Synthesizer sound design involves a series of different steps. For beginners, it may seem difficult to figure out how to achieve a specific sound, but the process is really simple if you understand the fundamentals of sound design. In this article, we’ll cover 4 aspects of synthesizer sound design: Attack, Modulation, Substituted synthesizers, and Effects of modulation.
4 aspects of synthesizer sound design
Synthesizers can be used to create a range of sounds. They are the engines behind the sound of today’s music. Understanding how they work will help you create a unique sound. Synthesizers work with 4 basic waveforms, which can be modulated or layered to produce different sound effects. They also use filter envelopes and amplifiers to shape their sound.
Filters are used to emphasize or cut off some frequencies in the input signal. Filters have several parameters, including cutoff frequency and slope. These parameters determine the shape of the filter response curve. Low-pass filters cut off all frequencies below the cutoff frequency, while high-pass filters cut off all frequencies above the cutoff frequency. A filter is a key component of synthesizer sound design.
Low-frequency oscillators are similar to regular oscillators, except that they operate at a lower frequency than the main signal generators. They are used to create repeating modulation in synth sounds.
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Effects of attack
Attack and decay are two fundamental components of a synthesizer’s sound design. Attack controls the amount of time it takes to reach the maximum volume set for the instrument. The attack time starts when the note is played. The decay time sets how long the sound will continue at a certain level after the key is released. The release time reduces the output level back to its initial value.
Envelopes are also an integral part of synthesizer sound design. They create a contoured signal that changes over time. Most synthesizers have at least one envelope generator, which modulates different parameters. An envelope’s automation curve can produce percussive sounds or atmospheric pads. In addition, the attack defines the amount of time it takes from a key press to a louder level. It is usually measured in milliseconds.
Attack and sustain are two different parameters of the sound of a synthesizer. Attack controls the initial transient, while sustain is responsible for the later ones. A lower attack will produce a more compressed sound while an increase in sustain will bring up the natural reverb tail, making the sound more roomy. These parameters can be adjusted in a wide range, allowing for different sounds to sound tighter or wider.
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Effects of modulation
There are a number of different effects that can be achieved with modulation in synthesizer sound design. Delay effects rely on periodic modulation from an oscillator called a low-frequency oscillator (LFO). This effect varies in rate and produces a varying effect in different audio frequencies.
Modulation is a key component of many phasing, chorusing, and flanging effects in a virtual instrument. Different types of modulation are used to alter the frequency, timbre, and wavelength of a sound over time. For these effects to work, the carrier must be controlled by the source signal.
Modulation effects operate on a carrier wave (usually a sine wave), but some may also support other waveforms. Generally, modulation effects operate in two domains: the waveform itself, and the phase of where that waveform is playing. By manipulating these parameters, modulation can create a vast range of sounds. For example, pulse width modulation can shorten the waveform, while leaving empty space adds crunch to the sound.
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Substituted synthesizers
Synthesizers are an important part of sound design and can be used to create different sounds. They can be analog or digital and are typically portable. Each type of synthesizer has its pros and cons. Understanding the differences between them will allow you to determine which one is right for your needs.
Analog synthesizers rely on low-level electronic components such as vacuum tubes and thermonic valves to generate the original sound. These synths are generally associated with warm textures and deep basses. This is not to say that digital synthesizers are not useful, but there are some advantages to analog synthesizers.
Despite the lack of popularity, some substituted synthesizers have made a comeback in recent years. The Roland SH-101 is one example. This synth was popular with techno producers. Its internal circuitry resembled that of the MC-202, and the synthesizer was able to create thick, chunky basses and resonant twangs. It also became popular amongst producers of experimental electronic music. Another substituted synthesizer that has seen a resurgence is the Yamaha DX7. Known for its distinctive FM synthesis sound, the DX7 became a staple in the music industry during the 1980s. Its ability to produce the sound of a ‘speakerfilled piano‘ was particularly notable, and it has been rediscovered by a new generation of musicians and producers looking for unique, retro sounds to incorporate into their work. As technology continues to advance, it’s likely that even more classic synthesizers will find their way back into the spotlight.
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