‘generator to contol ampitude, The creates waveforms wih frequencies below the audible range such a waveform canbe used to modulate nother parameter suchas pitch ite eutot or ampituce Try playing notes with greaterand lessertey-down velocities The ‘renter the force with which you push thokey. the eer te cut enc, Gti? Thats modulation nts simplest form. Turnthe Velotty krabback own, an tun Key Fatlow uo sbout 2Zotlock Now try playing some very low fetes some in nemidale and some ‘ery highon your keyboara \Weve et our ters envelope decay Sothat Use ADSR seeps rough the tier cto over ashorer period than Our fiterssustaineausesitte remain Slghy open and therelease doestt do anything alts longer than the amps ‘oleae Set theamps Deeay te otlock nds Reseaze to 9 tock Sethe er fervolopes Attack to oclock. Terese various other sorts modulation be exoored Performance esponses ke vlocty andatterioueh, modulation and Pitchbend wheels, keyboard scaling ‘and more canbe ised as ‘cases you can modulate the ‘modulation sources or deeper ‘etfocs, Wel cover he basis of ‘modulation inthe fotowing walktrough, so read on. ‘The Key Fotow function causes the Iter eto value toineeasein retort thane onthe characterises of mary acoustc Instruments Turn the Key Follow knob altne wey downagain anagvetne ‘esocty kneb arudge to around 12 ‘Seok Now tum ta ters Contour nob upto about odio Now ets turn tothe LFO Turn the mpenvelopes Sustaln upto 10 ‘cock then look at LF02 Sect Saw a6 lis wave using the dropdown menu Ierence the value to seek Turn he Ratekob upto about odlock You Shouldhearthe [FO modulting the ‘ters cuott When youredonerexurn thevalie narateknobs back other ‘rnin nil postions Where do we go from here? We've devoteda ot of space to analogue subtractive synthesis because as weve sald t ‘2npliestomany other forms of synthesis. The things we've learned sofa can beusedto programa wavelable synthesiser ora sampler or Sample-playback instrument. However, there are couple of other synthesis techniques that we Should overt. Additive synthesis ‘As yout suspect additive synthesis takes the ‘opposite approach tosound construction trom {thesubtractve methods we vebeen exploring so far Adativels ult on the ea tetany souna Can bebroken down int ltsof indivi sine ‘aves, each wih thei own dynamic levels, ‘hasesand frequencies These sine waves are aed partials or hazmonics na uly outed ‘daltive synthesise teuseris provided witha large number of partials, generally between 32 ‘and52, though some offer many more. The ‘more partials you Rave the morerealsticthe ‘ound. Each ofthese partials should haveltsonn level control volume envelope pan envelope andpiteh envelope any adatve syrthesisers as provide some ‘method of resynthesis This's where audiofed Intothelnstrumentiseutomaticaly broken

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