41

'In general' is pretty hard to nail down. There is so much to say about this era I could write a book - perhaps I should ;-) Late edit - Let me add a quick TL:DR Hardware sequencers were such a pain to programme is was simpler just to play it most of the time. One good bit of diddley-diddley sequence could make the whole track sound "electronic". It didn't ...


32

They are not always the same. There can be differences in the harmonic content, in the wave shape, even if they are unnoticeable to the ear (or most ears). There are many different ways to generate the basic waveforms electronically, so in analog synths the actual waveform will depend on the design and implementation. I've also found that analog ...


24

This is a difficult question to answer, because you say you already understand synthesis, and that you're good at it - so it seems you should already know what synthesisers are capable of, and how to make them do it. So you'll know there are many different kinds of synthesiser, and they can be combined - there's nothing to stop you from controlling an FM ...


17

Technically speaking two notes with the same pitch have the same frequency as the fundamental. However this does not explain why two notes of the same frequency also called unisons, sound different on strings of different diameters or lengths or both. The guitar and the entire orchestra string family as you may know have numerous unisons (unlike the piano). ...


17

What I've found is that the acoustic piano is the most expressive when played softly. We all like loud, but anything can be loud and the ear will tune loud OUT after a while. But it pays attention when things get quiet. And that's where weighted keys really help - on a digital too. If you don't have that weight, you'll get a more frequent oops-BANG ...


16

It's a Moog modular Synthesizer IIIc From Matt Morton - Apollo 11 Matt wrote, orchestrated, performed, recorded, and mixed all of the original music for the film, as well as the teaser trailer and the theatrical trailer. Every instrument and effect used in the score existed at the time of the mission in 1969 including the Moog modular ...


15

There's got to be a name to the discipline, some kind of resource, some formalized, real thing around that particular science of music... right? You are looking for sound synthesis and sound design. I'll present you some popular resources. Synth Secrets One of the most popular resources (if not the most popular) is Gordon Reid's Synth Secrets series. It ...


15

Firstly, a single oscillator will tend to produce rather a subjectively 'thin' and static sound. This isn't always the case (as later stages, such as the filter, or a separate chorus stage, can add warmth and movement), and it isn't always a bad thing - but of course if you want to have a one-oscillator sound on a synth that has more oscillators, you can ...


14

The synth patches that you want will exist if you build them yourself. :) You might consider studying some of the older musicians such as Keith Emerson and Rick Wakeman. At that time, people usually rolled their own sounds, building them from the basic four waveforms. Also, you might read up on "additive synthesis" which has to do with the theory behind ...


13

In a monophonic MIDI to CV module it would just send one note through. It is called note priority, and the implementation depends on the MIDI to CV module. Some modules will let you switch between note priority modes (like this one), some implement one in particular. Some modes are: Low note priority: The lowest note (lowest MIDI value, lowest frequency,...


11

What you need to be looking for are VST - Virtual Studio Technology - instruments. The good DAW's all let you use VST plugins to synthesise instrument sounds, using various parameters, including different breath pressure, volume etc. Many libraries are available for free online, you tend to get free ones with Digital audio magazines (often a DVD full of ...


11

If you are playing an organ sound, you might want a keyboard that can feel and respond like an organ, rather than a piano It's possible to make a very shallow non-weighted action, which is helpful for some techniques (I like it better for triggering percussive sounds, for example) It's cheaper to make, so instruments are cheaper. The instrument is lighter ...


11

MIDI is not sound. The MIDI specification does not dictate what any instrument sounds like, it's up to the synthesizer to generate the sound. Free synths sound like crap, but good ones can sound as good as the creators can make them. For example, the Pirates of the Caribbean soundtrack is entirely synthesized, yet most people don't even realize it.


10

A few ideas: The most difficult but most flexible approach would be to continue playing with the synth programming until the synth sounds in tune on more notes, or program more synths to have similar sounds on different notes. Use pedal point. A bassline using pedal point constantly plays the same note, regardless of the changes in harmony. Done well, which ...


10

Without a picture, we can just guess, and my guess is that it is referring to a triplet. Something like this for instance: http://edweb.tusd1.org/Mansfeld/FineArtsWeb/MusicExploration/downloads/A%20Music%20Crash%20Course/triplet1.gif Τhe eighth triplets (second group,second bar) are 3 eighth notes that are being played in one beat; the quarter triplets (...


10

As naught101 says, your particular case here is a sinusoidal wave with a quiet third harmonic. To hear what this sounds like at an audible frequency, go to http://meettechniek.info/additional/additive-synthesis.html in a browser that supports the Web Audio API (like Firefox or Chrome), turn the audio on, and set it like this: H1 there represents your (16/15)...


9

Vocoders were originally invented as a way to transmit speech over low-capacity transmission media. To encode: Start with speech as an electronic signal (e.g. from a microphone) Put the signal through a multi-band filter, getting some number of new signals, each covering a different frequency range. Pass each of these frequency bands through an envelope ...


8

Seems that you are new to the whole synthesis thing and you are looking for specific sounds found in other songs, so I recommend you to start with a software synthesizer that has a big and good library and macro support/dynamics. The library will let you choose from an array of well-organized pre-programmed sounds, and the macros will let you tweak those ...


8

A synth is a machine that generates (synthesizes) sounds. There are many different types: old-school 80's style FM synthesizers, even more old-school modular synths like Moogs, software synthesizers that run on a computer, etc. Although some have a keyboard, that is not part of a synthesizer per se, that's just the controller. A controller is a thing that ...


8

MIDI is only a specification for what instrument (patch) to use, what notes to play, how long and loud to play a note and other things like tempo, time signature and text lyrics. The concept is very similar to how an old player piano works. The midi data is like the piano roll, the sound you hear is from the physical sound produced when the hammers strike ...


8

The ADSR envelope (and derivatives) is as follows: A: Attack - the length of increase in voltage* (or analogue) D: Decay - the length of decrease in voltage that comes after the increase S: Sustain - the amount (or level) of voltage to sustain after the decrease R: Release - the length of time it takes for the voltage to go back to 0. Telling the ...


8

I think that the shortest and most precise answer to your question is: to produce timbres that are not possible with a single oscillator, including an entire form of synthesis (FM) that requires at least a second oscillator to modulate the first one. In a slightly longer answer I would describe the West Coast and East Coast approximations to synthesis, as ...


7

I think subtle expression possibilities is the key. Piano, electric piano and organs have a large and very finely controllable dynamic sound range1 (either by true continuous 𝆑𝆓𝆏 spectrum right "at the fingertips", or lots of of possible organ stop/drawbar combinations), so you can always counteract where it might get tiresome, without however necessarily ...


7

MIDI is just a stream of instructions, like: "Tell channel 1 to turn on note 60" "Tell channel 2 to turn off note 72" "Tell channel 3 to set parameter 1 to value 231" There is a set of conventions such as: Channel 1 is piano, 34 is electric bass, etc. Parameter 1 is modulation, 7 is volume, 64 is sustain, etc. This is called General MIDI (Wikipedia). ...


7

You don't need any specific audio software to generate audible waveforms. Here's a simple C program that will generate the required data on standard output: #include <stdint.h> #include <stdio.h> #include <math.h> double y(double t) { return (16 * cos(t/2) - cos(t*2)) / 15; } double pitch = 440 * 2*3.14159; // so the base pitch will ...


7

An electrical instrument built in 1933, divided into a ten-division octave, instead of twelve. Billed as 'Altogether new types of melodies, far beyond the range of our present musical experience, emanate from this instrument'. The decimal version of music? Sometimes known as Mellerton. Obviously didn't catch on... , but good for 'playing in the cracks'.


6

The full huge range of sounds available from synthesisers means that the subject is enormously broad. Typical keyboards behave differently depending on the virtual instrument you are playing. For example, a piano patch isn't likely to respond to aftertouch, and might not respond to pitch bend; a strings patch will respond to pitch bend, and might swell if ...


6

I think a good analogy is with creating images. There are lots of ways to create an image: with a pencil, with a fibre-tip pen, with oil paints, with chalk, with oil paint, with watercolours, with photography, and so on. Of course, you can photograph an oil painting, but that doesn't help you modify it in an oil painterly manner. You can't accurately ...


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