14

The major difference between the two is that Analog is a virtual analog synthesizer and is subtractive, while Operator is primarily an FM synthesizer so the approaches to using them are fairly different. Analog tries to model the circuitry and characteristics of classic analog synthesizers, including their quirks. Operator is unashamedly digital, like many ...


8

You could start out with a powerful "Analog" style or FM style synth like Native Instruments' Massive or FM8. If you are really focused on additive synthesis or you'd just like something more flexible, consider the following modular environments: Linux Friendly: CSound - text mode synthesis and composition language. Extremely powerful, moderately steep ...


8

Very good question. I found nothing about it in the manuals. It seems I'm missing some knowledge that the creators of FM8 and Ableton's Operator share and use. So, my question is how do synth makers control the modulator amplitude and how does the interface of the synth and the controls from 0 to 100 change the modulator amplitude in the background? ...


7

The basic idea The characteristic "wobble" bass popular in mid-late 2000s dubstep is frequently (but not always) created by sweeping a lowpass filter over a harmonically-rich sound of some kind, usually some oscillators. The filter cuts out the higher harmonics, creating an effect similar to closing your lips while saying "ahhhhh. By moving the filter ...


7

I love FM synthesis, but it is generally a bit on the esoteric side. FM8 is probably one of the easier FM synths to learn. But even after mastering it, you will still have a hard time achieving a particular sound that you want. FM8 is great for making weird bloopy, bleepy, buzzy, metallic sounds. And basses. If you don't have it already, I'd recommend ...


7

Attack (A): the time it will take to reach its maximum level after note is triggered Decay (D): the time it will take to drop to the sustain level after the initial rise Sustain (S): the level that the envelope will remain at until the key is released Release (R): the time it will take to reach zero after the key is released The time ranges is dependent ...


7

There's really no such thing as MIDI Synthesis. Synthesis is the process by which sounds are 'synthesised' using various modulation and generation techniques. MIDI is the "Musical Instrument Digital Interface" and is a protocol by which electronic music instruments can pass control and note information. MIDI is only interested in sending and receiving ...


6

It should be easy enough to find a SoundFont that contains what you want, like this one. Note that most SoundFonts bend each sample a few notes each way to cover the entire keyboard. If you want one .WAV for each note on the piano, the Fruity Loops Studio demo allows you to make the files by just opening the piano roll, making the note then saving it in ...


6

The Sound on Sound series of articles Synth Secrets provides a step-by-step approach for modeling range of instruments using analog techniques. Music, Physics and Engineering by H. Olsen provides examples of mechanical and electrical analogues to various instruments, and is in general a useful, if dated, reference. These examples are more directly useful ...


5

The last time I was involved with a similar situation (the show was Disney's Aida--3 keyboard parts), we rigged all three keyboards on different MIDI interfaces to one laptop running Reason, and then had some custom software that one of the keyboardists used to change all 3 keyboards' channel assignments in sequence (each channel in each Reason bus was ...


5

Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling "odd" parts out of the recording e.g. around transients or after them or ...


5

Sweden's power grid runs at 220v if I am not mistaken. Japan runs at 100v. Most modern electronics are capable of dealing with the range. Some older appliances are not. Check that the label near the keyboard's power cord shows 100-240v and 50-60 Hz. If it does not, you will need a "step-down transformer" (also called a converter). If it does, all you ...


5

First, the D-20 isn't a piano. It is a synthesizer, which is a type of instrument that allows you to create a wide variety of sounds. The good news is that the D-20 was intended for creating realistic instrument sounds rather than just sci-fi bleeps and bloops. The bad news is that by 2013 standards, the D-20 is going to sound a lot less realistic than ...


5

I don't know for ES2 in particular (as I've not used it), but in other synthesizers this can mean that an oscillator waveform is not starting on a zero-crossing when the key is depressed. If this is the case, you have one of two immediate options: Adjust the phase of the oscillator, or alternately, force the oscillator to always begin on a zero-crossing. ...


5

Warning: this is perhaps not the answer you are looking for :) You have already got enough gear. What you really need is time, patience, perseverance. Experiment with what you already have, whatever it is that you own, use your imagination and creativity. A typical style of music was not only 'invented' because of the sound or purpose of the gear; it was ...


5

Voices are separate oscillators, chorus is merely a delay-based effect. Usually the number of voices in a synth actually refers to the number of oscillator groups. For example, an analog synth with "six voices, each with two oscillators" means that you can separately program two different oscillator programs (e.g., wave shape, frequency, etc.), and then ...


5

Generally, you want to conceptualize this based on the reality of the situation you are trying to re-create. Firstly, shopping malls usually have crappy speakers, so imagine your sound being played through crappy speakers in a very large space, possibly with a fairly lengthy reverb time. Also, the speakers are often quite distant, so the ratio of direct ...


4

The classical acid sound comes from the TB-303 Synthesizer. The effect is generated by using high amounts of resonance on its 4-pole 24 dB/Octave Filter. Then the filter gets modulated via an envelope. (Decaying motion in most parts) The Acid sound you here in this intro is a combination of a minimoog like bass synth and a "acid" TB-303-like fx/melody synth....


4

It's a good question, and I understand your desire to get involved with some new and exciting tools, we all love toys after all! Before you do though, it's worth considering how to create abstract soundscapes with conventional tools. After all, sound designers we're doing amazing eerie, unnatural and abstract sounds before protools came along - I had the ...


4

While you could create a wobble in Audacity, you might go insane trying. Instead, download pure data, and work through the tutorials. You don't need to get into much advanced stuff, just learn how to create an OSC~ and a DAC~ and a bit on filtering and FM. Then you can hook up as many oscillators as you want and modulate them and the filters. That's pretty ...


4

SuperCollider is a softsynth. CSound has a soft synth as well as a scoring system. You can also use CSound as a VST instrument or effect. I'm not aware of a VST wrapper for SuperCollider, but SC can respond to both MIDI and OSC data, so it shouldn't be too hard to hook up with your DAW.


4

Try contacting Roland or your official Roland Service Center first. Korg and Yamaha both have reputations for helping out with their products even when they are long out of warranty. Roland doesn't have that reputation as much, but you should still start by asking them. If you can't get Roland to supply you with a chip, then look for forums where people who ...


4

Here are some techniques and things I used improperly for a long time that I think will help you. Luckily for you, I've researched a lot of techniques for dubstep and EDM in general. And I have a lot of experience with NI Massive. What I did for a long time was use the EQ too boost the loudness of my instruments which is NOT what you want to do. Using the ...


4

The entire clip you provided is performed on a synthesizer which begins with a bowed cello like setting in the lower register accenting the first beat while a pizzicato double bass plays the next 7 beats. This repeats, so by the 3rd time the cello like instrument sounds at 0:15 a melodic element is introduced which might be best described as a combination of ...


4

There are patch books out there that describe how to approximate various instruments and sound effects with a subtractive synth. Your best bet is probably to scour eBay for a few titles and see if they are close enough to what you are looking for. The Synth Secrets series that Dave mentions is the way to go if you want to build up your own patches from ...


4

The only thing that really stands out to me about your setup is the lack of FX. You can safely disregard any effects built in to your mixer. There are a ton of great rack units out there from the '90s that can be found for peanuts on eBay and your local version of Craigslist. Start with Alesis - take a look at the Wedge, QuadraVerb, MidiVerb and Ineko/Akira....


4

Balancing! All your lines should be balanced. What this does it splits the signal in two and flips one half of it. Then the side that is flipped is flipped back at the end, and added to the first one, therefore cancelling the noise induced in the cable out. You need a DI box, especially since your cables are long and then something to unbalance the signal at ...


4

What you describe sounds like Buss/Master/Group Compression gone wrong. This effect sometimes appears when you have a compressor set to affect both the bass and the lead (via any of the Buss/Master/Group) When the bass hits the compressor the really lows(which consume a lot of space) instantly bring the threshold down and lower the volume of each other ...


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