But can the same technique be applied to any other synth?So, you can synthesize a Hammond's tonewheel generator -- but what about its all-important effects?
To turn this series into more manageable bite-sized chunks, I also grouped the articles into roughly sketched subjects. We take a closer look at effects synthesis using simple delays.In the penultimate instalment of this long-running series, we delve deeper into what can be achieved with just a few delays and some creative routing...After more than five years, Synth Secrets reaches its conclusion (and conclusions!). The reason, of course, is to experience the power and quality of a truly impressive analogue synthesiser. To make matters worse, many CS80 spares are hard to obtain. Let's find out...As explained last month, synthesizing the sound of an acoustic piano is difficult, but it can be done reasonably realistically, as the 1986-vintage Roland JX10 shows.
If you read only one guide to synthesis, let it be this.Great for beginners and seasoned experts alike, the Most of what you see in this guide is easily translated into Audulus, almost node-by-node.I suggest you read it from start to finish, but if you already have a basic understanding of synthesis, feel free to jump around.Below, I’ve first linked to each article in the order it was published, from 1999 through 2004.The articles have a general throughline, but can be a bit intimidating when taken all at once. This month, he looks at the Roland SH101 and ARP Axxe.Having dealt exhaustively with the mechanics of brass instruments and how to go about synthesizing them, we turn to instruments that use plucked strings to generate their sound, taking the complexities of the acoustic guitar as an example.Having explained last month the reasons why analogue synthesis of guitar sounds should be well-nigh impossible, Gordon Reid puts the theory to the test...Having proved that subtractive synthesis of an acoustic guitar is completely impractical, Gordon Reid tries his hand at the electric variety, and deconstructs some past attempts to emulate the sound via analogue means.Synth Secrets turns its attention to the synthesis of percussion instruments, beginning with pitched drums.Building on the theory of what makes up the sound of timpani, this month's Synth Secrets reveals how to synthesize realistic kettle drums using a Korg MS20 and a Yamaha DX7.Ever wanted to synthesize unpitched membranophones? But there's a lot more to it than that...As we saw last month, there's much to synthesizing a convincing flute sound — and yet basic analogue monosynths have offered reasonable flute patches for 30 years. Nevertheless, synthesizing the sound is not as hard as it seems, as we find out with the aid of a Roland SH101...The task of synthesizing convincing metallic percussion defeated many synth giants — you only need to listen to Kraftwerk's weedy cymbals on 'The Model' to be persuaded of that. Gordon Reid adapts theory to practice with a Minimoog.Gordon Reid concludes his attempts to adapt an idealised analogue brass patch so that it can be programmed on real synths. The CS80 was flexible, great fun to program, delicious to play, looked an absolute treat, and was the only synth ever to recapture the depth and sound of the GX1. But we can take this approach much further...The characteristic sound of flute-like instruments is complex — but fortunately not so complex that it can't be emulated fairly successfully with a synthesizer...The Monty Python team once famously claimed that being able to play the flute was a simple matter of 'blowing here, and moving your hands up and down here'. Can the humble voltage-controlled amplifier really hold any Synth Secrets?In this month's instalment of his series on the basics of subtractive synthesis, Gordon Reid considers the magic ingredient that makes all the other elements sound interesting...Last time, we examined the concept of modulation at low frequencies. And, whereas many of its competitors offered just a single AD… The possibilities expand still further when we consider what happens when you use one audio-frequency signal to modulate the frequency of another...Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. The result is not just faster versions of the same modulation effects, but a new type of synthesis...As explained last month, audio-frequency modulation of the amplitude of a signal can be a powerful synthesis tool. This will be an ongoing project, follow this topic to see when new patches are posted.The Theory and Technique of Electronic Music by Miller Puckette We find out...Having analysed the complex process by which a cymbal makes its sound, it's time to synthesize our own...Synthesizing realistic cymbals is complex, but not impossible — after all, over 20 years ago, Roland's TR808 drum machine featured synthesized cymbals. Gordon Reid concludes his attempts to adapt an idealised analogue brass patch so that it can be programmed on real synths. Gordon Reid explores the theory of analogue formant synthesis, how it relates to the human voice and modern digital synths like Yamaha's FS1R.Gordon Reid embarks on a journey to synthesize convincing woodwind and brass. Wrong. So how is it that the analogue snare sound is so well known? So why is it so difficult? All rights reserved.Web site designed & maintained by PB Associates & SOSYou may login with either your assigned username or your e-mail address. Last month (SOS February 2001), we discussed a way of emulating acoustic musical instruments using short delay lines such as spring reverbs and analogue reverb/echo units.
We show you how...Moving from last month's theoretical bass drum synth patch to its practical application on affordable analogue synths, we also take a look at how the world's most famous drum machines produce this fundamental rhythm sound.If you thought synthesizing realistic bass drums was complex, that's nothing compared to snares. A sound as rich and expressive as that of an acoustic piano is far too complex to be rendered by subtractive synthesis... isn't it? We find out how Roland managed it...How did they make that sound on a subtractive synth? Gordon Reid explains how.Ever heard a synth talk? No? So emulating a Hammond with an analogue synth shouldn't be too hard, right?
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