Label: Kodapa - none • Series: Let There Be Synth - 1 • Format: 16x, File Compilation • Country: Sweden • Genre: Electronic, Pop • Style: Synth-pop, Electro, EBM
A synthesizer is an electronic musical instrument that generates audio signals. Synthesizers generate audio through methods including subtractive synthesisadditive synthesisand frequency modulation synthesis. These sounds may be shaped and modulated by components such as filtersenvelopesand low-frequency oscillators.
Synthesizers are typically sequencedcontrolled by software or instruments via MIDIor played with keyboards or other controllers. Early analog synthesizers were large instruments composed of separate modules ; inthe cheaper, smaller Minimoog standardized synthesizers as self-contained instruments with built-in keyboards.
The first mass-produced synthesizer, the Yamaha DX7was launched inpopularizing digital synthesis. Software synthesizers now can be embedded on single microchips in any electronic device. Synthesizers were initially viewed as avant-gardevalued by the s psychedelic and counter-cultural scenes.
Switched-On Bacha bestselling album of Bach compositions arranged for synthesizer by Wendy Carlostook synthesizers Jump Rope Song - Rod Stern - Give It Up For the mainstream. They were adopted by electronic acts and pop and rock groups in the s and s, and widely used in s pop.
Samplingintroduced with the Fairlight synthesizer inhas influenced all genres of music and had a major influence on the development of electronic and hip hop music. Today, the synthesizer is used in every genre of music, and is considered one of the most important instruments in the music industry. According to Fact in"The synthesizer is as important, and as ubiquitous, in modern music today as the human voice. As electricity became more widely available, the early 20th century saw the invention of electronic musical instruments including the TelharmoniumTrautoniumOndes Martenotand theremin.
The First Class People - Fear Of God - Fear Of God read punched paper tape that controlled an analog synthesizer containing vacuum tubes. The authors of Analog Days define "the early years of the synthesizer" as between and the mids, beginning with the debut of the Moog synthesizer. Early synthesizers were monophonicmeaning they could only play one note at a time. Some of the earliest commercial polyphonic synthesizers were created by American engineer Tom Oberheim such as the OB-X The synthesizer market grew dramatically in the s.
An influential sampling synthesizerthe Fairlight CMIwas released in and was widely used throughout the s. The success of the Fairlight drove competition, improving sampling technology and lowering prices;  early competitors included the Disabled Virtue - Various - Let There Be Synth Vol 1 (File) Emulator in  and the Akai S-series in InYamaha released the first commercially successful digital synthesizerthe Yamaha DX7.
The success of the DX7 led to competing digital synthesizers from companies including Roland, which released the D in to success. The D blended Roland's linear arithmetic algorithm with samples, and was the first mass-produced synthesizer with built-in effects such as delayreverb and chorus. Digital synthesizers typically contained preset Goodtime Boys - Rain emulating acoustic instruments, and were more difficult to customize than analog synthesizers, with complex algorithms controlled with menus and buttons.
The market for patchable and modular synthesizers rebounded in the late s. Sound on Sound credited the renewed interest to the appeal of imperfect "organic" sounds and simpler interfaces, and to modern surface-mount technology making analog synthesizers cheaper and faster to manufacture.
When synthesizers emerged in the s, they were viewed as avant-gardeFortunato - Pino Daniele - Tracce di Liberta (Box Set) by the s psychedelic and counter-cultural scenes for their ability to make new sounds, but with little perceived commercial potential. Switched-On Bachan bestselling album of Bach compositions arranged for Moog by Wendy Carlosdemonstrated that synthesizers could be more than "random noise machines",  taking them to the mainstream.
The portable Minimoogmuch smaller than the modular synthesizers before it, made synthesizers more common in live performance. Early synthesizers could only play one note at a timemaking them suitable for basslines, leads and solos. In the s, electronic music composers such as Jean Michel Jarre  and Isao Tomita    released successful synthesizer-led instrumental albums. This helped influence the emergence of synthpopa subgenre of new wavefrom the late s to the early s.
Soft Cell used Junkie - Poe - Hello synthesized melody on their hit " Tainted Love ". In the s, digital synthesizers were widely used in pop music. Today, the synthesizer is used in every genre of music. Both led to new forms of music, and both had massive popular appeal.
Synthesizers are common in film and television soundtracks. The rise of the synthesizer led to major changes in music industry jobs, comparable to the earlier arrival of sound in filmwhich put live musicians accompanying silent films out of work. Musician Walter Sear persuaded the AFM that the synthesizer demanded skill, and the category of "synthesizer player" was accepted into the union; however, players were still subject to "suspicion and hostility" for several years. Additive synthesis builds sounds by combining several waveforms, usually sine Together Forever - Various - The Best Of Maharaja Night 1995into a composite sound.
Subtractive synthesis uses oscillators to generate waveforms, then shapes them with filters to remove or boost specific frequencies. Frequency modulation FM Mary - Frank Wrightson - Magical Pipe Organ creates sounds by modulating one waveform with the frequency of another; the resulting complex waveform can, in turn, be used to modulate another, and this another, and so on.
FM synthesis can imitate acoustic sounds such as piano, strings and organs. Phase distortion Disabled Virtue - Various - Let There Be Synth Vol 1 (File) is a method implemented on Casio CZ synthesizers. It replaces the traditional analog waveform with a choice of several digital waveforms which are more complex than the standard square, sine, and sawtooth waves. This waveform is routed to a digital filter and digital amplifier, each modulated by Distort The Dogfight - Riikira - M027 eight-stage envelope.
The sound can then be further modified with ring modulation or noise modulation. Physical modelling synthesis is the synthesis of sound by using a set of equations and algorithms to simulate each sonic characteristic of an instrument, starting with Sonata In E Minor, K.402 - András Schiff, Scarlatti* - Keyboard Sonatas harmonics that make up the tone itself, then adding the sound of the resonator, the instrument body, etc.
When an initial set of parameters is run through the physical simulation, the simulated sound Disabled Virtue - Various - Let There Be Synth Vol 1 (File) generated. Although physical modeling was not a new concept in acoustics and synthesis, it was not until the development of the Karplus-Strong algorithm and the increase in DSP power in the late s that commercial implementations became feasible.
The quality and speed of physical modeling on computers improves with higher processing power. Linear arithmetic synthesis is a form of synthesis that Disabled Virtue - Various - Let There Be Synth Vol 1 (File) PCM samples for the attack of a waveform, and subtractive synthesis for the rest of the envelope. This type of synthesis bridges the gap between the older subtractive synthesis and the newer sample-based synthesis at a time where PCM samples would take up a substantial amount of the memory allotted.
The first synthesizer to debut with this form of synthesis was the Roland D in Sample-based synthesis involves digitally recording a short snippet of sound from a real instrument or other source and then playing it back at different speeds to produce different pitches.
A sample can be played as a one shot, used often for percussion or short duration sounds, or it can be looped, which allows the tone to sustain or repeat as long as the note is held. Samplers usually include a filter, envelope generators, and other controls for further manipulation of the sound. Virtual samplers that store the samples on a hard drive make it possible for the sounds of an entire orchestra, including multiple articulations of each instrument, to be accessed from a sample library.
See also Wavetable synthesisVector synthesis. The results are then used to resynthesize the sound using a band of oscillators. Synthesizers generate sound through various analogue and digital techniques.
Early synthesizers were analog hardware based but many modern synthesizers use a combination of DSP software and hardware or else are purely software-based see softsynth. Digital synthesizers often emulate classic analog designs. Sound is controllable by the operator by means of circuits or virtual stages that may include:. Electronic filters are particularly important in subtractive synthesisbeing designed to pass some frequency regions or "bands" through unattenuated while significantly attenuating "subtracting" others.
The low-pass filter is most frequently used, but band-pass filtersband-reject filters and high-pass filters are also sometimes available. The filter may be controlled with a second ADSR envelope. An "envelope modulation" "env mod" parameter on many synthesizers with filter envelopes determines how much the envelope affects the filter.
If turned all the way down, the filter produces a flat sound with no envelope. When turned up the envelope becomes more noticeable, expanding the minimum and maximum range of the filter. The envelope applied on the filter helps the sound designer generating long notes or short notes by moving the parameters up and down such as decay, sustain and finally release. For instance by using a short decay with no sustain, the sound generated is commonly known as a stab.
Sound designers may prefer shaping the sound with filter instead of volume. Envelopes control how sounds change over time. They may control parameters such as amplitude volumefilters frequenciesor pitch.
The "attack" and "decay" of a sound have a great effect on the instrument's sonic character. LFO signals create a periodic control signal or sweep, often used in vibratotremolo and other effects.
In certain genres of electronic music, the LFO signal can control the cutoff frequency Disabled Virtue - Various - Let There Be Synth Vol 1 (File) a VCF to make a rhythmic wah-wah sound, or the signature dubstep wobble bass. An arpeggiator arp is a feature available on several synthesizers that automatically steps through a sequence of notes based on an input chordthus creating an arpeggio. The notes can often be transmitted to a MIDI sequencer for recording and further editing.
An arpeggiator may have controls for speed, range, and order in which the notes play; upwards, downwards, or in a random order. More advanced arpeggiators allow the user to step through a pre-programmed complex sequence of notes, or play several arpeggios at once. Some allow a pattern sustained after Disabled Virtue - Various - Let There Be Synth Vol 1 (File) keys: in this way, a sequence of arpeggio patterns may be built up over time by pressing several keys one after the other.
Arpeggiators are also commonly found in software sequencers. Arpeggiators seem to have grown from the accompaniment system used in electronic organs in the mids to the mids. A famous example can be heard on Duran Duran 's song " Rio ", in which the arpeggiator on a Roland Jupiter-4 plays a C minor chord in random mode. They fell out of favor by the latter part of the s and early s and were absent from the most popular synthesizers of the period but a resurgence of interest in analog synthesizers during the s, and the use of rapid-fire arpeggios in several popular dance hits, brought with it a resurgence.
From Wikipedia, the free encyclopedia. Redirected from Synths. Disabled Virtue - Various - Let There Be Synth Vol 1 (File) article is about the electronic music instrument. For other uses, see Synthesizer disambiguation.
For other uses, see Synth disambiguation. Electronic musical instrument. This section needs expansion. You can help by adding to it. November This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
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