synthesizers

Tutorial 3 - Synthesizer Basics

When someone asks you for critique, one of the most difficult things to address is the use of synthesizers. There are so many methods of getting synthesized sounds, and so many actual synths, that it's next to impossible to give any sort of specific advice on the topic without knowing exactly what the artist is using. To compound the problem, it's hard to know whether they just used sampled loops or notes, or actually created a sound from scratch by themselves. I'd like to try to tackle this problem by going into the basics of creating synthesized sounds by using a free (but high quality) virtual synth that can be used in almost any sequencer with "VST hosting" capabilities.

To start with, I think it's important to briefly describe the type of synthesis we'll be dealing with - subtractive. This method is VERY widely used because it is highly flexible and relatively easy to learn. Though I'll be doing demonstrations on the free plugin "Synth1" (link at the end of the post), the same techniques apply to basically ANY other subtractive synthesizer, and there are lots of them. Anyway, subtractive synthesis basically has one or more basic waveforms being generated by an 'oscillator'. Think NES or Gameboy sounds when you try to picture these basic waveforms (sine, square, triangle, saw). The waves are then routed through some sort of a filter, which removes a certain part of the sound. Also important to the process are envelopes, but we'll get to all this later.

So, let's examine the basic waveforms to begin with. When you're designing a synthesizer 'patch', step 1 should be to select the waveforms you want to use.

Now, when you combine two different waveforms, you get an entirely new sound, giving you a wide palette of basic sounds. If you have two oscillators both using the same waveform - say, a saw wave - you will get a different sound as well. This is called 'unison' and it is very popular when creating thick, rich sounds such as those found in dance/trance leads or background pads. In addition, each oscillator can be tuned differently; either using a 'Fine' tune control (for very small values, less than a half step), or the 'Coarse' tune control (which goes one half step at a time). Messing with tuning can result in different sounds as well. For instance, making one oscillator play one octave (12 semitones or half steps) below the other will make the sound denser. Taking two saws and setting one ten cents down and one ten cents up using the Fine tuning will create a modified unison effect that is a staple of trance music.

There are a few other controls worth mentioning in the Oscillator section. These controls affect the most basic level of the sound - before it even gets to the filters or envelopes.

Finally, the first oscillator can be used to modulate various parameters even FURTHER, using the "M. Env", or modulation envelope. Here are the controls to consider.

The next important element of designing a synth sound is your envelopes. Let's examine the "Amplifier" part of Synth1, also known as the "Amplitude Envelope". An envelope essentially shapes how a sound progresses over time. There are four main elements to the envelope, which are fairly intuitive:

In addition, you'll see..

I'll get into some practical applications of envelopes a little later. For now, though, let's move on to another important component of the sound, the filter.

Filters are essential in sculpting the sound. Basically, a filter REMOVES some element of the sound - this method of synthesizing sounds is referred to as "Subtractive Synthesis". Most synthesizers are subtractive, and even those that aren't (eg. Wavetable, Additive, FM, Granular) usually have filters of sorts. First thing you need to choose when you are editing a filter is the type of filter. Here are the types available:

You will also see numbers to the right of the filter types; 12 or 24. These basically show how "strong" the filter is, for lack of a better word. When you set the cutoff frequency, or simply "cutoff", the sound does not instantly stop at that point. Rather, the sound gradually tapers off from that point along a slope. A 12 (technically speaking, db/octave) type filter has a gradual slope, while a 24 has a steeper slope. Thus, an LP24 is preferable when you want a sharper cutoff of the sound. Other filter controls that are important:

Last but not least, filters have an envelope, just like the Amplitude envelope I described earlier. The only difference is that the filter envelope affects the progression of the filter sound. It's a bit difficult to describe, so you'll have to tweak to hear exactly how it works. However, my examples will demonstrate some filter envelope tricks too.

The final basic component of Synth1 is the LFO section. LFO stands for "low frequency oscillator". LFOs do not actually generate the sound - they simple alter other parameters, such as filter cutoff, or pitch. They're flexible in how much effect they have, and how fast they oscillate. The first component of an LFO is the waveform, which can be selected by clicking on the button to the immediate left of the 'dst' button on Synth1. The most standard waveform is the Sine, which modulates a parameter smoothly. The saw, triangle, and square waves are harsher, while the other two waveforms are more or less completely random. Other LFO controls:

LFOs are not essential to the design of synth sounds, but they can be very useful in creating dynamic sounds and those that change over time. I will again be demonstrating examples of using LFOs (for fun and profit).

PHEW! That covers the very basics of this synth (and most subtractive synths), but there are just a few more things I'd like to cover before we get to the actual sound examples. First, let's check out the "Play Mode" section. Take note of the "Mode" button first, which has three LEDs under it.

There are three other sections which I'll describe briefly. You have the Equalizer, which you SHOULD be able to identify - if not, it's simply a way of emphasizing or de-emphasizing parts of the sound. The Tempo Delay creates echoes after you hit a note. The Chorus/Flanger is like the Unison control.

FINALLY! Ok. Now what you really wanted to see (hear?).. the example stuff.


EXAMPLE 1 - SYNTH LEAD

Here's an example of a simple synth lead. What makes it a lead? Well..

Here is the Fruity Loops project file for this example.


EXAMPLE 2 - SYNTH BASS

Basic synth bass. Please note:


EXAMPLE 3 - SYNTH PAD

This is a sort of subdued synth pad that you could easily use for harmony in a multitude of different song types.


EXAMPLE 4 - SHORT SYNTH

You might use this if you have sonic space that needs to be filled, but don't want something as overbearing as a pad. A litte arpeggio/pluck type synth can help here.


So, there you have it. Synthesis 101. I strongly encourage messing around with Synth1 and seeing what you can come up with - it's easy to use, and hopefully based on my example patches, you should have at least a vague idea of what type of settings can produce what type of sound. DOWNLOAD SYNTH1! (free) --- Stick it in your FLStudio5/Plugins/VST folder, or whatever other VST folder you use.