Are you curious about the electronic sounds you hear in music everywhere? What Is A Synthesizer? At WHAT.EDU.VN, we demystify the synthesizer, the versatile electronic instrument behind countless iconic sounds. Discover its history, components, and types, and unlock the potential to create unique soundscapes. Dive in and explore the world of sound synthesis, and if any questions arise, remember that WHAT.EDU.VN is always here to provide free answers.
1. What is a Synthesizer?
Synthesizers are electronic musical instruments that generate audio signals through analog or digital circuits. These signals begin as basic waveforms produced by oscillators. As the waveforms travel through different synthesizer components, they are shaped, filtered, and enhanced, enabling the creation of a wide array of complex sounds.
Synthesizers were initially used to replicate the sounds of traditional acoustic instruments. Today, they are more commonly used to create sounds that were previously unimaginable.
1.1. Analog vs. Digital Synthesizers
Early synthesizers relied entirely on analog technology. These analog synthesizers, introduced in the 1960s, generate sound directly from electricity using oscillators. Varying the signal voltage and its path through the synthesizer’s circuits produces different tones.
Analog synths are valued for their warm, rich tones produced by their circuitry. However, the introduction of digital synthesizers in the 1980s brought new synthesis methods and increased flexibility. Digital technology also made synthesizers more accessible and affordable.
1.2. Software vs. Hardware Synthesizers
Music production has largely become a digital process since the 1990s. Alongside hardware synthesizers, software synthesizers now exist entirely within DAWs (Digital Audio Workstations).
Many synth enthusiasts prefer hardware options, but a wide range of software synths are available. Some accurately emulate vintage synths, while others use advanced technology to create previously unattainable sounds.
The interface of a software synthesizer, showcasing the extensive controls and parameters available for sound design.
If you want a truly analog sound, hardware synths are the way to go. The physical aspect of a synthesizer may also be appealing, even when working with digital synths. However, consider the convenience and versatility of a DAW-integrated synthesizer.
1.3. Monophonic vs. Polyphonic Synthesizers
Monophonic synthesizers can only play one note at a time. This makes them suitable for lead and bass lines where chords are not needed. If you want to play more than one note simultaneously, you’ll need a polyphonic synth.
Polyphonic synths have a limited number of notes that can be played at once, so consider this when purchasing. A synth with ‘four-voice polyphony’ can play four notes simultaneously.
Many software synths allow you to change the number of voices available on a patch. A preset may be monophonic by default but can be switched to polyphonic.
2. The History of Synthesizers
Modern synthesizers emerged in the 1960s, but electronic instruments have existed for much longer. The telharmonium, an electric organ, was patented in 1897. The first Hammond organ was released in the mid-1930s.
The Theremin, patented in 1928, is controlled without physical contact. It has been used extensively in science fiction and horror films.
The Moog synthesizer debuted in 1964, marking the beginning of the age of synthesis. Early Moogs were large, modular synthesizers composed of modules connected with patch cords. In 1970, the Minimoog was introduced, making synthesizers more accessible.
These were the first synths sold in music stores. While expensive, they were used by serious musicians and marked the entry of synths into the mainstream. Unlike early Moogs, Minimoogs were not modular and had a built-in keyboard.
Bob Moog, the pioneer behind the Moog synthesizer, showcasing the instrument that revolutionized electronic music.
More synthesizer companies emerged, including ARP and EMS. In the late 70s, digital synths appeared, and in 1983, Yamaha released the DX7, which sold over 100,000 units. This classic synth remains one of the best-selling of all time and ushered in the era of mass-market synthesizers.
The 1990s saw the rise of software instruments and a renewed interest in analog synths. In the early 2000s, 70s analog synths were prized for their warm sound and often sold for more than their original prices. Companies like Moog, Korg, and Arturia began producing new analog synths in the 2010s at more affordable prices.
Software synths continued to develop, with analog emulations becoming more accurate. Companies like Xfer Records and Native Instruments pushed the boundaries of sound synthesis.
3. The Basic Building Blocks of Synthesizers
Understanding how synth sounds are created is crucial for experimenting with synths. This will help you quickly edit presets and create your own sounds from scratch. Understanding how sound is generated and shaped allows you to adjust parameters to create the exact tone you want.
3.1. Oscillators
The signal path in a synth begins with oscillators. Oscillators generate basic waveforms that form the basis of synthesized sound. A sine wave is the simplest sound. Harmonics can be added to create other waveforms.
Harmonics are overtones—additional higher frequency notes—layered on top of the root note or fundamental frequency. They make the sound richer and more complex.
Adding harmonics can create new wave shapes such as square, triangle, and sawtooth waves. Each waveform sounds different, and you can usually choose which wave shapes you want your oscillators to produce.
For example, a 100Hz sine wave consists of a single 100Hz tone. A 100Hz sawtooth wave is generated by layering multiple sine waves on top of the fundamental 100Hz frequency. It includes harmonics at 200Hz, 300Hz, 400Hz, and so on, with each harmonic being quieter than the last.
An oscilloscope visualization of various waveforms—sine, square, triangle, and sawtooth—illustrating their distinct shapes and harmonic content.
Synths also commonly feature a noise generator, producing a sound like radio static. This can be blended with the sounds produced by the oscillators to add crunch and thickness.
3.2. Filters
Filters shape the raw sound produced by the oscillators. If creating a synthesized tone is like sculpting, choosing the oscillator waveform is like selecting the type of rock to carve from. Filters are the sculptor’s tools, used to carve a distinct shape from the raw material.
The most common filter types are high-pass and low-pass filters. High-pass filters cut all frequencies below a certain point, letting high frequencies pass through. Low-pass filters cut all frequencies above a certain point.
These filters can make the sound thicker or thinner, darker or brighter. Filters can also boost frequencies. The ‘resonance’ control on the filter section of a synth creates a louder peak at a filter’s cut-off frequency, the point at which it starts filtering out sound.
This creates a ringing sound and can produce dramatic effects if the filter is adjusted in real time during performance.
3.3. LFO
LFO stands for low-frequency oscillator. Unlike the oscillators discussed earlier, LFOs transmit frequencies below the limit of human hearing, so you can’t hear them directly.
However, you can hear their effect on the sound generated by other oscillators. LFOs modulate your synth tone, creating effects like vibrato or tremolo.
The classic dubstep ‘wub’ bass sound is an example of an LFO in action. An LFO can be synchronized to the tempo of your project, locking the modulation into the rhythm of your music, or it can move freely.
3.4. ADSR Envelope
ADSR stands for attack, decay, sustain, and release.
An ADSR Envelope controls how a sound behaves over time, from the moment it is triggered. The attack determines how a sound begins. A sound with a very short attack will begin suddenly and sharply, like a drum hit or hand clap.
As the attack time increases, the sound begins more gradually. A swelling violin note has a long attack time.
Decay is how quickly the sound dissipates from its initial impact. A plucked violin string has a fast decay time, while a powerfully struck piano note has a longer decay time.
Sustain controls how long a note lasts while you are holding it down. A plucked violin note has no sustain, while a held piano note can have a longer sustain time. A synth can sustain infinitely if desired, continuing the sound as long as the note is held.
The release dictates how long the note will ring out after you release the note. A very short release means the note will stop almost as soon as the key is released. A release time of two seconds means it will take that long for the sound to fade out to nothing.
4. Types of Audio Synthesis
Numerous types of synthesis can create varied sounds. Here are some of the most common types.
4.1. Subtractive: Analog & Virtual Analog Synthesis
Classic analog synths and modern virtual instruments that mimic them use subtractive synthesis.
This type of synthesis is called ‘subtractive’ because it starts with a base waveform and removes frequency content using filters and envelopes until the desired sound is achieved.
Analog synths are valued for their rich, warm tones, resulting from the complex behavior of a waveform as it travels through the analog synth circuitry. The sound is colored by these circuits, giving it character.
Older analog emulations often sounded too clean and digital, failing to match the sound of the original machines. Newer analog emulations mimic the architecture of the original analog circuits to get as close to the desired analog sound as possible.
4.2. Additive Synthesis
Additive synthesis works in the opposite way of subtractive synthesis.
Instead of subtracting from a waveform, a new sound is built from scratch, one harmonic at a time. In additive synthesis, sounds are created by controlling the frequency and amplitude (volume) of each harmonic.
This allows for unusual sounds that are out of reach with subtractive synthesis. Unique effects can be achieved by moving harmonics out of tune, for example. This results in incredibly interesting and complex sounds useful in sound design or as unusual pads.
4.3. FM Synthesis
Yamaha’s DX7 used FM (frequency modulation) synthesis, and its sound is associated with that era.
If you want to mimic 80s keyboard sounds, this is the way to go. The DX7 piano sound is a classic but sounds like a digital version of a piano. It’s very clean and pristine, unlike a real piano, but it’s associated with numerous classic records.
This is a complex form of synthesis involving two oscillators. The first, known as the carrier, generates the original frequency, while the second oscillator modulates it by introducing additional harmonics over time.
The Yamaha DX7 synthesizer, a landmark instrument known for its distinctive FM synthesis capabilities, which defined the sound of the 1980s.
4.4. Wavetable Synthesis
Instead of using basic waveforms generated by an oscillator, wavetable synths use a sample of a recording, which can be anything from an instrument to an animal call to the sound of rain. A wavetable synth grabs a snapshot, or a selection, of this sample and uses it as raw material.
This allows for wildly varying sounds, and these synths have become incredibly popular across a wide range of electronic genres in recent years.
4.5. Modular Synthesis
Modular synthesis harkens back to the days of the original Moog. These synths are deconstructed into separate modules, one for an oscillator, one for a filter, and so on. This allows you to custom-build your own synth.
Rather than buying a closed box that functions in a certain way, you can connect different modules together in any configuration. This can be done with hardware, where you buy modules individually, or with software that allows you to patch together different module types virtually.
4.6. Granular Synthesis
Granular synthesis is a great way to create unusual sounds. It uses a sample as the basis for its sound, breaking the recording into tiny snatches of audio called grains. These grains can then be layered, modulated, and edited to build otherworldly textures that evolve over time.
5. FAQ About Synthesizers
| Question | Answer |
|---|---|
| What are the primary components of a synthesizer? | Oscillators, filters, LFOs (low-frequency oscillators), and ADSR (attack, decay, sustain, release) envelopes are the primary components. Oscillators generate the initial sound, filters shape the sound, LFOs add modulation, and ADSR envelopes control the sound’s dynamics over time. |
| Can synthesizers mimic real instruments? | Yes, synthesizers can mimic real instruments to varying degrees of accuracy. Early synthesizers were often used to emulate acoustic instruments. While modern synths excel at creating unique sounds, they can also produce realistic emulations of traditional instruments. |
| What is the difference between a VST and a synth? | VST (Virtual Studio Technology) is a software interface that integrates software synthesizers and effects into digital audio workstations (DAWs). A synth is the instrument itself, which can be either hardware or software (VST). |
| Do synthesizers require musical knowledge? | While not strictly required, musical knowledge enhances your ability to create and manipulate sounds effectively. Understanding music theory, scales, and harmony can help you produce more musical and coherent synth-based compositions. |
| How do I connect a synthesizer to my computer? | Connect a synthesizer to your computer using a USB cable, an audio interface, or MIDI cables. USB cables transmit both audio and MIDI data, while audio interfaces provide high-quality audio input and output. MIDI cables transmit MIDI data, which controls the synthesizer’s parameters. |
| Is a MIDI keyboard a synthesizer? | No, a MIDI keyboard is not a synthesizer. A MIDI keyboard is a controller that sends MIDI data to a synthesizer or computer software. The synthesizer or software then generates the sound. |
| What is voltage-controlled synthesis? | Voltage-controlled synthesis involves using voltage signals to control various parameters of a synthesizer, such as oscillator frequency, filter cutoff, and amplifier gain. This technique is common in analog synthesizers and allows for precise and dynamic sound shaping. |
| What’s the role of “patching” in synths? | Patching, common in modular synthesizers, involves physically connecting different modules using patch cables. This allows you to create custom signal paths and explore complex sound design possibilities by routing audio and control signals between different components. |
| What are some popular synthesizer brands? | Moog, Korg, Arturia, Yamaha, and Roland are some popular synthesizer brands known for their innovative and high-quality instruments. Each brand offers a range of synthesizers catering to different needs and preferences, from analog classics to digital workstations. |
| How do I get started with synthesizer sound design? | Start with basic waveforms (sine, square, sawtooth) and experiment with filters, LFOs, and ADSR envelopes to understand how each component affects the sound. Explore presets, then gradually tweak parameters to create your own sounds. Online tutorials, courses, and communities are great resources. |
6. Conclusion
Synthesis is a deep and rich area within music production. Subcultures have developed around areas such as modular synthesis alone. Use this article as a jumping-off point.
With the basics covered, start creating synth patches right away, or focus on the parts of synthesis that interest you most and explore them in depth. Hopefully, the next time you see a synth, the array of knobs and buttons won’t be so bewildering.
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