Category: Uncategorized

Categories
Synthesizer Models Uncategorized

Moog Grandmother

The Moog Grandmother is a semi-modular analog synthesizer first released in 2018 by Moog Music Inc. The Grandmother is part of Moog’s “Mother-32” family of synthesizers, which also includes the Mother-32 and Subharmonicon.

The Grandmother is a compact, 32-key keyboard synthesizer that is perfect for musicians and producers who want to add a vintage analog sound to their productions. It features a classic Moog sound engine with a 2-pole filter, a Moog ladder filter, and a 32-step sequencer.

The Grandmother’s semi-modular design allows for a wide range of sound-design possibilities. It has a total of 31 patch points that allow users to connect various modular synth components such as oscillators, filters, and envelopes. This allows users to create unique and complex sounds that cannot be achieved with traditional synthesizers.

One of the standout features of the Grandmother is its 32-step sequencer. This allows users to create complex patterns and sequences, and also features a “Chain” mode that allows for the creation of longer sequences. The Grandmother also has an arpeggiator, which is perfect for creating intricate and evolving patterns.

The Grandmother also has a built-in spring reverb tank, which adds a vintage and spacious feel to the sound. Additionally, it has a stereo output, which can be used to create wide stereo sounds.

The Grandmother’s compact size and vintage aesthetic make it a great addition to any studio or live setup. Its semi-modular design and wide range of features make it a versatile and powerful instrument for musicians and producers of all skill levels.

Overall, the Moog Grandmother is a powerful and versatile analog synthesizer that offers a wide range of sound-design possibilities. Its semi-modular design, 32-step sequencer, and built-in spring reverb tank make it a great addition to any studio or live setup. Its compact size and vintage aesthetic make it a perfect instrument for musicians and producers who want to add a classic Moog sound to their productions.

Categories
Uncategorized

Casio

Casio is a Japanese multinational corporation that is known for its wide range of consumer electronics products, including calculators, watches, and digital pianos. They also have a history of producing synthesizers, starting in the 1980s.

Casio first introduced synthesizers in 1980, with the release of the Casiotone series, which were portable, affordable and aimed at home users. These early synthesizers were simple, often featuring preset sounds and basic sequencing capabilities.

In 1983, Casio released the VL-Tone, which was the first synthesizer to feature a digital signal processing (DSP) chip, which allowed for more complex and realistic sounds. This was followed by the release of the Casio CZ series in 1985, which were more advanced synthesizers that featured phase distortion synthesis and multiple waveforms.

In the late 1980s and early 1990s, Casio released a series of digital synthesizers, including the FZ-1, FZ-10M, and FZ-20M, which were known for their high-quality sounds and powerful sequencing capabilities. These synthesizers became popular among electronic musicians and producers and were used by several famous artists.

In the late 1990s, Casio discontinued its line of synthesizers, focusing instead on other consumer electronic products. However, the company has recently re-entered the synthesizer market with a new line of portable and affordable synthesizers, such as the Casio XW-P1 and the Casio XW-G1, aimed at home users and performers

Overall, Casio has a long history of producing synthesizers, starting with simple and affordable models in the 1980s, evolving to more advanced and professional models in the 1990s. While they stopped producing synthesizers for a period of time, they have recently returned to the market with new portable and affordable models.

Categories
Uncategorized

Arturia

Arturia is a French company that was founded in 1999 by Frédéric Brun and Gilles Pommereuil. The company is known for its software synthesizers and other music production tools that are inspired by classic analog synthesizers.

In the early days, Arturia focused on developing software emulations of classic analog synthesizers, such as the Moog Modular, the Minimoog, and the ARP 2600. These emulations, called “virtual instruments,” were designed to accurately replicate the sound and behavior of the original hardware synthesizers and were intended to provide musicians with access to the classic sounds of these instruments without the need to purchase and maintain the original hardware.

In 2007, Arturia released their first hardware synthesizer, the Origin, which was a modular synthesizer that combined the company’s software emulations with physical controllers.

In the following years, Arturia continued to develop and release new software and hardware synthesizers, including the popular Mini V, the Analog Experience, and the KeyLab series of keyboard controllers.

In 2013, Arturia released the MiniBrute (pictured), which was a compact, affordable, and versatile analog synthesizer that quickly became popular among electronic musicians and producers.

Arturia also developed a range of software for music production, including the V Collection, a bundle of virtual instruments that includes emulations of classic synthesizers and other instruments, and the Ableton Live Lite, a free version of the Ableton Live DAW.

Today, Arturia is considered as one of the leading companies in the field of software and hardware synthesizers, and continues to release new and innovative products that blend the vintage sounds of classic analog synthesizers with modern technology.

Categories
Uncategorized

Buchla

The Buchla synthesizer company was founded by electronic instrument pioneer Don Buchla in 1963. The company was based in Berkeley, California and was one of the first companies to design and manufacture modular synthesizers. The Buchla synthesizer company was a pioneer in the field of electronic music, and its instruments were used by a wide range of musicians, composers and sound designers.

The Buchla 100, which was released in 1963, was one of the first electronic instruments to use a modular design. This means that the synthesizer was made up of a series of individual modules that could be connected together to create different sound-generating and processing configurations. This approach was in stark contrast to the traditional keyboard-based synthesizers that were popular at the time, which had a fixed architecture and were not as flexible in terms of sound design.

In the following years, Buchla released several other models, such as the 200 series, which was released in the 1970s and featured a more comprehensive set of modules and expanded capabilities. The Buchla 200 series was widely adopted by composers, musicians, and sound designers, and it became one of the most popular instruments in the field of electronic music.

In the 1980s, Buchla released the Buchla Easel, a portable version of the 200 series that was designed for live performance. The Easel was well received by musicians and performers, and it was used in a wide range of live electronic music performances.

In the 1990s, the Buchla company struggled financially and was forced to close its doors. Don Buchla continued to design and manufacture Buchla-branded instruments under the name Buchla & Associates, but production was limited.

In the 2000s, Buchla & Associates was acquired by a new company, Buchla Electronic Musical Instruments (BEMI), which was formed by a group of former Buchla employees and supporters. BEMI reintroduced the Buchla 200 series, and also released new models such as the Buchla Music Easel and the Buchla Lightning.

Don Buchla passed away in 2016, and the company Buchla Electronic Musical Instruments continues to produce and design Buchla-branded instruments, maintaining the legacy and the innovation of the original Buchla synthesizer company.

Important models

Categories
Uncategorized

Sample-and-hold

Sample-and-hold (S/H) is a function found in some synthesizers that allows the user to sample an input signal, such as an audio or control voltage, and hold the value for a certain period of time. This creates a kind of “snapshot” of the input signal, which can then be used to control various parameters of the synthesizer, such as the pitch or amplitude of the sound.

The process of sample-and-hold typically involves three stages: sampling, holding, and output. During the sampling stage, the input signal is captured and converted into a digital value. In the holding stage, the value is stored and held until the next sample is taken. Finally, in the output stage, the stored value is used to control various parameters of the synthesizer.

Sample-and-hold can be used to create a variety of different effects, such as randomizing the pitch or amplitude of the sound, creating repeating patterns in the sound, or creating complex modulations. It is also commonly used to create the “stuttering” or “glitchy” effects that are often heard in electronic music.

See also

Categories
Uncategorized

Moog Modular Synthesizer

The Moog modular synthesizer, also known simply as the Moog modular, is a type of electronic music synthesizer that Robert Moog first developed in the early 1960s. The device, which was among the first modular synthesizers ever made, had a significant influence on the evolution of electronic music.

The Moog modular synthesizer is made up of a number of individual modules, including oscillators, filters, and envelope generators, that can be connected using patch cables. This allows the musician to create complex sounds and control the various parameters of the instrument in real time.

The Moog 901, the original Moog modular synthesizer, was first released in 1964. This early design included many separate modules, such as an envelope generator, a filter, and a voltage-controlled oscillator. Avant-garde musicians and experimental composers were the instrument’s primary users due to its high cost.

Robert Moog continued working on the Moog modular synthesizer for several years, introducing additional modules and bolstering the instrument’s capabilities. He launched the Moog Model 15, a more portable and cost-effective variation of the original Moog modular, in 1967.

The Moog modular synthesizer gained popularity among a broader variety of musicians in the 1970s, including rock and pop performers. Numerous popular songs, such as Pink Floyd’s “Wish You Were Here” album and Hot Butter’s “Popcorn,” featured the instrument.

As newer, more affordable digital synthesizers became available in the 1980s, the Moog modular synthesizer’s appeal started to wane. But in recent years, the instrument has undergone a resurgence in popularity as more musicians and producers rediscover the distinctive and plentiful sounds that can be produced with a Moog modular.

In the world of electronic music, the Moog modular synthesizer is now viewed as a classic instrument. It continues to attract musicians and producers from a variety of genres thanks to its distinctive sound and flexibility. Modular synthesizers are still produced and sold by Moog, and numerous businesses also offer copies and replicas of the original Moog modulars.

Used by

  • Wendy Carlos: Wendy Carlos was one of the first musicians to extensively use the Moog modular synthesizer in her music. Her 1968 album “Switched-On Bach,” which featured electronic renditions of compositions by Johann Sebastian Bach, was a commercial and critical success and helped to popularize the Moog modular.
  • The Beatles: The Beatles used a Moog modular synthesizer on the song “Because” from the album “Abbey Road” in 1969.
  • Keith Emerson: Emerson, keyboardist for the band Emerson, Lake & Palmer, was a pioneer of using Moog modular synthesizer in a rock context. He used the instrument extensively throughout the band’s career, and is widely credited with popularizing the use of the Moog in rock music.
  • Tangerine Dream: The German electronic music band Tangerine Dream was another early adopter of the Moog modular synthesizer. They used the instrument on a number of their early albums and helped to establish the Moog as a staple in the world of electronic music.
  • Giorgio Moroder: Italian producer and composer Giorgio Moroder is known for using the Moog modular synthesizer in disco and electronic pop music, especially in the 1970s.
  • Isao Tomita: Japanese electronic musician and composer, Isao Tomita, was known for his use of the Moog modular synthesizer in his classical music arrangements.
  • Pink Floyd: The band Pink Floyd used a Moog modular synthesizer on their 1975 album “Wish You Were Here.”
  • Jan Hammer: Jan Hammer, the keyboardist of the Mahavishnu Orchestra, used the Moog Modular synthesizer on the band’s album Inner Worlds(1976)
Categories
Classic Synthesizers Uncategorized

Roland TB-303

1982 saw the initial release of the iconic analog synthesizer, the Roland TB-303. Despite having a brief production run that lasted just until 1984, it significantly influenced the evolution of electronic music, particularly Acid House and Techno.

Although the TB-303 was initially intended to be a guitar player’s accompanist, it swiftly found a new home in the burgeoning electronic music scene. It was a cost-effective choice for electronic musicians who wished to experiment with new sounds and produce their own music.

The TB-303 is known for its characteristic sound, distinguished by its squelchy, acidic tone. The TB-303 comes with a simple envelope generator for modulating the filter cutoff and amplitude and a resonant low-pass filter that may be used to shape the sound.

The TB-303 contains an integrated step sequencer that enables the construction of intricate patterns and grooves. Many techno and acid house producers relied on the TB-303 because of this function to construct the characteristic repeated patterns that characterize those genres.

The affordability of the TB-303, which made it available to many musicians and producers, was another factor in its appeal. This led to the democratization of electronic music and the creation of numerous subgenres, including Acid House and Techno.

The TB-303 significantly influenced electronic music despite its short production. The TB-303 is a famous instrument whose influence can be heard in many contemporary electronic genres thanks to its distinctive tone and capacity for intricate pattern creation.

To sum up, the Roland TB-303 is a legendary instrument that influenced the rise of electronic music. Many notable artists have exploited its distinctive sound and step sequencer, and electronic musicians are still inspired by it today.

Used by

Categories
Uncategorized

Noise

Noise in a synthesizer refers to a type of sound that is generated using random processes, as opposed to a sound that is generated using a specific waveform or tone. A synthesizer can use noise as a sound source to produce various effects, such as textures, percussive sounds, and background ambiance.

Different kinds of noise can be applied to a synthesizer. For instance, white noise, which has the same energy at all frequencies, can produce various effects, such as noise bursts, static, and hiss. For example, the sound of wind or ocean waves can be produced using pink noise because it has the same amount of energy per octave.

There are several ways to incorporate noise into a synthesizer. It can be used as an oscillator to create the basic sound, which is then processed by filters and envelopes, among other instruments, for modifying the sound. Additionally, it can be used as an effect, to give a good texture and movement, or to produce percussion sounds like snare drums and hi-hats.

It is possible to produce a wide variety of sounds and effects using noise in combination with other types of sound sources, such as oscillators and samples, that cannot be produced using other synthesis techniques. Numerous synthesizers include built-in noise generators and options for shaping the noise, such as filtering, gating, and amplitude modulation.

Types of Noise

  • White noise: A type of noise that has equal energy at all frequencies and can be used to create a wide range of effects, including noise bursts, static, and hiss. White noise is often used to create percussive sounds, like snare drums, and to add texture to a sound.
  • Pink noise (pictured): A type of noise that has equal energy per octave and can create a more natural-sounding noise, like wind or ocean waves. It can be used to develop a sense of movement or to add depth to a sound.
  • Brown noise: A type of noise that has more energy at lower frequencies and less energy at higher frequencies. It can create a sense of warmth or add a low-frequency rumble to a sound.
  • Blue noise: A type of noise that has more energy at higher frequencies and less energy at lower frequencies. It can be used to add brightness or sharpness to a sound.
  • Violet: Has more energy at the highest frequencies and less energy at the lower frequencies, similar to Blue noise but even more accentuated.
  • Grey noise: A type of noise that has equal energy across all frequencies but with the amplitude of each frequency band being inversely proportional to the frequency, similar to pink noise but with a more gradual slope.
  • Other types of noise, such as band-pass noise, filtered noise, gated noise, and more, can also be genera
Categories
Uncategorized

Grains

In granular synthesis, a grain is a small, individual sound segment used as the building block for creating new sounds. Usually, only a few milliseconds to a few hundred milliseconds long, grains are very brief audio snippets. They are frequently taken from longer sound files, like recordings of musical instruments or natural sounds.

These tiny sound particles are combined, layered, and processed in various ways to produce new sounds in granular synthesis. The grains can be altered in real-time using different parameters like amplitude, panning, and filtering and being played back at various speeds and pitches.

Granular synthesis can be used to produce a variety of sounds, from the sounds of conventional instruments to more experimental and abstract sounds. The method is renowned for its capacity to create intricate and dynamic textures and its innovative sound manipulation.

A granular synthesizer may use a live audio input, samples, or even a combination of the two to implement granular synthesis in various ways. The grains may be produced in real-time or in advance. The grains can be played back in several ways, including random order, specific order, or in a loop.

In granular synthesis, grains are the basic building blocks of sound, and manipulating them is the secret to producing distinctive and intricate tones.

Categories
Uncategorized

Index

In wavetable synthesis, a wavetable is a collection of pre-recorded sound samples, usually stored in a digital format. Any sound source, from a short sine wave to a sophisticated recording of an instrument or a soundscape, can be used for these samples. Each entry in the table that contains the samples represents a different point in the waveform. The index is used to choose the wavetable’s starting point for the waveform when a sound is produced.

A variety of sounds can be produced from a single wavetable by modulating the index over time. For instance, a steady, unchanging tone will be produced if the index is moved slowly through the table. The sound produced, however, will be more complex and dynamic with changes in harmonic content and overall character if the index is moved quickly through the table.

In addition, various wavetables can be used to produce multiple sounds. For instance, a wavetable with piano sound samples will sound different from a wavetable with synthesized sound samples. Wavetable synthesis is a potent tool for sound synthesis and design because of its adaptability.

In conclusion, wavetable synthesis plays a particular sound by indexing a table of sound samples to a specific position. Various sounds can be created by modulating the index over time, and various wavetables can be used to produce various sounds.