2. How A Synthesizer Works
First, here are a few basics. A sound is the result of changes in air
pressure as energy travels from a sound's source to our ears. The human
ear can process sounds in a frequency range from 20 to 20,000 hertz,
and we perceive every sound to have a different pitch, timbre (or tonal
quality) and loudness. Even if two instruments play the same musical
note, the measurable characteristics of each sound -- like frequency
(number of repetitions of the wave in one second), amplitude (volume,
or the change in air pressure), wavelength (the distance between cycles
of a waveform) and period (the time it takes for a waveform to repeat a
full cycle) -- can vary dramatically. Sounds also contain harmonics, or
layers of frequencies that combine to make a full, complex voice.
Finally, there are the changes in volume that take place over the lifespan
of a sound. This process, which encompasses the peak volume once the
note is struck all the way through its inevitable dissolution, is described
as attack, decay, sustain and release (ADSR).
3. Analogue Synthesis
Methods
• additive synthesis - combining tones, typically harmonics of
varying amplitudes
• subtractive synthesis - filtering of complex sounds to shape
harmonic spectrum, typically starting with geometric waves.
• sampling - using recorded sounds as sound sources subject to
modification
• granular synthesis - combining of several small sound
segments into a new sound
• physical modeling - mathematical equations of acoustic
characteristics of sound
4. Digital Synthesis
Methods
The four important methods used in digital sound synthesis are as follows:
• Loose Modelling
„Loose modelling‟ consists of little or no real attempt to model sound. It is used to
perform AM, FM, Walsh, and Wavetable synthesis.
• Time-Based Modelling
„Time-based modelling‟ models sound in the time domain. It is used is granular
synthesis, wave set distortion, and waveform composition.
• Spectral modelling
„Spectral modelling‟ models sound in the frequency domain. It is used in
additive synthesis, and re-synthesis (such as the Hartmann Neuron
synthesizer).
• Physical modelling
„Physical modelling‟ uses mathematical models of acoustical properties of
instruments/components. It is used to create extremely accurate
reproductions of physical sounds, such as mass & spring simulations, and
„Karplus Strong‟ synthesis – to create accurate sounding „plucked‟ sounds.
5. Analogue
• Monophonic: These things have been around since the beginnings of
synthesis technology – after all, they are the simplest to create
bearing in mind that they need only to have the facilities to produce 1
voice, and that they use less complex (but many would argue better
sounding) analogue components. Examples: MiniMoog and ARP
Odyssey.
• Polyphonic: A polyphonic version of the above, meaning that they
are able to play more than one note without compromising the other
voices. In the early days these were gargantuan beasts with a sound
to match, but the Prophet 5 revolutionised analogue polyphonic
synthesizers due to its use of a computer microprocessor, giving it the
ability to digitally store patches. Examples: Prophet 5 and Oberheim
OB-8.
6. Digital
• A relatively short-lived group of synthesizers, mostly from
around the 1980s featuring alternatives to subtractive
synthesis. Yamaha pioneered this idea with their DX range of
FM-based synthesizers, as well as contributions from Casio
with their phase distortion technique, and Roland with their
still very popular D-50 synth, which used a new type of
synthesis called „Linear Algorithmic‟. These synths, although
responsible for the downfall of analogue machines, helped give
musicians the ability to create completely new and unique
sounds never heard before. Examples: Yamaha DX-7 and Korg
M1.
7. Hybrid
• Unique machines with special characteristics, so it‟s hard
to describe them all together. However, they are usually
defined by combining analogue and digital technology
together, or for introducing a new method of synthesis or
major feature. Examples: PPG Wave and Ensoniq ESQ-1.
8. Modular
• Analogue synthesizers which feature each of their individual
components in separate units. These units (or „modules‟) are
connected by cables using the CV/gate trigger interface, and have the
advantage that they are extremely flexible in terms of programming
ability, and allow the user to add or remove modules as much as they
want. Unfortunately, this also makes them difficult to program and
high addictive (and therefore large and expensive). Examples: Moog
Modular and EMU Poly-fusion.
• These are a long outdated combination of analogue monophonics
with the patch points of a modular synth. This has the advantage of a
fairly small synthesizer but which can be programmed with great
complexity. Software technology makes this sort of synth
architecture no longer necessary. Examples: ARP 2600 and Korg
MS-10.
9. 1920 – The Theremin
• Theremin is an
instrument invented by
Leo Theremin and is
played by moving your
hands near to the two
aerials, this manipulate
the pitch and volume. The
beach boys used a similar
instrument on the song
„Good vibrations‟ (called
a Tannerin). How to Play The Theremin
http://www.youtube.com/watch?v=9STWwl6v
ivA
“Good Vibrations” – Beach Boys
http://www.youtube.com/watch?v=CelV7Ebu
V-A
10. 1928 - Ondes Martenot
• Ondes Martenot is a
keyboard instrument
that produces theremin
tones by manipulating a
ribbon underneath the
keyboard. This
instrument can be heard
on radiohead‟s „How to
Disappear Completely‟
How to play the Ondes Martenot
http://www.youtube.com/watch?v=Yy9
UBjrUjwo
“How To Disappear” – Radiohead
http://www.youtube.com/watch?v=YUn
kyXno_nw
11. 1954 - Hammond
B-3 Organ
• Hammond B-3 organ is
a tone wheel drawbar
organ that is played
through a rotating
Leslie speaker which
was used extensively
during the 1960s and
onwards. Most
popularly used by Deep
Purple
Hammond B-3 Organ with Jon
Lord
http://www.youtube.com/watch
?v=4mW9b_KRedQ
http://www.youtube.com/watch
?v=jv7IzJ35RZA
12. 1965 – Rhodes
Piano
• Rhodes piano is a
classic electric piano
that sounds like a bell
crossed with a
vibraphone and is very
similar to the Wurlitzer
electric piano. The
Rhode was used by
Herbie Handcock on
the song „Bitch Brew‟
The Rhodes Piano
http://www.youtube.com/watch?v=u89
mYyDhumY
Herbie Handcock – “Watermelon Man”
http://www.youtube.com/watch?v=aLc
QBAwxQTg
13. 1968 - Hohner Clavinet
• Hohner clavinet is a
classic funk sounding
piano commonly used
by Stevie Wonder
most famously on the
song „ Superstition‟
Hohner Clavinet
http://www.youtube.com/watch?v=
L6qJteOpbcI
Stevie Wonder – “Superstition”
http://www.youtube.com/watch?v=
kTpt49GAIWM
14. 1969 - Minimoog
• Minimoog is
considered the first
synth for musicians, a
potable version of the
moog modular synth
that is synonymous
with its monophonic
recognisable lead synth
sound. Wendy Carlos
used this on the album
„Switched-on Bach‟
The Minimoog with Dr. Bob Moog
http://www.youtube.com/watch?v=0z0cbM
kOvY0
Wendy Carlos – “Switched on Bach”
http://www.youtube.com/watch?v=xoV0a
OPt1TU
15. 1977 - Sequential
Circuits prophet-5
• Sequential Circuits
prophet-5 is a
polyphonic analogue
synth that can play 5
notes simultaneously.
The Prophet-5 was used
by Paul McCartney on
the song „Wonderful
Christmas Time‟.
Sequential Circuits prophet-5
http://www.youtube.com/watch?v=z4CG
s7lXIiU
Paul McCartney – “Wonderful
Christmas Time”
http://www.youtube.com/watch?v=MgO
UEXlHD84
16. 1981 - Roland
Jupiter-8 (JP-8)
• Roland Jupiter-8 (JP-8)
A polyphonic synth
capable of playing 8
notes simultaneously
one of its main features
includes a built in
arpeggiator. Queen used
the Jupiter on the song
„Radio Ga Ga‟
Roland Jupiter – 8
http://www.youtube.com/watch?v=CVMDIsx
xE5Q
“Radio Ga Ga” Queen
http://www.youtube.com/watch?v=lg9DxY_b
yvQ
17. 1982 - Roland TB-303
• Roland TB-303
commonly used in
dance music during to
1980s Acid house. Used
for creating bass lines
and has a distinctive
squelchy sound. The
TB-303 was used on
the song „Acid Trax‟ by
Phuture
Roland TB-303
http://www.youtube.com/watch?v=-
SAl_TqTziE
“Acid Trax” Phuture
http://www.youtube.com/watch?v=JCUPc9
zVfyo
18. 1983 - Yamaha DX-7
• Yamaha DX-7 was the first
commercially successful
digital synth which used FM
(frequency modulation).
The DX-7 is capable of
creating a wide range of
timbres and its real potential
comes when re-producing
real sounds. Brian Eno used
this instrument to create
unique and interesting
timbres Yamaha DX-7
http://www.youtube.com/watch?v=F3rrjQt
Qe5A
19. 1988 - Korg M1
• Korg M1 is a sampling
synth and was used
extensively in pop
music during the 1980s
and 90s this was
because of the high
accuracy at creating
realistic sounding
instruments as well as
the more unusual
sounding timbres.
Korg M1
http://www.youtube.com/watch?v=oRfyIAe
dCsg
20. • BBC Synth Britainia
• http://www.youtube.com/watch?v=69Wjc6QYuKI
