Computer Music Presents

the easy guide to modular synthesis / make synth music now <

Next steps Make Noise Wogglebug adds a touch of weirdness your music. Thanks to MIDI Clocks, the rate of
this (much like LFO) can be placed in time with
At this stage, it’s fairly there’s a veritable wealth of choice. We have your DAW’s clock tempo, keeping everything
likely that the Eurorack highlighted some of our more basic and nicely in time.
bug will have bitten. All obvious examples, but there are literally
Eurorack users report the hundreds of oscillator options, from classic Another avenue to explore is the ability to
allure of adding modules vintage through to completely bizarre and alter audio signals within your modular, a little
to a setup, hence its contemporary. Do your research and see what like a set of guitar pedals. Companies such as
tongue-in-cheek branding tonal colours take your fancy. Make Noise and Mutable Instruments offer all
of ‘Euro-crack’ sorts of mangling modules that will imitate
The same can also be said of filters; there’s a tape, allowing for recording, mutation and
More sounds wealth of choice and colour, with something for playback, or stray into worlds such as granular
every musical style. synthesis. Placing these effect treatments within
The most logical next stage is to build upon a Eurorack means that they are open to control
what you already have. In much the same way Getting modulated from within the Eurorack, allowing you to get
that large-sounding commercial synthesisers completely lost in sound exploration.
offer more than one oscillator, adding a second Where you’ll see Eurorack starts to get really
and/or third in Eurorack is easy, but you will interesting is with its enormous capacity for Inbound triggers
need to think ahead. modulation. In fact this is something of an
understatement, as the modulation potential is While we have concentrated on creating a very
It’s never quite as simple as just adding a so great, many regard this point as the primary simple synth voice in our example, which we
module! If you intend to add further oscillators, reason for Eurorack, and for good reason. are placing under DAW control, many users
you’ll need to consider that it will need to share Hence, a logical further step is to consider prefer to consider Eurorack systems as an
its CV signal. The easiest way for you to do that modules that can modulate both CV-based organic performance entity in its own right. It
would be to invest in a small module known signals and audio signals. almost becomes a great big groove box, and
as a Mult or Multiple. These are cheap and if you think you’d prefer to go in this direction,
abundant, and will allow the inputting of one CV signal modulators can be as simple as you may want to explore step sequencers
signal, with the exit of more than one. You can a common LFO, or as bizarre as modules that that can be installed as part of the Eurorack
also get cables which will split the signal in a specialise in creating random sequences. One system. This could be considered both a staple
similar way. favourite is the Make Noise Wogglebug, which of commercial music, and a throwback to
will send out completely abstract signals, a bygone musical age, as you find yourself
You will also need to consider how you get creating unpredictable creative potential for working with a series of notes, rather than the
more than one oscillator into your filter. Some larger canvas available with a DAW or more
filters have capacity for this, by offering more extensive sequencer. It’s all up for grabs, and it
than one Input, but if this is not the case, as it is is possible to combine the two successfully, if
with our Doepfer filter module, the investment that field of sound exploration is calling you.
of a mixer module will be required. These
normally offer control of each oscillator’s level, Avoiding melt down
with a summed output which can head in the
direction of your filter. With such an exciting domain laid out in front
of you, it could be very easy to go out and buy
In terms of which oscillators to choose, loads of modules. It is addictive; but, a big word
of caution. In order to get the most out of every
Mutable Instruments Clouds is a great mangling option module, there is a learning curve. We have dealt
with the very basics in our example, and while
these modules are fairly easy to comprehend,
many more complicated and expensive
modules are literal musical entities in their own
right. Time spent thoroughly learning what each
module can do will doubtless unleash musical
potential, so be methodical, and you’ll not waste
money in the process!

Step
sequencers
like this
one from
Pittsburgh
are a
modular
staple

MUSIC PRODUCER’S GUIDE TO SYNTHS / 51

> make synth music now / the easy guide to modular synthesis

Starter systems - single modules

Eurorack is a format that lends itself perfectly to the principle of mix-and-match, but
there are great examples of companies that have built modules which are designed
to complement perfectly. The guiding principle here is to start with a single module,
and complete the set, like Happy Families for synth heads!

Doepfer A-100 system AJH Synth
MiniMod system
Modules and cases from £49 (total system cost around £500)
We’ve already mentioned Doepfer extensively in our feature, and for very Individual modules from
good reason. As the company that is responsible for lighting the touch-paper £153 (total system cost
on the Eurorack revolution, they continue to provide great quality products, at around £800)
exceptionally enticing pricing. Their A-100 system eco-sphere begins with low-cost
cases and builds up to a bewildering array of modules, with a leaning toward the The wondrous AJH MiniMod system
more subtractive way of thinking. There are better modules out there, but as a is a firm favourite in this category.
place to begin your journey, they are a tough act to beat. It’s not available as an off-the-shelf
doepfer.de system in a case, but building up to
the complete set of MiniMod modules
Make Noise provides a complete synth voice
package, at 84HP. What you’ll get is
Individual modules from £119 (total system cost around £1050) a faithful and amazingly accurate
We have concentrated pretty heavily on systems and modules which are at reincarnation of the MiniMoog
the more traditional end of synthesis, so it’s time to mention one of the finest synthesiser, but in Eurorack form.
companies in the Eurorack world, whose modules embrace the mainstream and This includes three VCOs, Moog-style
more avant-garde. Make Noise produce a number of modules that concentrate ladder filter, VCA and even envelopes
on treatment of both CV signals and audio, and as a consequence, garner a that behave like the original Minis.
considerable following in the Eurorack community. Be forewarned though, To complete the lineup, there’s even
some of the units can feel rather eccentric, often requiring a little detective work a Glide module, for Moog-style
to establish exactly which icon relates to what function, but the results can be portamento effects. It’s a real class
chaotic, beautiful and extraordinary. act as a complete system of seven
makenoisemusic.com modules, but there’s no harm in
building up from one module at a
52 / MUSIC PRODUCER’S GUIDE TO SYNTHS time, incorporating modules into a
more modest budget system.
ajhsynth.com

the easy guide to modular synthesis / make synth music now <

All-in-one Eurorack systems

Another great route to getting started with Eurorack is to consider an all-in-one,
ready-to-go solution. Here are a few of our star choices for consideration

Erica Synths ALM Busy Circuits
Pico System II £1279 System Coupe £1899

The Pico range from Erica Synths The System Coupe is another class act, with a truly
is specifically designed to be interesting set of modules that make up a very
compact, allowing a complete contemporary-sounding system. Apart from the
system to be crammed into a more usual oscillator and filter modules, there’s
small case which is just 24cm also a Eurorack sampler, and ingenious
wide. Each module is a mere 3HP Quaid Megaslope module, which can
in size, which can sometimes be used in a number of ways for
make tweaking your sound a modulation effects. The beating
little fiddly, but the trade-off is heart of the system is Pamela’s
a very complete system, which New Workout, which is
consists of two different types of a flexible triggering
oscillator, Polivoks-inspired filter, device, perfect for
two drum modules and even an creating modulations,
onboard sequencer. This means sequences and
that the Pico is a true stand-alone drum triggers. A
system, which allows for complete great system for
performance, a little like a groove contemporary styles,
box. It represents excellent value in its own robust case
for money, which can also be fitted with power.
into another modular case, for busycircuits.com
future expansion possibilities.
ericasynths.lv

Moog Behringer
Mother 32 £599 Neutron £258

The Mother 32 offers a single synth voice, in a Behringer have controversially
very convenient format. Not only does it come been producing clones of
in its own case with built-in power, but if you numerous vintage products, many
decide to grow your own Eurorack system, it of which have stolen the limelight
can immediately be added to your rig, either as from the Neutron. This is unfair
a standalone device which you patch in, or you on the synth, which offers a huge
amount in a Eurorack compatible
can unscrew it from its case and place it in your format, with a pair of great
larger setup. Apart from offering the legendary oscillators, excellent filter and a
Moog tone, thanks to its classy oscillator and really ingenious LFO, which can
morph from one wave shape to
low-pass ladder filter, it also incorporates the next. It is hard-wired internally,
a MIDI input, large selection of patch but much like the Mother 32, offers
points and its very own built-in Eurorack-friendly patch points,
8-step sequencer. The rack allowing full integration into a
system shown is made of larger system. It’s competitively
three Mother 32 units, but priced, and well made, and is a
you can also get the DFAM great springboard into Eurorack
drum synth (£599) and Moog exploration in a ready-to-go single
Subharmonicon synth (£739) voice unit.
in the same form which look behringer.com

very cool when racked together.
moog.com, sourcedistribution.co.uk

MUSIC PRODUCER’S GUIDE TO SYNTHS / 53

> patch from scratch / create great synth sounds for free

PATCH

FROM SCRATCH

Create great synth sounds for free! [PART 1]

Intrigued by Eurorack but lacking the funds? Don’t worry!
Download a free modular synth and learn with this guide!

DOWNLOAD The rapid acceptance and Rack’s open source approach by offering Eurorack-style modular synthesis for
adoption of the free and open- up heaps of modules – some original, free. And like any modular system, VCV
Get the videos and tutorial source modular synthesis program others based on popular Eurorack tools. Rack makes an excellent tool for
files on your PC/Mac at called VCV Rack has been something learning synthesis and sound design
of a surprise. After all, it offered only a As for its standalone nature, it turns techniques that transfer to any
filesilo.co.uk/bookazines few modules upon release, and is a out that musicians who have steadfastly synthesiser – modular or not.
standalone app – a hard sell to users resisted the power and ease of the DAW
accustomed to plugin integration. seem less put off by a standalone This type of synthesis is always going
The first issue was almost modular environment, particularly one to be a heady subject, but we’re here to
immediately done away with, as third- that is aesthetically so familiar. help. Over the next pages, we’ll show
party developers took advantage of VCV you how to turn a blank rack into a
More importantly, VCV Rack provides classic analogue synth… and then some!
a means by which to freely explore

> Step by step 1. Adding more modules with VCV Rack’s Plugin Manager

1 Half the fun of a modular system is 2 The VCV site opens in your browser. 3 Next, go back to VCV Rack and click
adding more modules! After installing Click Plugin Manager, or go to the top Update Plugins button. All the
VCV Rack and creating an account on their vcvrack.com/plugins. This page is a huge plugins we added in the previous step will
site, open the app and log in at the top. See list of free and premium modules from now be downloaded and installed
your currently installed modules by right- various vendors. To get the free modules, automatically. Once that’s all complete,
clicking in the rack. There are many more click the blue + Free buttons to add them just restart the app and you’ll be ready
to get – click the Manage Plugins button. to your account. to rock!

54 / MUSIC PRODUCER’S GUIDE TO SYNTHS

create great synth sounds for free / patch from scratch <

Why go modular?

Though a modular synthesiser such as VCV You can lay out some serious cash for one of these Modular systems are also quite appealing –
Rack can look intimidating and confusing, they behemoths… or show a bit of thrift and grab VCV Rack! and potentially expensive – because they allow
aren’t all that hard to grasp once you users to add new modules as the need arises.
understand a few basic principles. Consider the between separate modules. The only restrictions are cabinet space and
fact that the first successful ‘hardwired’ synth The patch cables generally carry either audio power supply, both of which can be addressed
design – Moog’s Minimoog – was initially created in the hardware world simply by buying more
by grouping together a few modules from or control (voltage) signals. The former is self- cabinets and more or larger power supplies.
Moog’s catalogue and attaching a sawed-off explanatory, while the latter is used to control Virtual systems are obviously less restrictive…
keyboard. Indeed, creating a standard the various parameters of a given module. Most and less expensive!
monosynth from a few modules is easy work, systems allow some intermingling of the two.
as we’ll see. The modules you choose is entirely up to
you, though a few standards are likely to come
Unlike the Minimoog and all of the synths it into play. A typical oscillator is an obvious
inspired, a modular system doesn’t have any choice; and Eurorack-style systems offer plenty
hardwired (ie, ‘normalled’) routing behind the of alternatives, including self-oscillating filters,
front panel. Instead, all connections are made by samplers, and even radio receivers.
patch cables (or, in some cases, pins, switches or
sliders). This freedom to route signals however Likewise, a filter might seem an obvious
you like is one of the main sources of a modular choice, but again, they are not entirely
synth’s appeal. Like the Eurorack systems that necessary. Though most analogue synthesisers
inspired it, VCV Rack makes use of patch leads – are subtractive in nature, there is no rule stating
albeit of the virtual variety – to shuttle signals that you must build your modular system to
reflect this common ideal.

> Step by step 2. Building a basic synth voice in VCV Rack

1 We’ll start with a new rack. If your rack 2 Let’s start by ensuring that we can 3 An Audio module now appears in the
isn’t empty, go to File in the upper-left indeed make a sound. That means rack. Put it wherever you like by
and select New from the dropdown menu. getting VCV Rack’s audio to the outside clicking and dragging on a blank area of
As stated earlier, all of our available world. To do this, we need to connect to its front panel. There are a few options we
modules can be accessed simply by right- our audio interface. We’ll find the can tweak here. We can select the Audio
clicking in the rack. Here we see modules appropriate module in the Core category. Driver in use (here it’s Core Audio) and
represented by their authors, as well as Clicking this reveals a handful of utilitarian change the Block Size, which we’ll leave
various tags that can be used to filter modules – click on Audio >> External to at 256 samples. We’ll also select our audio
your selection. add it to our empty rack. interface at this point.

4 Now that VCV Rack is talking to our 5 There are a couple of VCOs 6 For stereo, we need to click and drag a
audio interface, we can make a sound. (oscillators) at the top of the list. We’ll cable from the Audio module’s Input 2
We’ll start with the obvious – an oscillator. select VCO-1. It appears in our rack. Drag it jack to VCO-1’s Sqr output. The Core >>
Let’s right-click in the rack to bring up our to the upper-left. We can’t hear it yet, MIDI-1 module enables us to play notes
list of modules. We’ll need to hit Clear because we’ve no patch cables in play. via MIDI – call it up from the menu. We’ll
Filter to get back to the top page. Click and drag on the VCO’s Sqr output in choose our attached controller as the
Now, we’ll click Fundamental to get to… the lower-right to create a cable, then drag device. Patch the MIDI-1 module’s CV
er, the fundamentals! it over and connect it to the Audio output to VCO-1’s V/Oct input, then play
module’s Input 1 jack. MIDI notes – we hear our square wave!

MUSIC PRODUCER’S GUIDE TO SYNTHS / 55

> patch from scratch / create great synth sounds for free
> Step by step 3. Expanding our VCV Rack patch

1 We’ve now got a simple square wave 2 Let’s create a basic synth voice of the 3 This is a dual VCA, with duplicate top
singing out from our speakers. As sort used by such classics as the and bottom sections – we’ll only use
lovely as it is, it is only a test to make sure Roland SH-101 and ARP Axxe. Such a voice the upper section. Patch the VCO-1 Sqr
everything’s working, so let’s disconnect will have one or two oscillators, a filter, output to the VCA’s upper In jack, then
the patch leads from the Audio module’s envelope, LFO and VCA (amplifier). We’ll patch the VCA’s upper Out to the Audio
inputs. To do this, click on either the input also add echo to spice up our sound. First, module’s Inputs 1 and 2 jacks. There’s our
or output jack(s) and drag the cable off, or right-click and add a VCA, found in the square wave again – turn the VCA’s top
simply right-click on a connected jack. Fundamental category. Level knob down to quieten the signal.

4 The most important thing about the 5 Next, connect the ADSR’s bottom-right 6 Let’s add a Delay module from the
Level control is that we can use a output to one of the VCA’s upper two Fundamental menu. Disconnect the
modulator to control it. Right-click and inputs (Exponential is good for short VCA from the Audio module, then patch
select Fundamental >> ADSR to add an percussive sounds; Linear is better for the VCA Out into the Delay In, and the
envelope generator. Envelopes require a leads and pads). We’ll patch the ADSR’s Delay Out to the Audio module’s Inputs 1
trigger or gate signal, and our MIDI Out jack to the VCA’s upper Lin input, then and 2. We now have some echo in our
module has one – we’ll patch its top- turn our VCA’s Level knob up to max. Now sound, which we can adjust. Next, call up a
middle Gate output to the ADSR’s we can play on our MIDI keyboard and use VCF (filter) module from the
bottom-left Gate input jack. the ADSR knobs to shape volume. Fundamental category.

7 We’ll disconnect VCO-1’s Sqr output 8 Let’s now add in a second ADSR, then 9 Time for an LFO-1 from the
from the VCA’s input, and instead pipe drag a cable from its bottom-left Gate Fundamentals menu. Patch its Tri
VCO-1’s Sqr output into the VCF In jack. For In to the MIDI-1 module’s Gate Out. After output to the lower VCA In, then crank the
a standard low-pass filter, we’ll connect the that’s done, we’ll go ahead and patch the VCA’s Level to max. Plumb the VCA’s lower
VCF’s LPF output to the VCA’s upper Input. new ADSR’s bottom-right Out to the VCF’s Out into VCO-1’s FM input, and set VCO-1’s
Play the sound again – it’s now filtered a bit, Freq input jack. Turning up the VCF’s Freq FM CV to around halfway up. Patch the
thanks to the default setting of the VCF’s CV knob will in turn increase the depth of MIDI module’s MW output to the VCA’s
Frequency knob. filter modulation. lower Lin jack, and your keyboard’s mod
wheel now applies LFO depth.

56 / MUSIC PRODUCER’S GUIDE TO SYNTHS

create great synth sounds for free / patch from scratch <
> Step by step 4. Crafting a self-playing patch in VCV Rack

1 Self-playing patches are popular 2 A sequencer module is an obvious 3 We can hear our ADSR modules being
among modular synthesiser choice for self-playing patches. We’ll triggered by the sequencer’s clock,
enthusiasts – let’s whip up one of our own. right-click to get to our Fundamental but nothing is happening with the VCO.
In fact, we can start with the patch we’ve modules; select SEQ-3 from the list. We’ll Let’s run a cable from SEQ-3’s Row 1
created in the previous tutorials. We’ll connect its Gate output to both ADSR output up to VCO-1’s V/Oct input. Still
delete the MIDI and LFO modules and modules’ Gate inputs. nothing. The sequencer offers three
rearrange the rack so that all of the horizontal rows of eight knobs each – let’s
remaining modules are in the top row. tweak the knobs in the first (top) row.

4 Note that you can change the length 5 Our sequence is still a bit predictable. 6 Moog’s famous 960 sequencer
of the sequence by adjusting the We can add more controlled chaos by module offered a neat trick whereby
Steps knob. Let’s reduce it. This can also introducing yet another LFO-1 module – the third row could be routed to the
be modulated – add an LFO-1 module route its Sine output to the first LFO-1’s sequencer’s internal timing.
from the Fundamental group and route FM 1 input, then raise the FM 1 CV knob We can do the same thing by patching
its Tri output to the input below SEQ-1’s above it to roughly 4 o’clock. We’ll turn SEQ-1’s Row 3 output into the input just
Steps control. The LFO now causes the the second LFO-1’s Freq knob down to below the Clock knob and tweaking row
step length to change automatically. around 10 o’clock. 3’s knobs.

Three awesome free add-ons

VCV Audible Instruments VCV Befaco Sonus Modular Sonus Dept

This must-have collection of diverse signal Another collection straight from the A massive haul of 20 modules, Sonus Dept
generators, waveshapers and synthesis developers of VCV Rack, and likewise based is free, but the developer welcomes
tools draws inspiration (and open-source code) on some much-loved Eurorack modules – this donations. This group contains all manner of
from the wild Eurorack moduels from Mutable time those from Befaco. A collection of seven unusual modules, many of which have been
Instruments. A non-traditional assortment that modules (at last count), they include essential tailored for live sampling, looping, and
leaves analogue in the dust, they include some utilities like the Dual Attenuverter, Mixer, Slew sequencing. There’s also bit manipulation,
killer physical-modelling and wavetable Limiter alongside more esoteric offerings like distortion, ring modulation and the ever-useful
synthesis modules among many more. Rampage – a complex function generator. blank panel. An essential download.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 57

> make synth music now / synth secrets

SUB SUB SUB 0.5 ms 0.0 ms 1.00 s 0.0 dB

DIRECT OUT DIRECT OUT DIRECT OUT

0 0 0 ATTACK HOLD DELAY SUSTAIN
OCTAVE PAN OCTAVE PAN OCTAVE PAN
LEVEL LEVEL LEVEL

NOISE NOISE NOISE GLOBAL OSOCSC FX MATRIX

AC hum1 AC hum1 AC hum1

SYNTHPHASE RAND PHASE RAND PHASE RAND

SECRETS

OSC B FILTER

Analog_BD_Sin MG Low 12

OCT -1 SEM 0 FIN 0 CRS --

ANCH TRIG BPM
ENV ANCH
OFF A TRIP
DOT
1 B
UNISON DETUNE BLEND
PHASE RAND CUTOFF RES PAN

N

S

WT POS OFF PAN LEVEL DRIVE FAT MIX

LFO 2 LFO 3 LFO 4 VELO NOTE

58 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth secrets / make synth music now <

1/4 Off Off 0.0

15ms BPM TRIG GLOBAL OSOCSC FX MATRIX
ANCH ENV 1/4 Off
RELEASE TRIP OFF RATE RISE DELAY SMOOTH
DOT

Off

RATE RISE DELA

From beginner to pro, find out
how to design incredible sounds
and get the most from today’s

modern virtual instruments

Does the thought of wasted talent leave you feeling some of the world’s most popular softsynths – including
frustrated? Well, if you own at least one software Serum, Bazille CM, Sylenth1, Diva, Spire and more – to walk
synthesiser, it’s likely you’re sitting on a goldmine of you through common (and some not-so-common) synthesis
untapped musical potential. As a producer working in features you’ll find within the majority of electronic
today’s digital world, we all take these powerful virtual instruments: from self-modulation and polyphonic glide to
instruments for granted, only using them for specific DIY synth creation, filter tricks and much more.
tasks or their bundled sounds.
That said, there’s absolutely nothing wrong with ‘preset Seeing as this is a tutorial feature all about building
surfing’ – after all, your synth comes with plenty of expertly- sounds, it makes sense to hear what we’re explaining, which
crafted patches, so use them! But if you’re a musician who is why you should download this issue’s step-by-step Tutorial
prefers composing with your own sounds, then we have Files and videos from FileSilo. If you’re a newcomer to
plenty of features in this Music Producer’s Guide To Synths synthesis concepts, you’ll be able to follow along at your own
on creating your own (or tweaking others). pace; but if you’re a more experienced sound designer, our
Over the following pages, for example, we’re going to use practical examples should inspire you to fire up your
favourite synthesiser and get twiddlin’!

0.5 ms 0.0 ms 1.00 s 0.0 dB 15ms BPM TRIG
ANCH ENV
TRIP OFF
DOT
GLOBAL OSOCSC ATFTXACK MHAOTLRDIX DELAY SUSTAIN RELEASE

MUSIC PRODUCER’S GUIDE TO SYNTHS / 59

0.5 ms 0.0 ms 1.00 s 0.0 dB 15ms

> make synth music now / synth secrets HOLD

DELAY SUSTAIN RELEASE

Synthesis for performers

Synthesiser presets are generally designed to be Create expressive synth patches by making your velocity values – the more aggressive the
played via a MIDI keyboard controller, so when keyboard’s MIDI messages alter parameters as you play playing, the more dubbed out the sound.
creating synth patches geared for the
performer, it makes sense to use these handy reality, velocity can be used to control any synth Aftertouch (pressure sensitivity) is the MIDI
performance controls to modulate parameters. parameter. Tell it to modulate the pan of your data your keyboard outputs when additional
And even if your keyboard skills suck, drawing in oscillators for width; apply velocity-dependent pressure is applied to a key after it’s been struck.
per-note modulation within your MIDI region is modulation amounts for more dynamic Map it to the tune of your oscillators for a
an awesome way to create dynamic riffs and responses; or make your filter close with higher different take on pitch slides, or use it to
evolving sequences. modulate other modulators – for example, route
an LFO to modulate a band-pass filter, then
When playing a traditional piano, the strength control that LFO’s depth or rate with aftertouch.
of your note strike will determine how loud and
bright the resulting note is. The equivalent to Your MIDI keyboard’s modulation wheel is
this in the MIDI world is velocity data: the harder another way to control synth parameters while
you press down on a MIDI key or drum pad, the you play. While many ready-made patches are
higher the value sent to your virtual instrument. designed with vibrato pre-assigned, the mod
Velocity is most typically used to control volume wheel can control pretty much any synth
– the lighter your key press, the lower the parameter, so go further and use it for distortion
resulting note’s volume, and vice versa – but in amount, LFO rate, wavetable position, filter
resonance, envelope mod depth and beyond.

> Step by step 1. Designing a lively performance patch using velocity and pressure modulation

1 Load an instance of u-he’s Bazille CM 2 Navigate to Bazille CM’s MIDI & More 3 Next, use note velocity to scan
in your DAW, then call up the Bazille panel. By patching the Velocity MIDI through the Sequencer’s different
Bass preset. Although the tone of this modulator’s output (its red connector) Snapshots (essentially eight independent
midrange bass is OK, we can use velocity into one of the Cutoff’s grey input ports, sequences), then use those sequencer
and pressure modulation to turn a simple then applying mod depth via the knob, signals to wobble filter frequency. First,
riff into something a lot more dynamic our filter cutoff amount will change patch the Velocity modulator to the
and evolving. We program a 1/4-note-long depending upon the incoming note’s Sequencer’s Rotate input. Then, route the
A2 note riff, and vary the velocity values of velocity value. Sequencer’s second output to a Cutoff
the notes. mod input, then increase Mod Depth.

4 The Sequencer’s Rotate control lets 5 Let’s turn our attention to aftertouch 6 Within our MIDI region, we record in
you rotate between different modulation, which can give our patch some aftertouch movement, creating
snapshots, accessed by clicking on a more expressive sound. We take the a short sweep at the end of the first bar
numbers on the dial. Within these Press modulator’s output and connect it and a longer one at the end of the phrase.
snapshots, we program different to Osc 1’s Fractalize mod input, then turn This modulation creates a resonant, hard
sequencer values. Now, different velocity the amount up. In a nutshell, the Fractalize sync-style sweep. Although still a simple
values trigger different sequencer control modulates one waveform with one-note pattern, our riff now has a much
patterns, giving an evolving sound – multiple cycles of another. Time to dial in more interesting and ‘performed’ feel
perfect for this sequenced bass riff. some aftertouch modulation… thanks to some choice MIDI modulation.

60 / MUSIC PRODUCER’S GUIDE TO SYNTHS

BPM TRIG

ANCH ENV synth secrets / make synth music now <
TRIP OFF

DOT RATE RISE DELAY SMOOTH

> Step by step 2. Building a playable Zebra CM patch with clever mod wheel assignments

1 First, program a MIDI riff, plus some 2 Next, add mod wheel modulation to 3 Over in LFO 1, turn up the ModWhl
mod wheel (MIDI CC 1) modulation, the Sym of both oscillators, thus mod amounts for both the LFO Rate
then load Zebra CM’s Zebra Synth preset adding a PWM-style effect over our mod and Amplitude. Our mod automation now
on this track. Under each osc’s Pan, switch wheel sweeps. After that, raise the filter’s increases LFO speed and depth. For a final
its modulator to ModWhl, then drag LFO 1 modulation amount. This LFO twist, assign the ModWhl to the Tune of
depth in equal opposing directions. Our sounds alright, but it’ll be more expressive Oscillator 2 for some zipping pitch
mod increase now pans the oscs apart. if we only use this in certain sections. variation at key moments.

> Step by step 3. Polyphonic glide explored

1 If your synth supports polyphonic 2 Crank the Portamento knob all the 3 The arpeggio notes at the end of the
glide, experiment with chords and way up to maximum: the notes now phrase also glide – to avoid this, we
sequences. Load LennarDigital Sylenth1 slide up in pitch from the chord’s bottom can shorten these MIDI notes so they don’t
and the Poly Glide preset: a supersaw note. We back this amount down to just overlap. Back to Sylenth1’s interface,
patch with unison detune and lots of above halfway, which punctuates the switch the mode from Slide to Normal,
reverb. Program a chord sequence in attack portion of each chord with a subtle meaning only overlapping notes or chords
Gmin, with an arpeggio fill at the end. slide in pitch. will glide into each other.

Three keytracking tips

’Table tracking Decay away Keyboard to pitch

One of the most unique features of a When designing a key or chord sound, Try modulating your oscillators’ pitch via
wavetable synth is the ability to modulate modulate the decay of your amplitude keytracking. These will track the notes on
wavetable position or index, allowing you to envelope with keytracking. Set it up so that your keyboard by default, but interrupting this
cycle through different waveforms (frames) higher MIDI notes will have a shorter, tighter can produce inspiring results. Modulating tune
via a modulator. Assign key amount to envelope than lower notes. This emulates the by small amounts will produce subtle detuning
modulate this value, and each MIDI note will response of an acoustic piano or Rhodes, effects as you play higher MIDI notes; or go to
trigger a different frame within the wavetable. resulting in a more realistic patch. extremes for wilder pitch effects.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 61

0.5 ms 0.0 ms 1.00 s 0.0 dB 15ms

> make synth music now / synth secrets

HOLD DELAY SUSTAIN RELEASE

The power of macros

Your keyboard’s mod wheel is one universal Deploy your softsynth’s macros to influence several parameter changes at once
source that can be assigned to affect multiple
parameters at once, but many synths also controls for other preset surfers, to remind users If you want to go further, you can use macro
provide multiple macro controls. You can assign of the most important sound-altering features. controls when you’re building your own
multiple parameter moves and custom ranges multisampled instruments, synth stacks or
to one macro knob, allowing you to tweak many Macros can also be assigned to your MIDI effects chains, then package them up into one
different global changes with a single mouse keyboard’s rotary controls. This helps bridge the easy-to-build custom instrument.
twist. You could, say, hook up a macro to fully gap between software power and hands-on
open your filter cutoff, while simultaneously control – get away from fiddly mouse tweaks We’ll do exactly that on the adjacent page’s
increasing amplitude envelope decay, sustain and perform your patch away from the tutorial, within Ableton Live’s powerful
and release, plus reverb and delay mix amounts. computer screen. Instrument Rack environment.
We’ll explore this approach using Xfer Serum in
the tutorial below.

Macros also make the process of automation
more efficient. Hook up a single macro to alter
several parameters at once, then draw in the
motion of that one knob on your DAW’s timeline.

Many sound designers preassign parameter
changes to macros, which can be interpreted as
suggestions for how to edit the patch. A well-
designed preset could offer many variations for
you to instantly shape. If you’re designing your
own sounds, set up labelled collections of go-to

> Step by step 4. Setting up macro assignments that matter

1 We’ll load up Xfer Serum and the Pads 2 Let’s also use this macro to wind up 3 Over on the FX page, the Reverb
» PD D_Pad 2 preset from the synth’s filter ‘wobble’ speed. We drag LFO 1’s module is already engaged – pull Mix
factory library. To trigger the preset, we’ve mod ‘crosshair’ to the filter Cutoff down to around 15%, then tell Macro 2 to
recorded a sustained MIDI chord in A#min. frequency knob – LFO 1 now wiggles filter control reverb Mix and Size. After that, we
Macro 1 (labelled Filter) is already mapped frequency. Drag the Cutoff’s mod ring turn on Delay, change Time to 1/16 for
to filter Cutoff. To make things more down to reduce mod amount to 38. Next, both Left and Right channels, then direct
expressive and ‘playable’, we right-click detoggle LFO 1’s BPM switch, then drag Macro 2 to the delay’s Mix. A quick twist
and map this macro to one of our MIDI Macro 1’s mod ring over to LFO 1’s Rate of Macro 2 now transforms the sound into
controller’s knobs via MIDI Learn. knob to assign it. a wash of ambience.

4 Next, flip on the Filter FX effect, set it 5 Back on the main Osc page, let’s make 6 With our quartet of macros set up, we
to a 24dB/oct high-pass filter (High 24 things more twisted by using Macro 4 also assign 2, 3 and 4 to MIDI rotaries.
mode), and direct Macro 3 to control its to detune both oscillators via their Fine Their names give them relevance when
Cutoff. Once Macro 2 (renamed to FX controls. Elsewhere in this patch, the we revisit this patch another time –
Mix) is increased, we can sweep the frequency of Osc B is being modulated by remember to save your preset! We then
ambient ‘wash’ out to thin air using Macro Osc A, so we assign Macro 4 to Osc B’s proceed to automate all four macros,
3 (labelled High Pass) – ideal for some Warp knob to sweep this open. We transforming the sound from a warm pad
trippy transitions! rename Macro 4 to Detune FM. to a gritty FM-style tone.

62 / MUSIC PRODUCER’S GUIDE TO SYNTHS

BPM TRIG

ANCH ENV synth secrets / make synth music now <
TRIP OFF

DOT RATE RISE DELAY SMOOTH

> Step by step 5. Building an eight-knob powersynth from scratch in Ableton Live

1 Here in Live 10, we kick things off by 2 In the Instrument Rack’s Chain List, 3 Next, duplicate this second lead
loading an Instrument Rack on a new we hold Alt and click and drag down synth’s Chain along with its EQ Eight.
MIDI Track, then calling up an instance of on the first chain to duplicate the Diva In this third layer, we call up the
u-he Diva inside the rack. We call up the instance to a second Chain. In this second Percussive >> HS Kit 1 preset: a synthetic
MK Bass Pack Leader preset and record Diva instance, we call up MK 90s Rave tom sound that adds a punchy transient
in a moody synth melody in the key of Minor patch from the Lead section. We and white noise. After naming each Chain
Amin. This first patch will provide the low add an EQ Eight in this chain, then sweep to Bass, Lead and Top, we’re ready to
end and ‘body’ to our overall sound. away low frequencies below 100Hz. assign the Rack’s eight macros.

4 On Bass Chain, click Unfold Device 5 Similarly, assign all three Divas’ filter 6 Diva does have a delay effect, but we
Parameters and toggle Configure. In Resonance to Macro 2. Within both can integrate some of Live’s native
Diva, click cutoff Frequency to add it into the Lead and Top Divas, the Plate 1 effect devices into our multilayered synth for
the Device Parameters list. By right- is active: we direct their Wet controls to more control. Add Ping Pong Delay to the
clicking on the Frequency control here, Macro 3, creating a Reverb macro. Assign Lead layer. After tweaking settings, we
we Map to Macro 1. Repeat for the other the Top synth’s Plate 1 Decay to the same paste this device to the Top synth’s Chain.
synth layers, so the three cutoff Macro 3 for a longer, more dramatic Leaving the Bass layer delay-free will keep
frequencies are controlled by Macro 1. reverb space when Macro 3 is cranked up. our low end clean and uncluttered.

7 We assign the Dry/Wet of both Ping 8 Assign the Bass & Lead synths’ POWER TIP
Pong Delays to Macro 4 – as it’s a Waveform to Macro 5 – we can now
native device, we can simply right-click on switch through oscillator waveforms. For >Layering up
the parameter and select Map to Macro 4. hands-on amp envelope tweaking, map
From here, it’s a case of deciding which the Decay of all three synths to Macro 6, One way to give your custom
parameters will be useful to access from and Sustain to Macro 7. Drop identical Instrument Rack synth more front-
our eight-knob synth’s Macro panel… Overdrive devices onto all three layers for panel knobs is by nesting a Rack
crunch, then map Dry/Wet to Macro 8. within another Rack, giving you
eight more Macro controls. From
here, you can drop extra processing
devices within the Rack, and assign
even more parameters to those
same knobs.

We used three instances of the
same synth here, but you can go
further and design your own dream
tool using different synths for each
layer. How about analogue-style
bottom end for weight, backed up
with a modulated digital midrange?

MUSIC PRODUCER’S GUIDE TO SYNTHS / 63

> make synth music now / synth secrets

Three tips
for creative
filtering

Take your synth’s filter beyond
the basics and explore new
worlds of tone shaping…

SELF-OSCILLATION 5. Drift ’n’ shift

Your synth may feature a filter that To add analogue-syle ‘instability’ to a synth sound, assign an LFO to waver
outputs a tone of its own. If it does, the pitch of each oscillator. Dial in very small (but noticeable) modulation
silence all oscillators, then crank up filter amounts, but deactivate the LFO’s retrigger, so the modulators don’t
resonance all the way. If your filter offers retrigger from the same point in the wave over each new note. This
a keytrack amount, turn it up – you’ll now inconsistency creates a subtle detuning effect that’s constantly changing,
be able to play this filter tone mimicking the pitch drift of analogue oscillators. You needn’t stop at pitch,
chromatically. It’s an excellent technique either: use the same LFO to affect multiple parameters (eg, filter cutoff,
for synthesising flutes, organs and keys. envelope decay, volume or pan). This almost ‘random’ movement will help
your patch sound much more appealing to the human ear over time.

GURGLING FILTER

Set up a sample-and-hold LFO to
modulate filter frequency and/or other
influential parameters, then direct a
second S+H LFO to modulate the rate of
the first. This is really great if you want
endlessly evolving and complex
sequenced filter movement. Try
assigning the first LFO to oscillator pitch
for some R2-D2-style sci-fi bubbling.

ROUTE TO VICTORY 6. Super stepping

Synths with multiple filters often feature Start with your synth’s customisable modulator signals (such as an MSEG,
optional routing topologies. In serial stepper or sequencer), then use this to move multiple parameters across
mode, you can feed the first filter’s output the entire synth. Once everything’s dancing to the same signal, small
into the second filter’s input; in parallel, changes in curve shapes or mod amounts can result in massive changes to
the two filters will output side by side. If the overall sound.
possible, automate or modulate the
serial-parallel control to dynamically fade Reveal Sound’s Spire features a great Step modulator. Within each of its
between routings. 16 steps, add extra points, reverse the shapes, and curve the wave in various
ways. And with 15 modulation slots, each providing four modulation targets,
it’s unlikely you’ll run out of destinations to modulate.

64 / MUSIC PRODUCER’S GUIDE TO SYNTHS

TRIG synth secrets / make synth music now <
ENV
OFF

RATE RISE DELAY SMOOTH

07

Sidechain
synthesis

Some softsynths (such as FabFilter Twin 2 08 Audio-rate modulation
and Logic’s ES1/ES2) feature an external
sidechain input. This allows you to use any Modulate a synth parameter with an unsynced LFO,
audio source from your DAW to trigger then dial this modulator’s speed up into the audio
modulation within the synth. Interestingly, range (above 20Hz and beyond). The modulation
this modulation will be forced into the same becomes audible, and introduces gritty sideband
rhythmic shape as other elements in your harmonics into the original signal. Direct this
project, provided you use a prominent track modulation to wobble pitch, and you’ve set up a crude
element as your trigger – the kick or snare form of FM synthesis. Wobble filter cutoff at audio rates
being an obvious candidate. and you’ve got filter FM! But don’t stop there: use
audio-rate LFOs to modulate filter resonance, pan
You could use it as a mixing technique, amount, wavetable position, amplitude and more.
too: close your synth’s filter cutoff when the
kick drum fires, or use sporadic mix sounds
such as crash cymbals or FX to alter LFO
rates or oscillator wave shapes.

See us explore the power of sidechain-driven synthesis
using Logic Pro’s workhorse ES1 synth – flip over to p34

09 Self-modulating synthesis

Semimodular synths often allow you to route a modulator signal back into itself.
Let’s explore the concept using Aalto CM and its retro-inspired step sequencer…

1 Fire up Aalto CM’s Just The Facts 2 Next, cable the Sequencer’s output to 3 Finally, we take the output of the
preset. Envelope 2 is already routed to the filter Cutoff’s input. Turn all the Sequencer and route it back into its
modulate filter Cutoff. We increase the sequencer steps on, sync the modulator own Host Ratio amount. Turning up the
modulation amount and change Envelope to our DAW by toggling Host, then turn on mod amount now causes all sorts of
2’s shape to a faster Attack and much Key Trig and set the Host Ratio to 3/2. To pleasant havoc with the sequencer’s
slower Release. We push up the filter’s Q quickly call up some interesting step speed – it’s altering its own rate by itself!
(ie, resonance) and pull back the Cutoff values, select the sawtooth waveform. We also route Envelope 2 into the
for more of a resonant sweep. Some sci-fi style filter movement is now sequencer Host Ratio and add a splash of
nicely underway… Reverb for good measure.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 65

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synth focus / make synth music now <

SYNTH

FOCUS

Harness the power of some popular
softsynths – from unique oscillator
detuning to DIY wavetable creation

Just as a guitarist covets his or her collection another. However, once you get your head around
of guitars, today’s computer musician is one or two synthesisers and their workings, those
typically a software hoarder – and it’s easy to skills are cemented into your subconscious and can
understand why. Despite lacking the tactility of a pretty much be applied across the board.
physical instrument, each digital synthesiser has
its own unique personality: some are ‘do-it-all’ That's why, to follow on from our broader Synth
chameleons that tackle multiple types of sound Secrets section, we're going to get more specific
generation, while others are more esoteric and and celebrate those aforementioned personalities
cater to one particular sonic niche. with a hands-on guide to some of the most popular
This enormous range of choice makes it and well-loved virtual instruments in the world
somewhat tricky for the beginner to grasp basic today. Starting with a tour of the lesser-known
synthesis principles. A guitar is essentially a guitar, features hidden inside NI's frequency-modulation
no matter the model – but every paid-for or powerhouse FM8, and including guide to creating
freeware synth features a completely different GUI, wavetables in Xfer's modern classic Serum, we'll
and a common control on one synth is probably show you around these powerful sonic weapons
named and positioned completely differently on with the aim of inspiring your sound design
adventures, no matter the genre.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 67

> make synth music now / synth focus

Three more > Step by step 1. Processing audio with NI FM8’s MFX plugin
powerful FM
softsynths

Ableton Live Operator 1 NI’s FM8 synth has a great Effects 2 Now we’re getting audio through the
This bundled instrument provides a section, and you can use these to plugin, we can add a touch of FM to
more intuitive GUI than many FM process any other audio signal. Insert the the sound by routing In back into itself,
synths. The tempo-syncable FM8 MFX plugin over a drum loop. First, achieved by clicking and dragging up on
envelopes are excellent modulators, we need to connect the output in the FM the box above – turn this up to 34. We then
especially when looped. Or, draw in Matrix: right-click the In box to turn it on, head to the Effects page and begin
your own waveforms and direct them then drag up in the square underneath processing our drum loop with some of
to modulate other operators. and set Volume to 100. FM8’s creative effects…

u-he Bazille
Although Urs' monster is (and can be)
many things, it’s an FM synth at heart.
Its semimodular architecture is a
sound designer's dream: try patching
modulators into a Multiplex slot, then
use that to modulate an oscillator's
FM parameters.

Digital Suburban Dexed 3 Time to use Talkwah, a ‘wah’ filter 4 Next, PsycheDelay offers reversible
As a direct emulation of the DX7, this with a Mouth control that’s excellent and pitchshifted delays. We turn on
freebie is a bit more complex. Use the for automated vowel effects. Increase Size Sync and automate parameters, turning
Algorithm control to call up different and turn Bright on – the effect is quite on Reverse for some spot fills while
routing topologies, then experiment drastic, so turn down the master effect pitchshifting the delay at the end of four
with tone- and timbre-altering effects. Amount a tad. We also add Reverb, bars. Finally, we add a Chorus/Delay, with
pushing the Bright up while increasing the Time low and Feedback high, adding
Time and Treble. a ‘slapback’ effect of sorts.

> Step by step 2. Four-stage sweeping movement with FM8’s XY Morph Pad

1 Using FM8’s X/Y Morph Pad, you can 2 Operator A and B are inactive now, but 3 For our third morph, we change
create four different snapshots of a the patch has some settings dialled in. waveforms for some of the Operators,
patch, then morph between them for Click and drag up in the box routing them and apply different routing in the Matrix.
drastic or subtle variations. Load the FM8 into Operator Z (the filter), and modulate This gives us a version rhythmically
Bass For Morphing preset, then open the each Operator with each other – and route similar to the first, but slightly different in
Easy/Morph page. Drag the Morph them into themselves. Turn off the output tone. For the final morph, we create a high-
square to the top-right corner, then head for Operator F. On the Effects page, take passed version of the second, increasing
to the Ops page. the effect Amount up. the FM from Operator A to B.

68 / MUSIC PRODUCER'S GUIDE TO SYNTHS

synth focus / make synth music now <

Reveal Sound Spire > Step by step 3. Spire’s oscillator waveforms and modes

Reveal Sound’s Spire is 1 Spire’s four oscillators are capable of 2 Select HardFM (ie, phase modulation)
something of an all-rounder producing a multitude of tones. A mode. Ctrl A now governs modulation
synth, offering many synthesis synthesis type is selected via the amount, while Ctrl B alters the frequency
types along with tons of weird dropdown at the top of an oscillator; once of the modulator. For interesting timbral
and unusual waveforms. It’s chosen, the waveform is shaped via the movement, we’ll head to the mod matrix
found favour with trance, Ctrl A and Ctrl B knobs. Start by loading and tell the Stepper 1 modulator to
progressive and electro-house the Spire Sequence preset. wobble both Cutoff 1 and Ctrl B.
producers thanks to its quartet
of oscillator modes, flexible LFOs 3 We can also mix in another oscillator 4 We duplicate our Spire instance, and
and advanced modulation using the Waveform dropdown. Once this time opt for the Vowel oscillator.
system. It can do much more selected, we can use the Wt Mix control to Ctrl B now affects formant frequency. The
than big-room sounds, though: blend between our initial wave and this modulation we set up in step 2 is sweeping
the hybrid architecture allows new one. We call up the Organ 1 wave and some nice vocal movement. We can also
for dubby stacked chords, set Wt Mix to past halfway, dirtying up our now morph between A-E-I-O-U vowels
organic textures, warped synth signal. with Ctrl A. Finally, we drop Octave to -1
ambient spaces and beyond. and select the Bayan 1 waveform.

Spire’s four oscillators let you
stack up to nine unison voices for
supersaw heaven, and these
unison voices can be offset by
musical intervals (fifth, octave,
etc). Classic, Noise, FM and
AMSync modes are available.
The waveshaping control,
meanwhile, allows for hands-on
waveform sculpting – it's ideal
for crafting novel ‘growl’ timbres,
for example.

In Spire’s mod matrix, you can
direct a single modulator to up to
60 targets – more than anyone
could ever need! – and also add
two sources in each of the 15
slots, which encourages even
more creative and experimental
modulation.

Spire’s effects are also
excellent. Shaper offers a variety
of gnarly and aggressive
flavours; Reverb includes a
pre-delay sync option for
rhythmic spatial effects; and the
one-knob compressor keeps
dynamics in check – essential for
when those voices stack up!

> Step by step 4. Exploring Spire’s Unison modes for unique stacked chords

1 Load up the Spire Chord preset from 2 Detune tunes the unison voices apart, 3 From here, we can experiment with
Tutorial Files and trigger this one- while Density irregularly detunes Unison modes across the four
note synth stab. In the Unison Mode them depending on the selected mode – oscillators to build a custom chord overall.
section, we change Voices to 5 – this we push this up a bit for now. We then We turn on Osc 2 and Osc 3 to add some
instantly creates a thicker signal. From raise Wide to pan the voices out. Next, low-end weight and noise. We turn on Osc
here, we have a few options for defining from the Unison dropdown, we select 4, and dial in 5 voices, this time selecting a
how these five unison voices interact… Minor3rd – our five detuned voices now Minor7th chord.
form a minor 3rd chord.

MUSIC PRODUCER'S GUIDE TO SYNTHS / 69

> make synth music now / synth focus

Logic Pro’s ES1 > Step by step 5. Old-school lead with Logic ES1’s Filter FM

Although somewhat 1 Call up ES1 and load the FM Lead 2 Drag the rightmost slider’s triangles
overshadowed by some of preset from Tutorial Files. Our MIDI is fully up to apply modulation, then turn
Logic’s more fully-featured triggering the synth in the key of A minor. the Mod Envelope’s Form dial anti-
instruments, the power of ES1 We tweak filter settings for a garage-style clockwise to -140ms, which causes the
shouldn’t be underestimated. Its tone. In the modulation matrix, the Mod modulation to decay out quickly, creating
beauty is in its apparent Envelope is already assigned to Filter FM, tight, plucky Filter FM modulation – turn
simplicity, which makes meaning the oscillator’s triangle wave will down the Cutoff to hear this more clearly.
workflow and sound design a modulate the filter’s frequency…
breeze. Featuring two oscillators,
ADSR envelope, a sweet- 3 At the top of the modulation amount 4 We can take this velocity modulation
sounding low-pass filter (with slider you’ll see Int via Vel, which one step further by dragging the blue
self-oscillation, drive and four means you can very easily make the range in the ADSR via Vel slider. We also
slope types), pre-wired velocity modulation amount velocity sensitive. push up the filter’s Key value, which
assignments and a mod matrix This is achieved by setting a different causes the filter’s frequency to track note
for hooking up LFO or mod value for each of the slider. Now, the Filter pitch. And for a different take on the
envelope modulation to a FM is stronger when you play harder MIDI sound, we push the mod envelope’s Form
selection of the synth’s controls. notes, and softer with lighter key presses. towards Attack for a warpier effect.

Elsewhere, an Analog box
lets you dial in warmth, randomly
applying subtle pitch and filter
cutoff fluctuations, while the
Chorus function offers three
different flavours (two chorus
types and an ensemble) for
adding analogue-style thickness.

Although the factory presets
leave a little to be desired, spend
a litle time programming your
own sounds and you’ll be
crafting analogue bass tones,
Moog-esque leads and vintage
strings in no time. Dive a little
deeper, and you’ll also discover
it’s a dab hand at experimental
percussion hits, dynamic special
FX and wonky modular-style
sequences.

It’s got a few more tricks up
its sleeve, too, such as Filter FM
and external sidechain
functionality – as we’ll explore on
this page.

> Step by step 6. Using an external sidechain signal to modulate Logic ES1’s filter

1 From Tutorial Files, call up ES1 on a 2 Next, we’ll tell the synth’s LFO to 3 To pipe the drum loop’s audio signal
MIDI track and load the ES1 Bass modulate filter Cutoff via the Router, through ES1, we head to the Oscillator
preset, then place Drum Loop.wav on a then drag up both arrows to dial in max section and flip the Sub’s wave to Ext. We
new audio track and route this track from mod amount. By setting the LFO’s Wave to can now process this audio with the
Stereo Output to No Output – this loop Ext, our silent audio loop is now synth’s parameters – here, we filter and
will act only as a sidechain trigger. Pop modulating the filter, creating a unique drive the drum loop in with our bass
open ES1’s Side Chain dropdown (top rhythmic effect that is emphasised when sound for a sweeping, funked-up vibe.
right) and select the audio track. we bring down the filter’s Cutoff.

70 / MUSIC PRODUCER'S GUIDE TO SYNTHS

synth focus / make synth music now <
> Step by step 7. Ableton Wavetable’s oscillators and modulation

1 With Wavetable instantiated in Live, 2 Drag the Wave Position slider to scan 3 Now turn on Osc 2, select the FM Fold
head to the Tutorial Files folder at through the different waveforms wavetable, then set Wave Position to
FileSilo and drag the Wavetable Lead contained within the table; here, this 64%. Back in the Matrix, modulate Osc 2
preset onto the synth’s interface. This sweeps through a sine to a pulse-style Position with Env 2 , then modulate Osc 2
patch uses Env 2 to modulate Filter wave. In the Mod Matrix, assign Env 2 to Position with LFO 1 for hands-free
Frequency. In Osc 1, we navigate to the modulate Osc 1 Position. Our envelope is movement. In the green MIDI matrix, push
Vintage category and select Sub3 now gradually opening both the filter and LFO 1 Rate »Velocity up, then vary key
Shapes as our first wavetable. wavetable position with each new note. presses to dynamically alter LFO speed.

> Step by step 8. Gnarly build-up synth with Ableton Wavetable’s oscillator FX

1 Wavetable's oscillator FX can create 2 From the FX menu, call up the 3 Next, use Env 2 to modulate Osc 1
some incredible sounds when you Modern effect, which "uses phase Fold, then dial in a slow 6.33ms Attack
experiment. Load the Gnarly Wavetable distortion to warp the oscillator." Trigger a for Envelope 2. With the waveform now
Effect preset from Tutorial Files, and use note while sweeping the Warp and Fold being stretched and shrunk all over the
a C3 note to trigger the synth. In Osc 1, we controls – Wavetable gives an excellent place, let's set up Osc 2: load the Vintage »
load the Distortion » Clipped Sweep graphical representation of what’s JUP SawPulse wavetable, with a Wave
wavetable, and move the Wave Position happening to the wave. We set Warp to Position of 39%. Again, load an Oscillator
until you find a wave you like – we settle 3.1%, Fold to 17%, then modulate Osc 1 FX – this time, FM.
upon 52%. Warp with LFO 1 via the Matrix.

4 The FM mode adds classic frequency 5 For more timbral wiggling, modulate 6 To tighten up the sound and induce
modulation-style harmonics via the Osc 2 FM Amnt with LFO 1. Next, by more manic wobbling, we use LFO 1 to
two controls. Set Amt to 5.5%. Leave Tune modulating LFO 1 Rate with Env 2, our modulate Filter 1 Frequency. We then
at 0%, but modulate it (called Osc 2 FM slow envelope now speeds up the LFO direct Env 2 to modulate master Pitch of
Pitch in the Matrix) via Env 2, which now over the course of a note, which also the whole synth for increased tension as
gradually sweeps up the FM's 'pitch'. This winds up Osc 1 Warp and Osc 2 FM the sound rises. For an alternative take on
creates an uneasy rise in tone – perfect for Amount. Trippy! our wind-up tone try the inverse and
confusing a 3am dancefloor. descend a fast LFO down in pitch.

MUSIC PRODUCER'S GUIDE TO SYNTHS / 71

> make synth music now / synth focus
> Step by step 9. Turning audio files into Serum wavetables

1 Xfer Records Serum lets you easily 2 If you don’t know your sample’s pitch 3 As we know 808 Dist F.wav’s pitch,
resynthesise any audio file into a already, drag it over Osc A’s wavetable click Osc A’s pencil icon to open the
wavetable oscillator. Although you can try display and drop it onto one of the import Wavetable Editor window. In the
converting absolutely any audio, it’s options that appears. Import: Normal horizontal Formula Parser strip, click and
recommended to use a low-tuned single- (Dynamic Pitch Follow) should generally type F0. Now drag 808 Dist F.wav onto
note sample with a consistent pitch. To be the first option you try. However, if you the editor, and Serum will analyse the
demonstrate, we’ve provided a collection know the pitch of your sample, there’s a sample in 1010-sample-long chunks and
of one-shot synth samples in this issue’s better way to import it… resynthesise it into a wavetable oscillator.
Tutorial Files folder.

4 Different DAWs confusingly use 5 Our sample has been divided into 87 6 Next, it’s a good idea to refine the
different octave standards, so use a individual frames, indicated by the scanning through the frames. As we
spectrum analyser if you need to measure bottom horizontal row of numbered converted a punchy 808 bass sample, our
your sample’s fundamental frequency Thumbnail overviews. Click through the wavetable has a clicky ‘thump’ at the start.
before importing. 808 Dist F.wav’s thumbnails: you’ll notice that each frame To smoothen the back and forth motion
fundamental frequency is 44Hz, meaning contains approximately one wave cycle. through the ’table, we can trim away
it’s an F1 note. But as in the previous step, Play a MIDI note as you click through the unnecessary frames from the start and
telling Serum our sample was F0 gave a thumbnails, in order to audition one of end of the wavetable…
better result. Experimentation is key! these static frames.

7 To delete the frames containing this 8 Our wavetable oscillator contains only POWER TIP
‘bump’, select Thumbnail 10 and click 67 frames of a maximum 256. Select
the Add/Remove menu and choose one of the Morph options (we choose >Refining your
Remove: Beginning to Selected. Next, to Morph » Crossfade), and Serum fills in the wavetables
delete the final few inconsistent frames, remaining gaps with interpolated
select frame 68 and choose Add/Remove wavetables for even smoother motion First, try all the different import
» Selected to End. Now scan through the between them all. From here, you can options, including the four FFT
wavetable’s multiple frames: the manipulate and process your wavetable modes, and see which sounds best
interpolation is smooth and consistent. like any other synth oscillator. when you play across the keyboard.

If you get crackling artefacts, use
the Wavetable Editor’s Process »
X-Fade Edges option to smoothen
frame crossing points. Process »
Normalize will even out levels
across the frames.

To fill out your wavetable with
interpolated frames, use a Morph
option. Morph » Crossfade will fill in
gaps with volume crossfades, while
Morph » Spectral will add additive-
style resynthesised frames.

72 / MUSIC PRODUCER'S GUIDE TO SYNTHS

synth focus / make synth music now <

Creative ways to generate Serum wavetables

01 REACH FOR LOOPS 02 RESAMPLE SERUM’S 03 TEXT TO
Although it’s advised to import a one-shot OSCILLATORS SPEECH
sample with a consistent pitch, this doesn’t
mean you can’t try out other types of audio files. For On Serum’s Edit page, select Menu >> Type one or more words into the
example, throw in a long synth loop featuring sparse Resample to Osc A/B. Serum will render one bar of Formula Parser (inside quote marks), and Serum will
notes, then scan through this wavetable’s WT Pos the entire synth’s output, convert the signal into a convert the speech into an 8-bit talking wavetable. In
with a speed-shifting LFO to create animated wavetable, and load it up in the oscillator you order to tame the digital harshness, you’ll want to
rhythmic bursts. selected. Use this to go further and further down the dive into the WT Editor’s menu options and
sound design rabbit hole! smoothen out the timbre.

04 LFO DRAG 05 IMPORT IMAGES 06 DRAW YOUR OWN
Alt-drag from an LFO’s top bar to Drag a PNG file onto a Serum oscillator Use the WT Editor’s various drawing
another to copy it to another LFO slot – to convert the image into an audio tools to pencil in single-cycle waveforms.
but Alt-drag to an oscillator, and that LFO shape will wavetable. Serum maps the image’s pixel luminance Alternatively, if you want to get geeky with FFT
be turned into a single-cycle frame. Easy! Create a to amplitude – in other words, darker sections synthesis, you can precisely draw in a waveform’s
second frame in the WT Editor, go back and Alt-drag represent higher amplitude, while white equates to harmonics (and their relative phases) via the top
a second LFO shape, then choose a Morph option to minimum amplitude. Click on the Osc’s 2D wavetable Harmonic Editor.
interpolate between the two and create a unique display to see your wavetable image in 3D.
morphing wavetable.

More Serum power tips

Click the Filter’s Mix label to switch it to ‘hidden’ mod sources (such as four NoteOn menu. Now, when you change presets,
Level mode. This control is no longer a options and the Chaos oscillators) and locked sections won’t be changed.
wet/dry balance – instead, it now controls the destinations (like Master Tune) are only
filter’s final output level, so you can regain available via right-click or the Matrix. In the Mod Matrix tab, pop open the top-
your signal after filtering and drive. right arrow to reorder the Matrix list by
Need to trigger a MIDI note hands-free? Source or Destination. You can also lock the
The Noise oscillator section doesn’t Shift-Alt-click on one of Serum’s bottom entire Matrix here, as per the previous tip.
feature a Fine tune control – instead, you’ll piano keys to hold that note.
find this in the top-right Oscillator Settings When modulating pitch, double-click the
section of the Global tab. Use Serum’s Global >> Unison section to Amount slider in the Matrix and type a
precisely customise the semitone Range, semitone value, eg, 12st. This will lock your
When choosing LFO presets, Alt-click the Width, Warp, WT Pos, Stack and mode of the pitch modulation to a musical range. Use an
little folder icon to scan through them. two oscillators’ unison voices independently. LFO to do this, then type two values in its Grid
Shift-Alt-click to go back through the presets. box (eg, 8,12) to set vertical and horizontal
Right-click a module (say, the Filter’s grid sizes. Alt-Shift-click and drag in the LFO
Drag-and-drop is the easiest way to hook header bar) or parameter (eg, filter to draw steps locked to the grid. Voilà – the
up modulation in Serum, but some Cutoff) and select the Lock option from the LFO is now an arpeggiator!

MUSIC PRODUCER'S GUIDE TO SYNTHS / 73

> make synth music now / synth focus

Synapse Audio Dune 3

Users awaiting the latest Dune came for the Wavetable Editor – but
stayed for the improved filter section and oscillator stack

Richard Hoffman’s epic hybrid analogue/FM/ import and export of wavetables up to 256 Dune 3 offers an Equalizer section with technology from
wavetable synth has been one of our go-tos for waveforms in length; but actually, in day-to-day Synapse’s GQ-7 Graphic Equalizer Rack Extension
all kinds of sounds ever since the arrival of Dune usage, it’s the dual filter that will prove most
2 (which we scored 10/10), which built so relevant for most. There’s really no doubt about it: Synapse
successfully on the groundwork laid by version 1 Dune 3 is quite simply one of the finest synths
(8/10) that it might as well have been relaunched Yes, you now get two filters, plus a re-routable that money can buy, and if you haven’t already
as a whole new instrument. insert slot for plumbing in one of a range of filter got it in your plugins folder, you’re quite frankly
effects (distortion, comb filtering, etc), massively missing out.
Dune 3 (10/10) isn’t as gamechanging a increasing the creative possibilities presented
transformation as its predecessor, but it adds by the filter section.
enough new features and makes enough
improvements to existing features to rekindle Then there’s the Swarm oscillator stack,
the interest of long-term users and prove even which takes Dune’s already insane unison
more attractive than before to newcomers. capabilities (up to 8320 voices!) into wild new
territory with its per-voice modulation; and a
On paper, the most significant new addition complete overhaul of the effects section,
to Dune 3 might appear to be the Wavetable including a considerably more flexible
Editor, facilitating comprehensive editing, parametric EQ.

> Step by step 10. Synapse Audio Dune 3’s Swarm oscillator and dual filter

1 Dune’s Oscillator Stacks enable dense 2 The default Oscillator Stack, top right, 3 Now switch the Stack from Linear to
tones to be generated by each is Linear, which spaces the oscillators Swarm. Immediately, you’ll hear a bit
oscillator before you even get to the eight- in the stack evenly. Increase the Density more movement and depth, as the
voice Unison section, and with v3’s new from 1 to 8 and set both the Detune and frequencies of the oscillators in the stack
modulated Swarm mode, those stacks can Spread to 70%. There’s your conventional are individually modulated. The Rate
sound bigger than ever. Select Initialize unison stack, with each oscillator detuned knob controls the speed of the modulation
Patch from the Patch menu, and drop the around the main frequency and spread – lower it from the default 50% for
Filter 1 Cutoff to 80% to take the edge off across the stereo field, but remaining obvious slow sweeping, or raise it for a
that naked Ramp Up oscillator. resolutely static. faster, more ‘phasey’ effect.

4 The most profound change made to 5 Let’s bring the second filter in. Click 6 The Filter Effect menu has a range of
Dune’s architecture for version 3 is the Filter 2’s type menu (currently Off) options, including further filtering,
upgrade to a dual filter (including loads of and select CL Deep Notch to set up a four- distortion and phasing. Make a choice and
new filter modes) with an insert effect slot. pole notch filter, then set the Cutoff knob dial in the effect with the Amount (AMT)
Load the Miami Carpark ARK patch from to 40%. Nothing happens! That’s because knob. Clicking the Route graphic opens a
the Chords section of the Dune 3 Factory the Balance control, which blends the two menu of signal flow options: Filter 1 into
Soundbank. This uses only Filter 1 and has filters, is currently set to 100% Filter 1. Filter 2 with the effect at all three possible
no insert effect loaded. Turn it to 13% F2 to get a mix of both, positions, and both filters feeding into the
biased somewhat towards Filter 2. effect in parallel.

74 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth focus / make synth music now <
> Step by step 11. Getting started with Dune 3’s Wavetable Editor

1 Dune 3 improves on the wavetable 2 There are 47 wavetables onboard. 3 Let’s start by editing one of the
features of Dune 2 with the addition of Load MH Phase Dist 3 from the existing waveforms. Select waveform
the Wavetable Editor. Select Initialize Wavetable menu, and then click the Edit 16, then click the blank menu at the
Patch from the Patch menu, then switch button to open the Wavetable Editor. Here, bottom right. This holds a variety of preset
the one active osc from VA to Wavetable you will see the 16 waveforms of the waveshapes generated using the Formula
(WT) mode. The default three-waveform wavetable arranged in a row at the Editor – select Bell 1 to load that wave.
table is loaded – sweep through it with the bottom, and the currently selected Now we can edit it using the middle three
Position knob, and adjust interpolation waveform in the main window above. of the five tools at the top left, zooming in
smoothness with the Interpol knob. and out if required.

4 The Pen tool is used to edit the 5 Clicking the right-most tool button 6 The top left Menu houses a range of
waveshape directly – simply drag in opens the Additive Editor, where the waveform-transforming operations
the main display to shape the curve. The individual partials making up the including Invert, Reverse and Normalize.
Line tool creates a straight line from the waveform can be tweaked – handy for Here, you can also import WAV files, as
start to the end of each drag. And the making organ-type sounds. The top series single waveforms or complete wavetables
Segment tool lets you create a series of of vertical bars control the amplitude of – let’s try the former. Select Wavetable 1 in
contiguous lines by clicking nodes in and each partial, while the bottom bars adjust the bottom row, then Import WAV
dragging them around, then turn them the phase. Select any other tool to exit the (Single-Cycle) from the Menu, and load in
into curves by dragging on them. Additive Editor. a short sample of your choice.

7 The sample is squeezed down to a tiny 8 Select Morph Wavetable from the POWER TIP
2048 samples in length and added to menu to do exactly that. The result is a
the wavetable. Now we have our edited 16-slot wavetable that interpolates nicely >Importing WAVs
waveform at the end of the ’table and our from our imported WAV to the edited
imported wave at the start. Wouldn’t it be shape we made earlier. To make the The two Import WAV To Wavetable
great if we could automatically fill all the transition even more detailed, increase options differ in how they spread
slots in between with a smooth transition the number of slots (up to a maximum of the WAV across the waveform slots.
from slot 1 to slot 16? 256), drag the last waveform slot to the Selecting Import WAV (Fit To
end of the row and Morph again. Wavetable) divides the WAV up into
exactly the number of waveforms in
the current wavetable, regardless of
length. Opting instead for Import
WAV (Adjust Wavetable) creates a
new waveform every 2048 samples,
resizing the wavetable. Pick this if
the WAV you’re importing has been
created for use as a wavetable and
thus adheres to the standard table
size of 2048 samples.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 75

> make synth music now / synth focus

Nektar Technology Bolt

You might know this American company as a manufacturer of MIDI
keyboards and controllers, but they make synths, too!

Based on the ‘multi sine oscillator’ synthesis filter. Unlike an additive setup, though, where Bolt’s one-screen interface helps make it easy to use
technology originally developed by Professor Dr the harmonics are produced by a whole bank of
Udo Zoelzer of Hamburg’s Helmut Schmidt sine wave oscillators, Bolt does it all in just one – genuinely wonderful world, either.
University, the first ever softsynth from MIDI it’s really rather clever. Easy to use, creatively rewarding and
controller builders Nektar Technology is
something of a… well, bolt from the blue! You Groundbreaking synthesis technology might perfectly affordable, Nektar’s Bolt is one of
see, what makes Bolt genuinely different to be music to the marketing department’s ears, the most surprising recent releases in the
anything else that’s currently out there is the but if it doesn’t actually bring anything new to world of softsynths.
architecture of its two oscillators, which use a the table sonically, it’s all for nought.
technique the developers have described as
“harmonics synthesis”. While Bolt won’t knock your perspective on
synthesis off its axis in any sense, its unique
The way this works isn’t a million miles away parameter array and intuitive one-screen
from additive synthesis: a series of harmonics is interface do push it in certain directions that
generated and shaped directly to effectively other synths don’t dare travel; and it sounds
produce what, in an analogue synth, would be fantastic – punchy and energetic.
the output of the filter – ie, there is no actual
At just £89, Bolt doesn’t let price stand as a
barrier to entry into its slightly weird but

> Step by step 12. Getting started with Nektar Bolt

1 Bolt’s big draw is its innovative 2 Clicking the Oscilloscope switches it to 3 The Harmonics knob on each
oscillator design, which uses the Spectrum view, showing the oscillator reveals more upper
“harmonics synthesis”, removing the need harmonics that make up the waveform. harmonics the further clockwise it’s
for a filter. Click the preset name at the top Bolt isn’t an additive synth, and you can’t turned, while the Rolloff knob determines
and select Default to initialise the synth. manipulate these harmonics directly the angle of the slope at which the volume
The default patch has both oscillators within the display. Rather, the two of the harmonics above the ‘cutoff’ point
active and identical, creating a simple oscillators are manipulated and combined drops off. Cranking both of them up to
tone, the waveform of which is visible in using just a handful of controls to form around 2 o’clock for Oscillator 1 adds a lot
the Oscilloscope display. complex and characterful waves. of higher frequencies.

4 Clicking Odd makes the Osc output 5 Osc 1 offers two modulation options, 6 The triangle control on each Osc Level
odd harmonics only, and activating it via the FM and XM buttons (only one slider overdrives the signal to
for both oscs gives a hollow, square/ can be active at a time). FM applies analogue-style distortion, and the Sub-
triangle tone. Deep softens the wave and frequency modulation using a sine wave Osc knob brings a copy of its associated
applies a low-end boost – ideal for bass. LFO, while XM uses Osc 2 as a frequency osc pitched an octave lower. Pitch Osc 1 up
Invert inverts the phase of its oscillator, modulation source for Osc 1. We’ve an octave, raise its Drive and Sub-Osc,
for phase cancellation effects when both lowered the Sustain of Osc 2’s envelope shorten both Oscs’ Attack stages and
oscs are set up the same. and activated XM for a punchy attack. activate Bolt’s Chorus for an angry bass.

76 / MUSIC PRODUCER’S GUIDE TO SYNTHS

Waves synth focus / make synth music now <
Flow Motion > Step by step 13. Easy FM and Snapshots with Flow Motion

To our collective mind Waves’ 1 Let’s look at Flow Motion’s intuitive 2 Activate Osc 2 by clicking it, and set it
best synth yet, Flow Motion phase/frequency modulation system. to the Saw waveform. You can’t hear
(review score 9/10) totally Click the Load button at the top right and it, as its volume is set to 0. Raise its bottom
succeeds in its goal of taking the select Full Reset to initialise the synth. We leftmost knob to send more and more of
pain and confusion out of FM now have just a single oscillator its output to the amp and make it audible.
synthesis without compromising outputting a sine wave. We could change The waveform in the central oscilloscope
in terms of programmability and the waveform by clicking it or the arrow will change shape, as it visualises the
quality of results. button below, but we’ll stick with the sine. mixed output of both oscillators.

The ‘sci-fi’ interface puts Flow 3 We only want Osc 2 as a modulation 4 Now let’s get busy with Flow Motion’s
Motion’s four oscillators and source for Osc 1, so turn its volume all Snapshot Sequencer. Located at the
their brilliant hardwired the way back down. Applying our bottom of the GUI, this 16-step sequencer
frequency/phase modulation modulation is as simple as raising the lets you assign a complete ‘Snapshot’
routing scheme on one page knob on Osc 2 at the end of the ‘cable’ (preset) to each step, rolling through them
(Flow), and output processing connecting it to Osc 1, and switching continuously at the speed defined by
(filtering, EQ, amp envelope and between phase and frequency modulation Rate. To start, click the top of step 4 to
effects) on another (Motion). Said by clicking Osc 1’s PM/FM button. make the sequence four steps long.
modulation system makes it
possible to freely apply FM or PM
between oscillators in any
combination, without a mod
matrix or menu in sight. It’s
wicked stuff.

Ever-present in its own panel
on the right is a stack of four
modulators – each switchable
between loopable ADSR
envelope and LFO functionality –
which can be used to animate
many parameters throughout
the synth, as well as the FM/PM
amounts on the Flow page.

And that’s not all! The icing on
the cake is the awesome
Snapshot Sequencer, which
enables rhythmic switching
through a bank of up to 16
complete presets using a step
sequencer, or manually
controlled scrolling via MIDI.
With no import of presets into
Snapshot slots or randomisation,
programming a full bank is quite
a chore, but the potential for
maniacally animated basslines,
pads and even percussion loops
is immense.

Certainly the easiest
implementation of FM/PM
synthesis we’ve come across yet,
and just a great instrument in its
own right, Flow Motion is a
beauty. Oh, and it’s bit of a
bargain, too, at just $99.

5 Click step 1 to select it and edit Flow 6 Click Play in the Sequencer and play
Motion to create a Snapshot patch for some notes to hear your Snapshot
that step. Repeat for all four steps, sequence in action. Mess with the Rate
programming a complete sound for each and order of the Snapshots. We could
one. Snapshots can be copied and pasted extend the sequence beyond four steps in
between steps, and you can set any step length but keep to our four programmed
to any Snapshot by dragging up and down patches for more elaborate progressions
on it. without having to make more Snapshots.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 77

> make synth music now / synth focus
> Step by step 14. Virtual analogue synthesis with Audiaire Zone

1 Let’s create a simple sawtooth patch 2 Time to bolster and tweak our synth’s 3 The Filter’s Cutoff is half-closed by
using Audiaire’s sequencer-tastic tone for maximum density and power. default, so quickly push that up to max
Zone synth (9/10). Set both Osc 1 and 2 to Turn the Sub Oscillator on, raise Level to to open out the patch’s full range of
Saw, then Fine tune both apart by around 0.5, and swap it to a Sine shape for some frequencies. Now to the top-right Unison
2.6 cents for a detuned effect. To shape clean weight; then flip to the Noise tab section: call up 2 Voices, push Unison
the amplitude, set the Amp Env up with and turn up the Bacon noise type to detune to 0.080, then Spread the two
minimum Attack, maximum Decay and halfway, giving the overall tone a crispy, voices out to around 0.5 for stereo flavour.
Sustain, and Release at 0.08. fizzy top end. Lush indeed!

4 Next, head to the synth’s four-slot FX 5 Let’s spice up our saw patch. Head to 6 Sequencing is Zone’s speciality. Drag
section for some reverb-like the Osc Mod section and choose the the Osc Mod Amount’s header bar to
ambience. In the final FX 4 slot, call up the FM (Exp) mode, which is exponential FM – the main Sequencer lane and drop it there,
Rain Drop effect, then set Delay Time to ie, cross modulation, as found on classic creating a sequencer lane to control the
the minimum 0.025s, Feedback to 1% synths like the Roland Jupiter-8. High parameter. After expanding this lane, draw
and Mix to 0.15. While we’re here, slightly values give unmusical dissonance, but a in slight changes in Osc Mod Amount to
push up the three-band EQ’s High and subtle Amount below 0.1 results in lush, create analogue-style fluctuation and
Low gain knobs for more fizz and weight. detuned-style thickness. drifting – subtle but effective.

Sharooz speaks Mod modes, like Exponential FM, which is well-
known from the Jupiter-8, but you don’t
Audiaire’s generally see in a lot of softsynths. And also
Sharooz Raoofi crazier mod modes like ring mod, amp mod,
gives us the multifold distortion modulation, then putting
lowdown on that on a grid – so as a sound evolves, the osc
Zone’s very mod can evolve with it.”
distinctive
approach to oscillator modulation : Speaking of a grid, sequencing is a big part
and sequencing of Zone. Where did that come from?
“I hate looking at loads of DAW automation on
: What inspired you to create Zone? screen, so the idea behind Zone’s sequencing
“It came out of my experiments with the was to give me a way to control many, many
[Clavia] Nord Lead 3. I love how something parameters from within the synth’s one
really simple like holding down an arpeggio window. And beyond simple sequencing,
then tweaking the Osc Mod amount or which can be done with automation, what
shuffling through Osc Mod modes would about if there were a bunch of preset shapes,
completely mutate the sound. So that was and the ability to play around and change grid
where I started. I wanted to put in a lot of Osc size? Once the osc mod and sequencing were
there, I knew this was interesting enough to
base a synth around.”

78 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth focus / make synth music now <

Kilohearts Phase Plant

Swedish software developers Kilohearts are the Kilohearts’ Phase Plant gives modular synthesis a fresh twist – keep an eye out for our review in a future issue
brains behind the awesome multiband
processing environment Multipass, into which click and call up your choice of Snapin effects. on the market already, it takes something truly
the user loads individual effects modules Each Effects lane can be switched into Poly special to stand out from the crowd, but
called Snapins. mode, meaning that each synth voice will be Kilohearts have nailed the balance between
processed independently, and each lane patchable complexity and one-window
A couple of years ago, they incorporated this features gain and dry/wet mix controls, mute/ simplicity. In this tutorial, we’re going to explore
modular approach into their first virtual solo buttons, and a routing matrix. the synth’s superb modular operation and some
instrument, Phase Plant. of the great techniques you can try with it.
With plenty of virtual modular environments
In true modular fashion, each oscillator can
not only output a signal, but also be used to
modulate other oscillator parameters at audio
rates. This way, you can easily hook up FM, AM,
phase distortion and ring modulation effects.

The instrument’s intuitive approach to
modular patching becomes apparent once you
start connecting modules to each other. Simply
click an output node, then click another
module’s input port, then set the mod amount
with the depth knob. The waveforms alter in real
time to indicate changes in timbre and level.

The Generator signal then feeds into Phase
Plant’s three-lane Effects section, where you

> Step by step 15. Exploring modular techniques with Kilohearts’ Phase Plant

1 The single-window interface has three 2 Below this, we’ll load up a second 3 The second sine is now changing the
sections. The left Generators section Analog » Sine. The right flanking phase of the first, and its waveform
is where you load oscillator modules: a arrows show that this second signal isn’t changes shape to indicate this. Before we
wavetable oscillator with presets, being routed to the output – we’re going use modulation to make this timbral
wavetable import and the option to draw to use it to modulate the first oscillator change more dynamic, let’s quickly adjust
your own; a sampler with audio drag-and- instead. We’ll click the second Analog’s the signal’s amplitude envelope – we push
drop; an Analog oscillator for classic VA; bottom-right mod button, then drag the up the Out section’s Decay to maximum,
and a noise generator. Call up an Analog green mod ring around the first Analog’s and extend Release to 100ms.
oscillator and choose a basic sine shape. Phase parameter.

4 Let’s modulate the second, inaudible 5 We can also distort at the oscillator 6 To finish off, we call up a couple of
oscillator’s amplitude. In the level by loading up a Distort module Snapin processors in the first Effects
Modulators section, we load a Random and dragging it just after the first Analog column, found over to the synth’s right. A
generator, click its modulation button and module in the signal path. Again, the Faturator distortion and Ensemble effect
apply modulation to the second sine waveform change is displayed in real time give us the crunch and fatness we’re after.
oscillator’s Level. We’re now wobbling the on the oscillator display. The benefit of this Each of the three effects chains can be
inaudible sine’s volume, for a ‘gurgling’ distortion is that it’s per voice – useful switched into Poly mode, so each synth
rhythmic change in phase/timbre. when playing multiple chord voices. voice will be processed independently.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 79

> make synth music now / synth focus

Cherry Audio Voltage Modular

An audio-visual recreation of a Eurorack system, Cherry Audio’s
Voltage Modular offers an expandable experimental experience

Unless you’ve been under a rock, you’ll be aware inevitably – software developers have joined the Cherry Audio Voltage Modular – a liberating Eurorack
that modular synthesisers are all the rage fray. Case in point: Cherry Audio’s Voltage experience in virtual form
among the electronic cognoscenti, who revel in Modular, whose Eurorack-styled virtual
the ability to expand, interchange and framework allows users to mix and match a
interconnect a vast variety of modules. And why growing catalogue of compatible modules,
not? Electronic music has always been about some included with the basic package, others
cutting a swathe through mundanity, and available from Cherry Audio themselves and
modular synthesis allows musicians the power third-party developers – well, three so far, PSP
to create a unique instrument from an à la carte Audioware, Vult and Misfit Audio.
menu of disparate options. This second
generation of modular is far more pervasive On the surface, Voltage Modular looks and
than the first, and manufacturers big and small behaves like a real Eurorack modular system,
have entered the burgeoning – even bloated – but there are some little known tricks that can
modular marketplace. push your patches far beyond what you can
achieve with even the most outlandish hardware
Still, this is the 21st century and many modular rack.
musicians simply can’t be bothered with
something as archaic as wires and knobs – only The following tutorials will give you a taste of
virtual voltage will do. Thankfully – and perhaps what all the hubbub is about and, hopefully,
show you a thing or two along the way.

> Step by step 16. Building a basic synth voice with Cherry Audio Voltage Modular

1 The best way to get our heads around 2 One immediately noticeable 3 We can test out our Vintage Oscillator
this new system is to use it to build difference, however, is the inclusion of by patching one of its waveform
something familiar, so let’s start by the module library along the left. This can outputs to the 1L (M) input jack at the top
constructing a simple subtractive be hidden to expand the rack space, but of the rack. This is as easy as clicking one
synthesiser voice. Here, we’ve opened we’ll keep it open for now. There’s a of the jacks and dragging a virtual cable to
Voltage Modular in our DAW, but we could module search field in the upper left. We’ll the other. Animated dots along the cable
just as easily have used the standalone type in ‘Oscillator’. All of the available indicate the signal flow, and the Main Out’s
version. As you can see, the bulk of the Oscillators appear. Let’s drag the Vintage meters show us the output level.
GUI looks like an empty rack. Oscillator into our rack.

4 This isn’t so exciting, so disconnect 5 Get an Amp from the Utilities modules 6 To play our patch, we need to go to the
the cable by selecting it and right- and patch the Filter’s Output to the CV Outs module in the top-left, and
clicking, or dragging it from the jack. Let’s Amplifier’s Input. Now, patch the patch a cable from its Gate jack to our
add another module. Right-click in the Amplifier’s Output to the Main Out’s 1l(M) Envelope Generator’s Gate In jack. That
rack, choose Add Module and get a jack. Get an envelope generator from the lets us trigger the sound from our DAW or
Ladder Filter from the Processor Controller’s subcategory. Patch the any connected MIDI controller. To control
category. Route the Oscillator’s sawtooth Envelope Generator’s Env Out jack to the the pitch, route the CV Outs’ Pitch jack to
output to the Filter’s Input jack. Amplifier’s CV In. the Oscillator’s Pitch CV input.

80 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth focus / make synth music now <
> Step by step 17. Delving deeper with Voltage Modular

1 In our previous tutorial, we created a 2 We can further shape the sound by 3 For the sake of clarity, let’s click on and
simple subtractive synth voice. As we tweaking the Envelope Generator. drag that new Envelope Generator to
left it, it only plays a basic sawtooth sound. Reduce the Sustain to nil, and push both a position between the Vintage Oscillator
We can use the Ladder Filter to roll off Decay and Release up to just under the and the Ladder Filter modules. Just as we
some high frequencies, and add a bit of halfway mark. That’s a decent bass sound did before, we’ll route a patch cable from
resonance by reducing the Cutoff – but we can better it by modulating the the Gate jack of the CV Outs module to
Frequency to 0 (or 12 o’clock) and the filter with a second Envelope Generator the Gate In jack on our new Envelope
Emphasis to 4. module. Add that now. Generator. Now both envelopes will be
triggered by the same source.

4 We’ll now patch the new Envelope 5 That’s a more fulfilling bass sound, and 6 We’re going to leave the cable routed
Generator’s Env Out to the Ladder it seems like ideal fodder for a from the CV Outs’ Pitch jack to the
Filter’s topmost Freq Mod jack. Increase sequenced passage. Find an 8-Step Vintage Oscillator for reasons that will
the value of the knob associated with that Sequencer module from the Controllers soon become clear. Nevertheless, we’re
Freq Mod jack to the 3 o’clock position category and stick in the rack, just to the going to route a cable from the 8-Step
(about 63%). Turning to the Envelope left of the Vintage Oscillator. Next, Sequencer’s Output to the Vintage
Generator, reduce its Sustain to nil, crank disconnect both Envelopes’ Gates from Oscillator’s Pitch CV input, alongside the
the Release slider, and set the Decay to the CV Outs module and patch them from first cable that we put there in the
about 20ms. the 8-Step Sequencer’s Gate out instead. previous tutorial.

7 Clicking Start on the 8-Step 8 Let’s now tweak the 8-Step POWER TIP
Sequencer now triggers repeating Sequencer’s sliders to create a musical
notes – quite slowly, as the default tempo pattern. We’re going to program our >Module Designer
is 30bpm. Change that to 120. If you want sequence in C. Why? Because it allows us
the DAW’s transport to control that of the to transpose the entire sequence To some, modular synths are about
8-Step Sequencer, go to the Transport depending on the last note played by our ceding control to random forces. For
module up top and route cables from its DAW or MIDI controller. Now you see why others, it’s the opposite: they want
Play and Stop jacks to the similarly- we left the CV Out’s Pitch connected to full control over their music-making
named jacks on the 8-Step Sequencer. the Oscillator’s Pitch CV! tools. Cherry Audio recognise this
and have opted to allow users
ultimate control over their systems
with Module Designer, a standalone
application that allows users to code
their own custom modules using
Java. Designers use existing DSP or
roll their own. Custom interfaces
may be created, too. It’s free for
personal use and $99 if you want to
sell your handiwork.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 81

> make synth music now / synth focus

Audio Damage Quanta

Reduce your samples to grains of digital dust, then rearrange,
reconstruct and rework them into something entirely new!

Though the idea behind granular music has also serves as the basis for some reverb effects. Audio Damage’s Quanta makes for an easy-to-use entry
been around since the 1950s, it wasn’t terribly On the other end of the sonic spectrum, point into granular synthesis
practical until the dawn of the computer. granular synthesis can (naturally) be used to
transform your samples into something that’s
If, on the off chance, you’ve not already utterly unrecognisable.
experienced granular synthesis, some
explanation might be in order. Here goes: a And that’s where Audio Damage come in,
granular synthesiser (or effects processor) takes obviously. Known for their weird and wonderful
in a signal and breaks it down into a (usually) effects, it was only a matter of time before the
user-defined number of audio snippets (or big blue robot turned its attention to granular
grains). The size of the grains can also often be synthesis. The result, Quanta, is a wicked sonic
determined by the user. Those grains can then subjugator, demonically deconstructing the
be manipulated and played back in real time. digits it devours.
Very often, control will be given over the pitch,
pan position, and amplitude of the grains. The surprising thing about Quanta is that it’s
remarkably easy to use. Further, the sounds that
Though you may not be aware of it, you come from it can range from industrial noises to
might already be using granular synthesis, as it’s rather beautiful, moody soundscapes.
the technology behind the time-stretch
functions found in many modern samplers. It Want a taste? Fire it up in your host and
follow along with the walkthroughs ahead.

> Step by step 18. Getting started with Audio Damage Quanta

1 In this tutorial, we’re going to create a 2 By default, we’re on the Sample page, 3 As you can see, the Oscillator’s Shape
simple sound in Quanta, learning the yet there’s no sample loaded. The can morph smoothly from one
basics of its architecture before diving synthetic sound currently in play is waveform to another. This is a rare feature
into the deep end of granular synthesis. generated by Quanta’s built-in virtual found on some old classics like EMS’ VCS3.
Here, we’ve fired it up in our host, and are analogue oscillator, and a surprisingly We’ve landed on a shape somewhere
beginning with the default patch. Playing useful and nice-sounding oscillator it is, between a square and a sawtooth wave.
a few notes reveals a deceptively too! Note the large Shape display/knob in Another neat feature: the Pulse Width
pedestrian synth sound. the Oscillator section. Hold a note and knob affects any waveform, not just the
play around with it. pulse wave.

4 If we move to the next section, we find 5 Let’s look at a some more familiar 6 Clicking over the FLFO (F is for
the Noise module. This offers Level features before going on. Click the ‘flexible’), we find a similarly unusual
and Color controls. Bring up the Level to FEG icon in the top-left. The display and, well, flexible pair of LFOs. Morph
add noise to our oscillator waveform. switches to reveal a familiar envelope between waveshapes, and adjust Phase,
Rather than forcing a choice between generator. In fact, there are four. Dragging Shape, Skew, and Warp to essentially
white and pink noise, Quanta’s Color knob on a line in the graphic can alter the curve draw a custom LFO waveform. Then it can
allows a gradual sweep from one to the of the selected segment, while double- be synchronised to the host’s tempo and
other. Give it a twirl. clicking adds nodes. made to re-trigger with each note.

82 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth focus / make synth music now <
> Step by step 19. Granular synthesis with Audio Damage Quanta

1 In the previous walkthrough, we 2 Making sure we’re in the Sample 3 Our sample is a simple rock drum
looked at some of the basic functions window, let’s load in a sample. We can loop, but that’s not at all what we get if
in Quanta’s architecture. Now it’s time to do this simply by dragging one into the we play a note from our MIDI controller –
get into the showcase feature: granular empty field that makes up most of the top in fact, there’s only a faint repetitive noise.
synthesis. We’ll once again start from the half of the GUI, or clicking the floppy disk Let’s take a look at the Grains section just
default empty patch. This time, however, icon and using the browser to navigate to below the Sample area. Note that the #
we’re going to go to the Oscillator section the desired file. We’ll load in a sample Grains parameter indicates there are just
and reduce its Level to nil. called DrumsDry.wav. ten grains in play.

4 Let’s increase the number of grains to 5 There are so many parameters with 6 Once again, we can add a random
around 50. While we’re at it, we’ll which to play. Try adjusting the Tune element to the Position parameter by
change the Shape of the grains, and of the grains. We’re going to crank ours all using the Rand knob tied to it. The results
adjust their Length, too. Now we get a sort the way up. Looking to the right, we see a add a lot of interest, but our sound still
of sustained waveform. It’s not very Position knob. This adjusts the position in lacks any dramatic movement. Maybe it’s
exciting, though! Note that we can also the sample from which the sound is time to look at some of the modulation
add an amount of random behaviour to played. We can also adjust this parameter options on offer. Click the Matrix icon in
some parameters, including the number using the ‘handle’ in the Sample display. the upper-left.
of grains in play.

7 Scroll through until you find the Grain 8 Now, let’s click over to the FLFO POWER TIP
Position on the left. Follow that row window and play with both sets of
until you reach the FLFO 1 column, and FLFO parameters. Make sure the >Preset persuasion
click and drag in the intersecting box until Freq(uencies) of both are very slow – but
you have a value of 77. Now FLFO 1 is not identical. After that, we can adjust Quanta comes with many great
modulating the Grain Position parameter. their shapes to taste. The results are presets in a range of styles, created
We can likewise modulate the Grain Tune hauntingly pretty. This is only the by some of the world’s best sound
with FLFO 2. beginning – go experiment further! designers, including the ubiquitous
Richard Devine, Marcus Fischer,
Joseph Fraioli and Chris Carter.
Once you’ve had a play with them,
consider slotting your own samples
into existing presets. You’d be
surprised how much more mileage
you can get out of both the preset
patch and the sample. You can also
create your own ‘template’ patches
of parameter settings to import
your samples into.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 83

> make synth music now / synth focus

AudioKit Synth One

Educational, entertaining and open source, Synth One is a
superlative subtractive super-synth that’ll put a smile on your face

Apple’s iOS platform has been graced by or charities. However, some of the recipients AudioKit’s Synth One is a godsend for cash-strapped
countless virtual analogue synthesisers, can’t afford even the least expensive apps. That’s producers looking for a pro-level synth
especially since the omnipresent iPad debuted where Synth One comes in. Created by a
back in 2010. Many of them are free, but few of community of volunteer developers and sound
them truly are – as Linux users like to say – “free designers, Synth One is the pro-level synthesiser
as in speech”. Yet this is exactly the case with for everyone.
AudioKit’s Synth One: it’s not only free of charge,
but its source code is freely available to anyone And what a synthesiser it is! Loaded with all
who’d like to have a go at improving or the features one would expect from a costly
expanding on what’s already there. commercial product, Synth One offers two
powerful oscillators, a multimode filter, dual
That largesse is in keeping with the Synth envelope generators and LFOs, a built-in
One philosophy. You see, it wasn’t designed sequencer/arpeggiator, some wicked effects and
simply to provide well-to-do musos with yet a whole lot more.
another virtual plaything, but instead created
with the idea that anyone should be able to It’s a lot to take in, really, but we’re here to
obtain a free app for making professional quality help. In the following tutorials, we’ll show you
electronic music. The thing is, lots of iPads have how to craft a killer classic patch that you can
been donated to the underprivileged via schools add to the already impressive collection
included with the download.

> Step by step 20. Crafting a simple lead patch with AudioKit Synth One

1 Synth One comes packed with preset 2 It isn’t a terribly exciting sound, 3 Let’s select the Sawtooth wave for
patches by professional sound consisting of a pair of slightly detuned Osc 1. Our sound is now a bit more
designers, and while they’re very good triangle waves. If we look to the oscillator aggressive, with more harmonic content.
indeed, we’re going to start from scratch. section in the upper-left, we see that each However, it does seem a little muffled. A
For that, we need to initialise the sound. of the two oscillators produces one of five look to the Filter section reveals why – the
This is done by tapping the preset browser waveforms. Looks can be deceiving, Filter’s Frequency is set pretty low, so let’s
at the top, selecting the User category on though: if we drag our finger across the crank it up. Wow, that’s a much more
the left side of the browser, then selecting waveforms, we see that they can be ‘in-your-face’ timbre!
the patch 0: Init. gradually morphed between the four.

4 Bring the Filter Frequency down to a 5 We see our dual envelopes displayed 6 Now the envelope is affecting the
more muted 1200Hz or so. The across the top. As is often the case, filter, producing a sort of woodwind
Resonance is boosted as well, but that’s there’s one for the Filter and another for tone. Return to the Main page, and set
OK for now. Our sound is muffled, but the Amplitude. Note that the Envelope Filter Frequency to around 4000Hz for a
we’re going to address that by modulating Amount knob under the Filter Envelope is brassier tone. Click the Mono button to
the cutoff Frequency. For that, we’ll turn to set to nil. Reduce the envelope’s Attack to the right of the filter to make the sound
the dedicated Filter Envelope, via the nil, Decay to 0.16 S(econds), and Sustain monophonic. Now, set the Glide to 0.01
arrow buttons at the upper left. to 44%. for a classic portamento lead patch.

84 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth focus / make synth music now <
> Step by step 21. Expanding and enhancing our Synth One patch

1 We’ve crafted a simple lead sound – 2 Now, let’s use the arrow buttons on the 3 We can’t hear any effect yet. For that,
and saved our handiwork as lower-right to tab over to the FX/LFO we’ll need to increase the level of LFO
‘CMLeader’. As useful as it might be, there page. Synth One has two LFOs that can be 1’s Amount knob. Let’s give it a nudge to
is much more we might do to make it a bit assigned to a dozen target parameters. around 472%. Still nothing – why?
more lively. Luckily, Synth One has plenty Each LFO has four waveforms. Let’s use Because the LFO Rate goes all the way
of options for spicing up our sound. We’ll LFO 1, sticking with the default sine wave. down to 0.00Hz. So it isn’t oscillating at all.
start by using the Hide button to minimise Assign it to Pitch by tapping the left side of Increase LFO 1’s Rate to 6.44Hz. Now we
the keyboard. the Pitch button in the LFO section. have a nice vibrato.

4 If we want all of our effects and LFOs 5 We can play beyond the notes POWER TIP
to stay in sync with one another, we currently displayed on the keyboard
can activate Tempo Sync using the button by using the Octave buttons just above > Get connected
in the middle of the page. While we’re in a the keys on the right. Upon playing higher
modulating mood, let’s take advantage of notes, we find that there are some nasty The eagle-eyed will notice the tiny
Synth One’s Phaser by bringing up its Mix digital artefacts, so we’ll go to the Global Cubase logo in some of the tutorial
level in the lower-left. We’ll also increase section and tap the Anti-Aliasing function screenshots. This indicates
the Feedback for a more dramatic effect. to improve the sound. Let’s activate the communication between Synth One
Delay for some echo, too. and Cubasis on our iPad. In fact, we
used Cubasis to record all of the
audio examples for our
walkthroughs. There are actually
many ways Synth One can
communicate both in and out of iOS.
Inter-App Audio (IAA) is onboard, as
is Audiobus 3 compatibility. Ableton
Link will get Ableton Live users up
and running with Synth One, and
MIDI communication is available in
the usual ways, but also via
Bluetooth connectivity with
compatible MIDI controllers.

6 Our sound is pretty cool when playing 7 Let’s add LFO 2 to the proceedings. 8 Finally, let’s expand the keyboard
in a staccato mode on the virtual This time, we’ll use it to increase the again so we can have a proper jam.
keyboard, but it’s a little bit on the abrupt Filter Cutoff frequency. We do this by Use the arrows on the top-right to tab over
side when sliding our finger from key to tapping the right side of the Cutoff button to the Pad section, where we find a pair of
key without lifting it from the iPad’s in the LFO section. We’re going to set the X/Y performance pads. The one on the left
surface. Let’s go back to the upper-right of rate to a slow four bars, and the Amount controls the LFO Depth and Rate, while
the interface and activate Legato mode to 28%. This gives us a slow, sweeping the one on the right controls Filter Cutoff
for a smoother performance. effect that blends well with the Phaser. and Resonance. Time for some fun!

MUSIC PRODUCER’S GUIDE TO SYNTHS / 85

> patch from scratch / create great synth sounds for free

PATCH

FROM SCRATCH

Create great synth sounds for free! [PART 2]

It’s time for the second of our three workshops on
creating modular synth sounds for free with VCV Rack

DOWNLOAD On page 54 we show you how to In that instalment, we created a basic only to the modular synthesist. By the
get up and running with VCV Rack, patch that could play itself using a time we’re finished, you’ll have gained
Get the videos and tutorial the free and open-source modular sequencer module. This time around, not only a better understanding of VCV
files on your PC/Mac at synthesiser modelled after the we’re going to widen the gap between Rack, but of synthesis itself. What we
Eurorack systems that have become input and output by dialling in a drone learn here will translate seamlessly to a
filesilo.co.uk/bookazines so very popular in recent years. If you patch that requires no active input on hardware Eurorack system or virtually
haven’t read it, you’ll need to quickly the part of the user. any other modular synth to which you
check it out to get up to speed on VCV have access. So let’s warm up our
Rack and download the essential We’ll also explore advanced oscillators, grab a fistful of virtual cables
software and modules, all for free. modulation techniques, using familiar and get patching!
modules in unfamiliar ways available

> Step by step 1. A quick VCV Rack recap

1 Let’s have quick catch up on the VCV 2 VCV Rack is a standalone modular 3 To hear anything, you’ll need an Audio
Rack environment. If you are already system modelled on the popular module, found in the Core category, at
familiar with it, skip ahead to the next page. Eurorack format. You can, however, the end of the chain. Modules are
Obviously, the first thing you’ll need to do is connect it with a DAW using the VST/AU connected by clicking and dragging
install VCV Rack and any plugin module Bridge module plugin. It’s not a perfect virtual cables from source to input ‘jacks’,
packs you might want to use. These can be solution, but it does the job. Modules are and disconnected by right-clicking a
found at vcvrack.com. instantiated by right-clicking empty space, connected jack or grabbing the patch
on which a browser will appear. point and dragging it away from the jack.

86 / MUSIC PRODUCER’S GUIDE TO SYNTHS

create great synth sounds for free / patch from scratch <

Hands-free synthesis

To most people, the word ‘synthesiser’ almost The VCS3 was users to find other means by which to ‘play’ their
invariably conjures up the image of a keyboard (and is) a sounds. Alternative controllers are available, but
instrument of some sort. Modular synthesists favourite for many users were (and are) nevertheless drawn
are, however, a breed apart, and many of them spacey drones, to autonomous patches that drone on all
would never dream of attaching something so thanks to its by themselves.
pedestrian as a keyboard to their monolithic mod matrix and
machinery. To these waveform wranglers, an looping Though a sequencer might seem the obvious
organ-style keyboard represents a backward, envelope choice for autonomous patches, many users
unimaginative interface that imposes an old- avoid using sequencers in their traditional role –
fashioned approach to making music. system can be used for any musical style. playing notes – preferring instead to draw upon
Moog’s systems are perfectly capable of their ability to act as complex envelopes, LFOs,
Though Robert Moog famously embraced producing experimental, atonal music; and a or even audio sources. Instead, LFOs, looping
the keyboard – knowing full well that it was skilled user can play traditional tonal music on a envelopes, pulse generators and other modules
crucial to draw in the traditional musos that Buchla or EMS instrument. Still, the lack of a are called upon to generate triggers and pitches.
would bring attention to his instruments – traditional keyboard can be liberating, forcing
Californian Don Buchla had no interest in In the following walkthrough, we’ll take a look
attaching any ivories to his instruments, and at how we can build up an engaging drone
refused to do so for many years. sound using only a few modules in VCV Rack.
First, though, you’ll need to grab the free
Likewise, Peter Zinovieff, main man behind Bogaudio modules from vcvrack.com. This
England’s most famous synthesiser company, collection of gadgets from Matt Demanett
EMS, had to be talked into offering an optional includes a nifty recreation of the envelope
keyboard for EMS’ legendary VCS3 synthesiser. shaper from the EMS VCS3, among many other
It should be noted that nearly any modular powerful things.

> Step by step 2. Building a simple drone patch with VCV Rack

1 Let’s start by clearing out any 2 Select your interface of choice in the 3 We know that we’ll be routing the VCO
modules we might have patched up Audio module. Now, let’s consider our through a filter, so let’s grab a VCF
(saving your work beforehand, of course). patch. We’ll obviously need a sound module from the Fundamental category.
Go to File at the upper-left and select New source, so let’s bring up the VCO-1 module Patch your VCO’s Sqr (square) wave into
from the available options. This provides a from the Fundamental category. We’ll be the VCF’s In jack. We know, too, that we’ll
blank slate in which we’ll right-click, open controlling its pitch with a modulation want some echo, so let’s stick a Delay
the Core category and choose an Audio source, so we needn’t worry about tuning module in as well. This can also be found
module. This allows us to get our sound to it for now. among the Fundamentals.
the outside world.

4 We haven’t got any signal passing 5 You should now hear a filtered square 6 Now for the LFO. We’ll use the plain ol’
through to our Audio module, so let’s wave. It’s pretty boring! Time to LFO-1 module from the Fundamental
take care of that next. Run a pair of cables introduce some modulation. First, though, category. Patch its Sin(e) wave output to
from the Delay module’s Out to Inputs 1 let’s tune our oscillator to a lower pitch. the VCO’s FM input, and set the VCO’s
and 2 on the Audio module. Next, patch How about cranking it down to a low E? It Freq CV knob to around 1 o’clock. This
the VCF’s LPF (Low Pass Filter) jack to the doesn’t have to be perfect – in fact, ours is gives us an old-school sci-fi film electronic
Delay module’s In jack. a bit sharp. It makes a nice rumble, though. pulse. However, that’s just the beginning...

MUSIC PRODUCER’S GUIDE TO SYNTHS / 87

> patch from scratch / create great synth sounds for free
> Step by step 3. Adding movement to our VCV Rack drone with LFOs and envelopes

1 Let’s take our basic drone patch even 2 Let’s add another LFO-1 module. Turn 3 That’s a drone! Still, it’s cycling, so it
further. Though we like our slowly its Frequency nearly all the way down, might get too familiar too quickly. The
pulsing electronic klaxon, we’re going to and set the switch (just to the left of the answer is, obviously, another LFO! Route
crank the LFO’s Frequency up to nearly Freq knob) to the Bipolar position. Then, the Sin output of this third LFO to the
full. This provides a steadier tone, but one run a patch cable from this new LFO’s VCF’s Freq input, and turn the VCF’s Freq
more complex than that of the VCO’s Triangle output over to the first LFO’s FM 1 CV to 1 o’clock. Push the filter’s Frequency
simple square wave. This is just standard, input, and set the first LFO’s FM 1 knob to down a bit and set its Resonance to
analogue-style FM. around 2 o’clock. around halfway.

4 This is getting quite interesting. Since 5 We’ll add another VCF and Delay, too. 6 We’ve now got separate signals being
all of our LFOs are cycling This time, we’ll route the new VCO’s sent to each side of the stereo
independently, the sound slowly shifts and Saw out into the VCF. The VCF’s LPF out spectrum. Our original is coming from the
changes over time. Let’s take a moment to will be sent to the new Delay’s In. We’ll left, while the new VCO/VCF/Delay are
tidy up our rack. We can add even more disconnect our first Delay from the Audio pumped through the right channel. We
interest by layering in a second VCO. We’ll module’s Input 2, replacing it with the need to spice up that right channel. This
use the same sort: the VCO-1 module from second Delay, and set the new modules’ time, we’re going to call upon the
the Fundamental category. parameters to slightly different values Bogaudio Shaper module.
from the first group.

7 The Shaper module is an envelope 8 The Shaper is running a bit fast. Let’s 9 Next, add another Shaper. Patch the
generator inspired by the unusual set both its Attack and Decay knobs first filter’s LPF to its In jack, and its
looping trapezoidal envelope found on to 1 o’clock. They do as you would expect. Out to the first Delay module. Set it to
EMS’ VCS3 and Synthi A. Set the Cycle The On knob acts as a ‘hold’ – set it to 9 Loop as well, and set Attack, On, Decay
switch to the Loop position, patch its Env o’clock. Finally, the Off knob determines and Off to 2 o’clock. You’ll need to turn
output to the new filter’s Freq CV input, the length of time between cycles. Set that down the Signal level to avoid distortion.
and turn the VCF’s Freq CV knob to 2 to 1 o’clock, too. What a lovely drone we’ve got!
o’clock. You need to push the Shaper’s
Trigger button to get it started.

88 / MUSIC PRODUCER’S GUIDE TO SYNTHS

create great synth sounds for free / patch from scratch <
> Step by step 4. Modulating our VCV Rack drone’s effects

1 At the moment, we’ve got a pair of 2 Let’s modulate that Time parameter 3 Tidy the rack up once again, then
delays providing echo in our patch. with yet another LFO-1 module, which right-click to the browser and grab
This is fine, of course, but it misses out on can be found in the Fundamental another Shaper module. We’re going to
one of the most interesting aspects of category. Patch its Sine output to the CV route its Env output to the CV input
using effects modules: the potential for CV jack connected to the Time knob, and associated with the top Delay’s Mix
control. As you’ve likely noticed, the crank the LFO’s Frequency way down. parameter. We’ll need to reduce the Mix
delays offer CV inputs for every Now, the LFO is manipulating the delay knob’s value to around 8 o’clock.
parameter. Let’s nudge the top Delay’s time, resulting in an ever-changing
Time to around 1 o’clock. playback of echoes.

4 Once again, set the Shaper’s Cycle 5 Let’s have some fun with the Delay in 6 Patch the Noise module’s White
mode to Loop, but this time set the the second row – the one routed to the output into the S+H module’s topmost
Speed switch to the 10x position for a right channel. Grab an S+H (Sample and In jack. It still won’t do anything unless we
really long cycle. Set each of its knobs to Hold) module from the Bogaudio activate the Trigger. Do that using the
around 10 o’clock and hit the Trigger collection and patch its topmost Out jack pulse output of a Bogaudio LFO, with the
button to set it all into motion. Very slow to the second Delay’s Time CV input. An pulse width set high, and the LFO Rate at
motion, as it happens! S+H module requires an input, so 0.5. Tweak the Delay and VCF parameters
instantiate Bogaudio’s Noise module, too. for a deliriously dynamic drone!

Three drone-ready effects modules

Sonus Befaco Audible Instruments
Dept Ringo Spring Reverb Texture Synthesizer

Ring modulation is one of As we’ve already The texture Synthesizer is
the oldest of electronic demonstrated, even a a granular effect, capable
effects, and among the most familiar effect like delay can of taking in an audio source
recognisable, capable of become a rich timbral (or two), chopping the signals
instantly transforming any resource when controlled into bits of varying size,
input signal into the sort of by one or more modulation rearranging them and spitting
metallic, clangorous timbre sources – and reverb is them out again. Granular
associated with old-school another great candidate for processing isn’t a new thing
electronic studios. Ringo is a modular mayhem. Spring by any means, but this
classic ring modulator with a reverbs are often found in decidedly digital technology
built-in oscillator, the latter modular catalogues; most, is not usually associated with
of which can be controlled like this one from Befaco, old-world analogue systems.
by CV input. offering mod inputs. Very cool stuff.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 89

> make synth music now / synth tips

29 SYNTH TIPS!

Here’s a selection of quick, broad and more general tips for every part
of the synthesis process to lift your sounds to completely new heights…

OSCILLATORS as you play, open up the cutoff SUPERSAW Modulate your pulse width by envelopes
frequency, increase the amplifier to get good sweeps or plucked sounds
DETUNING envelope release, and/or raise the One of the most popular (and some
EQUILIBRIUM noise volume. This is a time- might add to that, overused) increase the filter envelope amount
honoured way to help add energy sounds is the classic fat trance lead. up to 50% or more. As your
Detuning two or more oscillators in to a lead. Here’s how you can do it. Take two sequence plays, raising the cutoff
the same octave range is a great or more sawtooths and detune will morph the sound from plucked
way to fatten up a sound. Here’s the THE ELECTRO them radically, say +/-10 cents in to big and bright.
correct way to do it. Detune each FOURTH either direction. Open up the filter
oscillator by equal amounts in all the way, then add a really fat WAH-WAH EFFECTS
opposite directions, say +/-5 cents. Countless electro tracks rely on the chorus preset. Classic guitar wah-wah pedals rely
This keeps things from sounding following tuning interval: set one on a band-pass filter for their
too sharp or flat in the mix. oscillator to the fundamental, then BEWARE THE distinctive sound. If your synth
tune the second oscillator up by an DETUNED BASS! supports it, activate this mode, set
ADDING LOWS WITHOUT octave plus four semitones (an the cutoff to 30–50% and add just a
USING EQ octave and a major third, in musical When building punchy bass touch of resonance. Now apply
terms). From there, play with the patches, be careful detuning your some free-running triangle-wave
If you want to add some body or cutoff frequency and filter oscillators as this can often cause LFO to the cutoff frequency and
low end to a patch, add a sine (or envelope parameters. the lows to phase in and out, play staccato riffs and chords.
triangle) wave oscillator. Tune the creating an inconsistent response.
sine wave to the same octave or 8-BIT NOSTALGIA For some truly fat bottom, try a FAUX PHASERS
one octave lower than your main super-low octave range, then blend Another classic effect that can
oscillator and adjust the volume of Most vintage video games relied on a second oscillator one octave easily be emulated via multimode
the sine wave to taste. This square waves for their retro higher. This will ensure that the filters is phase shifting. To achieve
technique can be much more soundtracks. Start with a single phase remains consistent. this, set the oscillators to sawtooth
precise than EQ would be, and uses oscillator set to square, then add a waves, switch the filter to notch (or
less CPU. second square-wave oscillator set AUTOMATED band-reject) mode, set the cutoff to
either one or two octaves higher SYNC SWEEPS 50% and apply a very slow triangle-
TWO-FINGER (or lower). For some bonus points,
JAZZ CHORDS add a bitcrusher effect if you have It’s quite a common practice to use
one handy. hard sync to create metallic sweeps
Tune two sawtooth oscillators so via applying an LFO or envelope to
that they’re seven semitones (or a THE SMOOTHEST PAD the pitch of the synced oscillator.
fifth) apart, then lower the cutoff Instead, try using the mod wheel to
frequency of the low-pass filter to Here’s a simple trick for creating change the pitch of the slaved
taste. Now play simple two- or really warm pads that take up oscillator. This will give you much
three-note chords. If your synth minimal space in a mix. Detune two more control over the sound – and
supports it, use sampled piano sine waves by equal amounts in will also allow automated sweeps in
waves instead of sawtooth. opposite directions, then adjust the your DAW.
amp envelope to taste. Make sure
ADDING NOISE the filter is off (or all the way open) PULSE WIDTH
to ensure proper response across MODULATION EFFECTS
A classic techno trick is to add a bit the keyboard.
of white noise to your sound. Then, Many synths allow pulse width to
be modulated by envelopes instead
Synths like Serum feature next-level oscillators but can still be used on a basic level of – or in conjunction with – the
LFO. This is a great way to create
unusual sweeps or cool plucked
sounds. If your synth allows
changing the pulse width via the
mod wheel, try giving that a go too.

FILTERS

THE CLASSIC
FILTER MORPH

Take a sound that uses sawtooth or
square waves. Give the filter
envelope a fast attack, quick decay,
no sustain and medium release.
Lower the cutoff down to zero and

90 / MUSIC PRODUCER’S GUIDE TO SYNTHS

synth tips / make synth music now <

You can be surprised just how much difference tweaking a synth’s envelope can make

The latest synths come with a range of filter types for maximum sonic sculpting GETTING A RISE sine or triangle wave, then route
the S&H LFO to pitch.
wave LFO to the filter cutoff CHECK THE RESPONSE Another classic tip is to mix in synth
frequency. Adjust some resonance bits that rise in pitch slowly. Select GATING EFFECTS
to taste. Not all low-pass filters are created an upward sawtooth – or ramp –
equally. To get a feel for your LFO waveshape, then reduce its To chop or pulse a sound, try
CLEAN UP A MIX synthesiser’s implementation, set rate to minimum. Assign the LFO to applying a square-wave LFO to the
your oscillator waveform to oscillator pitch and hold a note amplitude (volume) and sync the
A classic way to clean up a mix is to sawtooth and lower the cutoff until down. Add a delay for even more LFO rate to tempo. Then, if possible,
minimise unnecessary lows on the sound is extremely muted. dramatic results. route the LFO amount to the mod
each instrument using a Then try and play some low notes wheel so you can turn the effect on
high-pass filter. If your synth has on your keyboard – if you’re lucky THE BENDS and off and create new rhythms.
dual filters that can be set in series, enough, you may be surprised at its
switch the second filter to high- bass response! Classic electro basslines and leads ENVELOPES
pass mode and raise the cutoff very rely heavily on pitch swoops. These
slightly (between 2 and 20%) on THE WHOOSH can be achieved via envelopes or INVERTED ENVELOPES
sounds that don’t require low end. portamento, but if you want to
Applying a low-pass filter to white create something really rhythmic, Some synths allow the filter
ADD LOWS noise is the secret for creating just apply a triangle-wave LFO to envelope to be inverted. This
nature sounds like wind, waves and pitch and sync it to the tempo of creates the following envelope
It seems counter-intuitive, but you surf. It’s also the secret for creating your track. Once that’s set up, try shape: immediate attack, then
can use high-pass filters to increase those whooshes that set off the big experimenting with different note attack becomes decay, decay
low-end in sounds like sampled breakdowns in remixes. While pitches as you play. becomes a second attack, followed
kick drums and toms. Turn the you’re experimenting with this by sustain, then a release that rises
resonance up to 50%, then slowly technique, don’t forget to tinker ERSATZ RING MOD back to the original cutoff
raise the filter cutoff while with the resonance too. frequency. Be sure to set the cutoff
triggering the sound. When the If your LFO is capable of very fast to at least 50% to hear the effect.
sound suddenly gets louder, you’ve LFO rates, you can use it to simulate
found the frequency. ring modulation effects. To test this, STACCATO
THE HOUSE PAD increase the LFO rate to maximum RELEASE TRIGGERS
TUNING FILTERS and assign it to the amplitude
Combine two slightly detuned (volume) of your sound. If this On most synths, the release
If your synth’s low-pass filter can sawtooth oscillators and set the technique adds weird frequencies segment will begin from any
self-oscillate, you can use it as a filter cutoff to 40–60%. Then, set to your sound, you’re in luck. envelope level other than zero.
sine wave oscillator. Begin by the LFO waveform to a downward Even if you lift the key during the
turning the resonance to 70–80%, sawtooth wave and route it to filter RETROFABULOUS attack or decay segment, the
then hold a note and slowly raise cutoff. If possible, sync the LFO rate 80S EFFECTS envelope will jump to the release.
the cutoff frequency until the note and set it for eighth-notes. Now Try setting a medium decay, with
jumps in volume. Next, raise the play some minor chords. Early Depeche Mode tracks zero sustain and a long release, and
keyboard tracking to 100% and included various burbling filter then playing staccato notes.
increase the resonance until the effects created by applying a
filter generates an additional tone. sample and hold LFO (also known CREATING
as a random LFO) to the filter cutoff ATTACK TRANSIENTS
Using a synth’s sample & hold functionality can bring a random element to your sound frequency and adjusting the
resonance to taste. For extra credit, If you feel like adding a bit of snap
try syncing the LFO rate to tempo to the beginning of your sound,
using either eighth- or 16th-notes. simply create a pitch envelope with
an immediate attack and very short
SUPERCOMPUTER decay. Next, adjust the amount
SOUNDS until you hear a ‘thwip’ at the start
of the note, then adjust the decay
Sample and hold LFOs can also be and amount as needed.
used for old-school ‘computer’
sounds. Simply set an oscillator to a

MUSIC PRODUCER’S GUIDE TO SYNTHS / 91

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under-the-radar synth classics / make synth music now <

UNDER-THE-RADAR

SYNTH

CLASSICS

Some synthesisers are celebrated,
while others rarely get a mention.

Let’s look closer at some of the
world’s less-lauded machines…

Take a look at your plugins folder. How bargain, most of which were sold off the moment
many Minimoog, TB-303 and DX7 something better became available.
emulations are in there? If you’re anything like
us, you’ve amassed a collection of classic Still, some of those bargain-basement
clones, and you can count yourself among machines made their way onto hit records. It’s no
those fortunate enough to have access to the coincidence that the post-punk ‘New Wave’ took
sounds of such legendary instruments. off just as manufacturers were scrambling to
Aping the big names is big business, and for provide cheaper alternatives to the lofty and
good reason. Secondhand prices of famous luxurious models that had found favour with
instruments have skyrocketed thanks to their chart-topping MTV stars. Artists such as Thomas
scarcity and collectibility. If you’re lucky enough Dolby, the Eurythmics and Prefab Sprout cut their
to be able to own the real deal, you’ll no doubt teeth – and their early hits – with affordable
have learned that maintenance costs are synths, a few of which can still be had today for
equally offputting. reasonable secondhand prices.

As most of you will be aware, software Over the next few pages, we’re going to take a
simulations represent sound alternatives, look at some of these instruments. We’ll cover the
allowing us to relive the past without the hassles best analogue also-rans and digital underdogs in
(or price). an attempt to uncover the qualities that might
And yet, how many of us actually owned an have made them stand out – if only anyone had
original Prophet-5 or Jupiter-8? Those paid attention. We’ll look at cut-price near-classics
instruments cost a king’s ransom in their day. The from big name manufacturers, as well as cottage
average gigging muso was forced to settle on a industry curiosities.
cut-down, cut-price compromise, or scour the
pawnshops and classified ads in search of a More importantly, we’ll clue you in to software
that will allow you to recapture the special
qualities of these cutout bin classics.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 93

> make synth music now / under-the-radar synth classics

UK classics – Huggett’s legacy

Despite the fact that one of the most collectable The eye-catching Wasp was a hallmark of UK design Paul Wiffen and Anthony Harris-Griffin. Another
synths ever created – the exquisite EMS Synthi – aesthetically unusual design, this offered a
hailed from the United Kingdom, few electronic multimode, resonant filter, LFO and a pair of typical subtractive signal path, augmented by
aficionados would ever cite the UK as a hotbed envelope generators. Released in 1977, the Wasp rudimentary additive synthesis that let users
of inventive electronic instruments. had many endorsees including Vince Clarke, create custom waveforms using a quaint data
Nick Rhodes and 808-State. entry system that consisted of entering values
And this, dear readers, is a shame, as it with the instrument’s keyboard. Released in
overlooks the considerable contributions of one After the demise of EDP, Huggett formed the 1983, it wasn’t a big seller, but still found its way
man whose name should be mentioned Oxford Synthesiser Company, whose one-and- into the charts courtesy of Stevie Wonder,
alongside the Moogs, Rossums, and Smiths that only product was the OSCar, co-designed with Ultravox, and Jean-Michel Jarre.
pepper the pages of synthesiser history.
Alas, OSC went the way of EDP, but that wasn’t
That man was Chris Huggett. Huggett’s first the end for Chris Huggett, who later wrote the
contribution to the world of synthesis came in OS for Akai’s standard-setting S1000 sampler
the form of the Electronic Dream Plant Wasp, a (the hardware of which was designed by
tiny black and yellow monstrosity with a two- another Brit, EMS’ David Cockerell), as well as
octave, touch-plate keyboard. Designed with many of its successors.
partner Adrian Wagner, the Wasp could be had
for a couple of hundred quid – a pittance Eventually, he landed at Novation, designing
considering the instrument’s powerful the Supernova and contributing to the Bass
architecture of dual oscillators, noise, Station and Peak.

> Step by step 1. Wasp-style synthesis with NuSofting daHornet

1 NuSofting’s daHornet is a virtual 2 Looping envelopes must be a UK 3 Let’s get the filter in on the act. We can
version of the EDP Wasp, and it can be thing, as they appear on the EMS loop the filter envelope by reducing its
had free (32-bit) or for a small donation Synthis as well as the Wasp. We can loop Delay to nil. Set Decay to just under 9
(64-bit) from NuSofting. Like that other daHornet’s amplitude envelope by o’clock. Increase its Control knob up to 2
British synth that preceded it, the Wasp is reducing its Sustain knob to nil. The o’clock. We’ll reduce the filter’s Frequency
excellent for Doctor Who-style sound Repeat LED will illuminate. Let’s set the to nil, and crank its Q (resonance) up.
effects. Let’s make one with daHornet. Fire Decay to 11 o’clock. Now we get a rhythmic That’s an effect that’s worthy of the
it up and dial up the preset called Buzzy. sound when we play and hold a note. Radiophonic Workshop!

> Step by step 2. Emulating the OSCar with G-Media’s impOSCar

1 The OSC OSCar had a lot going for it, 2 Go to the Mix section and turn the Osc 3 Find the rows of vertical LEDs in the
not least its ability to generate a Balance knob fully anti-clockwise. lower-left, where we’ll program our
custom waveform. G-Media’s ImpOSCar is Now we hear only Osc 1. We’ll go to the waveform. It’s a bit like additive synthesis,
likewise endowed. Let’s load it and see. Osc1 section and use the Wave knob to with each vertical bar representing a
Here, we’ve gone for the factory preset. select User Wave 1. This renders our patch harmonic. However, once we’ve made our
It’s a bit muted, so let’s change the filter silent. At this point, there is no waveform wave, it’s subjected to a subtractive
mode to one of the low-pass jobs and programmed into the User Wave 1 slot, so synthesis signal path. Let’s draw in bars
crank the Frequency. we hear nothing. until we have a decent digital waveform.

94 / MUSIC PRODUCER’S GUIDE TO SYNTHS

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Additive > Step by step 3. Additive synthesis with KarmaFX Synth
dream
machines 1 We’ve explored additive oscillators in 2 Click the middle button just to the
a subtractive architecture. Now let’s right of the Monics knob. Now reduce
By the late 70s, analogue build a proper, if simplified, additive signal the value of the Monics knob until the left
synthesis had been pretty much path with no filters and multiple envelope display reads Harmonics: 32. It’s not
dominant for over a decade. generators. For this, we’ll use KarmaFX many, but it’s a start. To hear it, we must
Aural explorers longed for Synth. Start with the CMBasic preset route it to the Amplifier, but first, we’ll
something new: total control found in Tutorial Files. Right-click in an right-click in an empty area and select
over sonic creation. empty and choose Add Module > Add Module > Modulator > ADSR.
Generator > Additive.
Or at least they thought that’s
what they wanted. When such a 3 Let’s now right-click on Amplifier1’s 4 Ideally we’d have an amp envelope for
technology was presented, it was title bar and choose Generator1 as its every harmonic, but that would take
largely rejected in favour of input. Next, we’ll right-click on Amplifier1’s ages to patch. Instead, let’s control the
familiar analogue instruments or Amp knob and select Modulator1 as that harmonics in blocks of eight. We’ll reduce
preset-packed digital devices. knob’s input. We can then adjust our all but the first eight harmonics in our
ADSR knobs. Increase Decay and Additive Oscillator to nil, and tweak the
Whereas subtractive synths Release. If we now trigger some notes, we levels of the remaining eight. Let’s add
start with a harmonically hear the rather plain waveform produced another ADSR, this time lashed to the
complex waveform and whittle it by the Additive oscillator. Additive Osc’s Out slider.
away with filters, an additive
synth builds up complex sounds 5 Let’s add a second Additive Generator, 6 Finally, let’s reduce the onscreen
by piling on loads of simple also with the Monics knob set to 32. clutter by minimising our oscillators
waveforms. A full additive We’ll reduce all but Harmonics 9-16 to nil and ADSRs. Then, fill the remaining space
system offers individual pitch and tweak those remaining. We’ll once with another two additive oscillators – one
and amplitude envelopes for again add an ADSR and patch it to the with only Harmonics 17-24, the other with
each sine wave. Complex, to say new Additive Oscillator’s Out slider. Now, only Harmonics 25-32 – and tie an ADSR
the least. we’ll adjust all three ADSRs so that the each to their Out sliders. A few tweaks
values of Attack, Decay, Sustain, and later, we’ve got an interesting timbre…
Still, that hasn’t prevented a Release differ. without a filter in sight!
few manufacturers from delving
into the heady realm of additive
synthesis. Spinning off from
research by Bell Labs, Crumar
offered the GDS system, of which
only a few were sold. It was
reimagined by Digital Keyboards
Inc as the Synergy. Initially, the
Synergy was a preset-only
instrument, requiring said GDS to
program it. However, an upgrade
gave access to its many
parameters using a Kaypro II
computer – futuristic in 1982!

Despite offering a mere 32
partials, the Synergy was a
capable machine in the hands of
someone with the patience to
program it. Wendy Carlos created
a number of convincing
orchestral sounds for the
Synergy, and you can hear both
the Synergy and the GDS system
on her LP, Beauty In the Beast.

Japanese instrument maker
Kawai is one of the few
companies to attempt to put
additive synths into mass
production. Their K5 – released in
1987 – offered up to 126
harmonics per voice, and some
interesting methods by which
large numbers of them could be
edited at once. A lovely-sounding
machine that utterly failed to set
the world alight.

The same applied in 1996 to
their ambitious K5000 which
offered more partials, more
envelopes, more… everything. A
fantastic source of atmospheric
timbres, it was an inspiration for
Camel Audio’s Cameleon 5000,
the forebear to Apple’s Alchemy.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 95

> make synth music now / under-the-radar synth classics

Phase distortion classics from Casio

Over the decades, Casio – makers of watches, Casio’s CZ-101: more formidable than at first glance angular modulation waveform. The results were
calculators and toys – have occasionally dipped different from analogue waveforms, and
their toes into the world of professional music Under the hood, the CZ-101 offered an decidedly, deliciously digital.
instruments. Perhaps because they’ve become alternative to Yamaha’s powerful (and patented)
associated with cheap toy samplers, Casio’s FM synthesis. Called Phase Distortion synthesis, The CZ-101 – and its full-sized followups – sold
professional offerings are often overlooked. This it was not dissimilar to that used by Yamaha, and in blockbuster numbers that, while massive by
is a shame, as a number of them have been could indeed produce the same sorts of crisp, musical instrument standards – paled against
serious instruments rivalling anything else on percussive tones that made the DX series so the company’s consumer electronics products.
the market at the time. popular. Phase Distortion produced complex That didn’t stop ’em from producing a more
waveforms by distorting a carrier wave with an advanced version of Phase Distortion
Only once did a Casio instrument make any (Interactive Phase Distortion) and using it as the
kind of significant splash, and even that one was basis of the woefully undervalued VZ-1, VZ-10M,
pretty hard to take seriously… at first. Unleashed and VZ-8M synthesisers.
just as MIDI sequencers were becoming more
popular, Casio’s diminutive CZ-101 offered an Due in part to its inclusion in Jeff McClintock’s
eight-voice, multitimbral competitor to wildly popular plugin construction kit SynthEdit,
Yamaha’s blockbuster digital synths. Coming in phase distortion synthesis has made a big
at a measly £395, it was a hot seller in 1984, comeback in more recent years, although most
despite its resemblance to the company’s other of the developers in question have been content
toy keyboards, with its mini-keys and shoulder with cloning the more popular CZ variant, rather
strap pegs. than going for the more hybrid approach of
Casio’s VZ series.

> Step by step 4. Classic Casio sounds with Plugin Boutique Virtual CZ

1 Casio’s CZ synths gave a cheaper, 2 The default Init patch sounds a bit 3 We’ll use Line 1 to define the
easier way in to digital synthesis than ‘analogue’, but we want a woody, percussive strike in our patch. We’ll
the DX7. It was still capable of those cool, percussive patch – so we need to grok need to shorten the Amp envelope.
digital tones, though. Like Yamaha’s FM, VirtualCZ’s architecture. Note that the Osc Currently, the Amp envelope has two
Casio’s Phase Distortion synthesis was section consists of two ‘lines’. Each can stages. First, we’ll turn the Sustain off for
ideal for tuned percussion patches that produce two ‘shapes’, or waveforms. Click every envelope. This is found in the upper-
were hard to get with analogue on Line 1’s A and B buttons, and select a left of each. Stage 2 defines release time.
instruments. Let’s try it with VirtualCZ. Square wave for each. Let’s turn it clockwise, to a value of 270.

4 Now, let’s use the Pitch Envelope to 5 Let’s get Line 2 in on the action. We’ll 6 That’s getting close to the sound we
simulate our strike. We’ll crank up the click the button in the Mix section and want. Let’s use Line 2’s DCW envelope
first slider (Level 1), as well as its Rate select Line 1+Line 2. Once again, we’ll to bring it home. We’ll set its second Rate
knob just below. We’ll set the second Rate select a pair of mellow square waves for knob to 77. Line 1 is a bit loud, so we’ll go
knob to 87 (15ms). Next, we’ll go to the our wave shapes, and we’ll set all of Line to its Amp Env and reduce the level of the
DCW Env. This behaves a little like a filter. 2’s envelope sustains to Off. We’ll go to sole active slider. Now we can fine tune,
We’ll set its second Rate knob to a value of Line 2’s Amp Env, and set its second Rate tweaking velocity and keyboard
around 88 (11ms) in order to define our knob to a value of 56, or 296ms. modulation of the envelopes until we have
transient strike. a perfect percussive patch.

96 / MUSIC PRODUCER’S GUIDE TO SYNTHS

under-the-radar synth classics / make synth music now <

Underrated > Step by step 5. Exploring Roland Cloud’s JX-3P
analogues
1 Roland’s JX-3P has always been 2 At first glance, the JX-3P looks almost
The first wave of analogue overshadowed by its more famous like a preset string machine, with few
produced many classic stablemates, yet it’s a terrific source of controls on offer. However, a flip through
instruments, but far more that thumping basses, searing leads and thick its rather small list of presets reveals a
have been forgotten. Some were analogue textures. Roland themselves capable – if oh-so-80s – instrument. We
given a miss for good reason: have given the old dear some long want to start from scratch, so we’ll click on
poor designs, thin sounds or overdue respect, including the synth the Patch button to reveal the available
lousy distribution. Others, among the many offerings in its Roland patches and click the New button to
however, were the casualties of Cloud subscription service. create a new bank of blanks.
poor timing or a fundamental
misunderstanding of their value 3 We select the A1 slot and close the 4 It isn’t really a vast playground, but it
by both pundit and performer. Patch window. Now we’ve got a very isn’t bad, offering some things that
plain sound. There are only a few other budget Roland synths lacked, such
Some were simply parameters on the front panel. On the as a second oscillator with cross-
overshadowed by more original, parameters could be edited one- modulation. Let’s find the Source Mix
important instruments. This at-a-time or via an optional hardware box, section and bring DCO-2 into the mix.
would be the case for Roland’s the PG-200. Fortunately, Roland has Now, let’s go to DCO-2 and change its
JX-3P. Roland’s first full MIDI hidden the PG-200 under the Edit button. Waveform to PLS (pulse). We’ll also
machine, the JX-3P was one of Let’s open it up. decrease its Range to 16.
the first to relegate its knobs and
sliders to an optional controller 5 Next, let’s go to the Cross Mod section 6 Turning to Env-1, we set its Decay and
(the PG-200). Maybe this is why it and set its switch to the Metal Release knobs to 183. We set its
isn’t as highly regarded as, say, a position. It gives the sound a little extra Sustain to 62. This causes the filter cutoff
Juno-60. Or perhaps it’s because bite. Let’s turn to the JX-3P’s VCF section. to decrease after a bit. Now, for Env-2 for
the much more mature Juno-106 We’ll set both Cutoff Freq(uency) and the amplitude. Decay should be at 77,
followed quickly on its heels. Resonance knobs to 12 o’clock. Now, we’ll Sustain at 112, and Release at 172. This
set the Env-1 Mod knob to a value of makes for an evocative, chiming sound.
Whichever the case, the JX-3P about 48. This causes Envelope 1 to Set the first Effect Type knob to Chorus
offered a lot for its low asking modulate the filter cutoff. and slam the Depth amount.
price of £1075, with dual
oscillators, cross-modulation,
squelchy filter and onboard
sequencer. Still available for
stupidly low prices, it deserves to
be rediscovered.

Another Big Name, Oberheim,
were unused to producing also-
rans. Having (literally) shaken
stadiums with their venerated
OB-X and OB-Xa polysynths, the
company went through a rough
patch in the mid-1980s, but not
before trundling out the massive
Matrix-12 and XPander. These
polyphonic behemoths would
become the last of the great
Oberheims before the company
ended up in the hands of Gibson.

Though the Matrix-12 and
XPander were priced only for the
moneyed few, the company
offered a pair of stripped-down
variants in the form of the preset
Matrix-1000 and Matrix-6. Under
the hood, these two were
functionally identical, with the
latter offering a membrane touch
panel for programming sounds
(the Matrix-1000 could be
patched using software).

While offering nowhere near
the power of its bigger siblings,
these units were still hugely
flexible, thanks to the many
routing possibilities offered by
the modulation matrix – at the
time a new concept. Somewhat
hampered by pokey digital
envelopes, these machines
nevertheless were – and are – a
terrific source of complex
analogue timbres.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 97

> patch from scratch / create great synth sounds for free

PATCH

FROM SCRATCH

Create great synth sounds for free! [PART 3]

Continuing our look at patching and modular synthesis
(from pages 54 and 86) we enter a daring digital world…

DOWNLOAD It’s easy to assume that the current ennui of electronic musicians who adopt the Eurorack format that
fascination for all things modular found calling up yet another neatly cemented the format’s popularity.
Get the videos and tutorial is merely an extension of the analogue multisampled nylon guitar patch
files on your PC/Mac at synthesis revival. To be sure, when antithetical to the romantic image of The modular musician now knows all
Dieter Döpfer kicked around the idea the knob-twiddling synthesist. too well the limitations of analogue
filesilo.co.uk/bookazines of his new modular format back in circuitry. Fortunately, there are now all
1995, he began with a few familiar It would take over a decade, but manner of esoteric modules that
analogue modules. This was a Döpfer’s chosen Eurorack format combine digital processing power with
reaction against the hardware eventually took hold. Yet its popularity the immediacy of knobs, jacks, and a
ROMplers that filled the shelves of the was not due to mere nostalgia – freely patchable environment.
day, and though his Doepfer A-100 electronic musicians are too forward-
series didn’t exactly set the world thinking to fall for that. No, it was the Over the next few pages, we’ll explore
alight at the time, it did tap into the compact size, relative low cost, and the the modern digital side of modular
willingness of other manufacturers to synthesis using the free and open source
VCV Rack. Let’s crunch some numbers!

What you’ll need

VCV’s Audible Instruments Matt Demanett Bogaudio adbrant Arable Instruments

To start, we’ll need some plugins from vcvrack.com. We called upon Matt Demanett’s Bogaudio This bundle offers alternate versions of Audible
The first, Audible Instruments, is a collection of comprehensive collection of modules in our previous Instruments take on Mutable Instruments’ popular
modules based on popular Eurorack modules VCV Rack tutorials and we’ll be drawing for them granular synthesis module called Clouds. The one
produced by Mutable Instruments, a company that once again. In addition to the analogue fare on offer, we’ll be using is called Joni, a nifty granular effects
specialises in exotic digital tools. These are spot-on, the Bogaudio bundle features a pair of dynamite processor. Though the Audible Instruments version
fully endorsed reproductions of their hardware digital oscillators, including a fully-featured FM of Clouds more closely resembles the hardware, we
counterparts. We’ll use modules from the free bundle. ‘operator’ that brings DX-flavoured FM to VCV Rack. like the breezier interface on offer in Joni.

98 / MUSIC PRODUCER’S GUIDE TO SYNTHS

create great synth sounds for free / patch from scratch <

Crossing the streams: analogue does digital

The first wave of modular synthesisers were all Precise digital oscillators and warm analogue filters musicians who work with modular Eurorack
but a distant memory when digital samplers first can lead to unique timbres, as the PPG Wave proved systems. The modular synthesis revival may
hit the scene, and though digital FM synthesis have been borne of boredom, but it has thrived
was developed concurrently with analogue’s It’s not the first time. Wolfgang Palm’s PPG thanks to the flexibility of today’s hybrid
initial heyday, it wouldn’t reach maturity (or the Wave series of hybrid synthesisers deftly systems. Synthesists now have access to a vast
masses) until 1982. By that time, analogue blended digital wavetables with analogue filters number of digital modules, ranging from simple
synthesis was considered played out and and amplifiers, and Ensoniq’s price-busting sample playback devices and loopers to
musicians were dumping their old ARPs and Mirage sampler plumbed 8-bit digital samples complex granular choppers and sample
EMSs for gritty, grainy 8-bit synths, samplers, through a similarly analogue signal path. It’s no manglers, and familiar digital tech such as FM
and drum machines. These early digital coincidence that both the Mirage and its synthesis is now joined by modern DSP tools like
doodads may have sounded a bit lo-fi, but at wavetable-based twin, the ESQ-1, have been acoustic modelling.
least they sounded different. embraced by many of the same modern
These techniques spring brilliantly to life
Eventually, of course, musicians grew bored when used in a modular environment. For
with menu diving and preset patches, and example, where once samples were maligned as
rediscovered the hands-on allure of analogue being static and lifeless, here they may be
modulars. However, they had not forgotten the transformed into sources of ever-changing
crystalline highs and biting basses of digital sonic interest – or even used as modulation
oscillators. In fact, today’s synthesist knows full sources in their own right.
well that combining digital waveforms with
analogue filters and real-time CV control offers Likewise, FM synthesis’ reputation for ice-
up an exciting palette for the creation of new cold sterility melts away when plumbed through
tone colours. a warm analogue filter or VCA. We’ll look at our
favourite such uses in the following tutorials.

> Step by step 1. Building a wavetable synth voice in VCV Rack

1 Let’s build a PPG-style wavetable 2 We’ll need a MIDI controller to hear 3 Right-click into our Fundamental
synth voice. The idea behind what we’re doing. Right-click in the modules and grab a VCF, ADSR, and a
wavetables is simple – some single-cycle empty rack, go to the Core category and VCA. We’ll also nab a Delay for
waveforms are strung together end-to- choose MIDI-1 and Audio modules. Once sweetening. Connect the MIDI module’s
end to form a single digital audio file. The they appear, select the correct interface CV Out to the Oscillator’s V/OCT In jack
oscillator can instantly call upon any for each. Next, instantiate an Audible for pitch control. We’ll connect the MIDI
waveform in the ‘wavetable’ or modulate Instruments Macro Oscillator. This is a module’s Gate Out to the ADSR’s Gate In.
through them. We’ll start by going to File multi-purpose digital module based on a We’ll route the Oscillator’s Out to the VCF’s
and creating a New empty rack. design from Mutable Instruments. In. The VCF’s LPF goes to the top VCA In.

4 The VCA’s top Out goes to the Delay’s 5 That’s only one wave in the wavetable. 6 Tweak the ADSR to push Color into
In, and the Delay’s Out to Inputs 1 and The Color knob is used to select the action. Turn the Attack fully down and
2 on the Audio module. The ADSR’s Out wave in the table. Give it a twirl, then set it both Decay and Release to about 2
goes to the VCA’s LIN jack. We can now fully anti-clockwise. What if we modulate o’clock. Sustain will be at 10 o’clock. Now,
play a sound. Crank up the VCF’s Freq for that knob? Call up another ADSR and if we play and hold a note, the wavetable
now. Scroll the Macro Osc’s Edit knob until connect its In jack to the MIDI module’s sweeps through its waves for a classic PPG
the display says Wtbl. You should hear a Gate output. Patch the ADSR’s Out to the sound. Modulate the VCF with the same
decidedly digital bell-like timbre. Color input on the Macro Oscillator. ADSR and tweak the patch a bit to taste.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 99

> patch from scratch / create great synth sounds for free
> Step by step 2. DAW-driven sample manipulation using VCV Rack’s VST Bridge

1 For this tutorial, we’re going to need to 2 Now, let’s open our DAW – in this case, 3 We’ll drag a drum loop clip onto an
connect VCV Rack with our DAW. For Ableton Live. We’ll go the Live menu audio track in Live, then drag the VCV
MIDI sync, we’ll need to set something up. and open Preferences. There, we’ll click Bridge VST plugin into the same track –
We’re on a Mac, so we can go into Audio the Link MIDI tab. Near the bottom, we this renders the track output silent. Next,
MIDI Setup, choose MIDI Setup, open the see options for connecting both our MIDI we’ll fire up the standalone VCV Rack app
IAC Driver and check Device Is Online. Tracks and Sync to the various available and start with a new, clean rack, into
Windows users will use something like the MIDI devices – including the IAC Driver which we’ll instantiate MIDI and Audio
free LoopBe1: bit.ly/Loop_Be1 we’ve just enabled. We’ll make sure both modules. In the MIDI module, we select
IAC Driver Input and Output are On. IAC Driver Bus 1 as the Core MIDI Device.

4 In the Audio module, we’ll select 5 If Live is playing, we’ll now hear our 6 We can now remove the Audio
Bridge as our Audio driver and drum loop playing through VCV Rack. module’s patch cables. We’ll call up
choose Port 1 as our audio device. This is Let’s patch our Audio module’s Output 1 fresh VCF and VCA modules. We’ll patch
VCV Bridge’s default port. Now to our to Campione’s In jack. This will allow us to Campione’s Out to the VCF’s In, and the
patch. Let’s grab a Campione live sampler sample the beat. We do this by clicking VCF’s LPF to the VCA’s top In. The VCA’s
module from Sonus Modular. We’ll use it to Campione’s Record button to activate top Out will go to the Audio module’s
sample the drum loop loaded into Live. recording, and again to deactivate it. We’ll Inputs 1 and 2. Let’s add a SEQ-3 module.
We’ll temporarily connect our Audio try to time our button toggling so we We’ll patch our MIDI module’s CLK 1 jack
modules Output 2 to its own Input 2. catch a perfect loop. to the sequencer’s Ext Clk input.

7 The sequencer will now get its tempo 8 Crank Campione’s Speed knob down, 9 Finally, call up Arable Instruments’
from Live. We’ll patch the MIDI-1’s Strt and run a cable from SEQ-3’s Row 1 Joni module and route it between
to SEQ-3’s Reset. We’ll connect the jack to Campione’s Speed jack. Tweaking VCA and Audio modules. Granular
sequencer’s first Gate Out jack to the knobs in the sequencer’s top row processors like this chop the sound into
Campione’s Play jack and toggle the One- causes the sample to play at different tiny grains that can be manipulated on a
Shot and Loop switches. We can now hear speeds for each step. Similarly, patch Row microscopic level. Use a second
the filtered sample playing on every 2 to the VCF’s Freq input and use it to synchronised sequencer to modulate
second pass of the sequencer. Let’s boost control the filter cutoff per step. Don’t parameters for a nightmarish granular
the VCF Freq and VCA Level knobs. forget VCF’s Freq and Freq CV knobs! ambience. Weird and wonderful!

100 / MUSIC PRODUCER’S GUIDE TO SYNTHS