P1 – Software
We played around with subtractive software synths in different DAWs. The one in Logic (retro synth) sounded more like a hardware synth, with the filters sounding more analogue whereas the Ableton Analog instrument sounds less thick, and the interface is a bit of a mess. My personal favourite Ableton synths at mimicking analog devices are the POLI and BASS Max devices.
We also tried using VCV rack. I have a small amount of experience in VCV as I have tried it before. VCV rack simulates a modular set-up very well and can produce very nice sounds. I find it appealing that it is free to use and that there are so many free modules to use. The main downside is that you don’t get the physical experience of patching like you would with a real Eurorack modular setup, however, the fact it is free more than makes up for this (especially considering the price of an actual modular setup).
Here are some recordings I made of POLI and BASS in Ableton:
Advantages of software synths:
- Always Midi compatible meaning you can rearrange your input after ‘recording’
- Cost/Accessibility/Practicality – Software synths are generally cheaper and cost less power to run. As well as cost, they take up no physical space and don’t need to be set up with cables and external systems that could otherwise cause complications (input latency etc.)
Disadvantages
- Sound Quality – The quality can vary between software synths and they often don’t sound as good as analogue
- Tactility (controller dependant) – A big part of using a synth is the facility of interacting physically with it while using it.
- Character – This is as much a case-by-case (negative and positive) and personal opinion but due to the precise reliable nature of a lot of software it misses out on the quirks of individual devices such as hardware errors.
I created this basic synth in Max to try to get a better understanding of how FM works. Due warning, the audio below is quite coarse and loud so try to start with low volume.
I currently use software synths as my main source of synthesis. I find it accessible and easy to understand. I hope to learn how to make my own complex synths in Max/MSP. I would like to get into hardware synths however my budget is holding me back, as well as the choice of many different synths. I was looking at the following on Thomann a while back: ASM Hydrasynth Explorer, Dreadbox Nymphes, Korg Wavestate
I created the soundscape below in Ableton. 1 track was an Operator (the filtered wind sound), the second track was processed recordings of a radio station (one of those beeping shortwave ones like the pip – audible parallels with Bill Fontana’s Fog Horns) and the 3rd track is electric guitar filtered very low. It’s too large a file to attach so here is a link that should hopefully work.
https://drive.google.com/file/d/1zUuue2_Ad8OzKmlTHOwv0v3RnikfF-xS/view?usp=sharing
P2- Hardware
Today we used the hardware synths available at LCC.
My personal favourite out of these was the Moog Matriarch as it sounded the best and I enjoyed switching between the different voicing settings. Of all the synths available at the time it was probably the only one that appealed to me more than just using familiar software.
When I first arrived on the course my knowledge of synthesis was self-taught based on using software synths in daws and memories from the very cheap Casio keyboard at my Nans. Although I knew how ADSR envelopes and filters functioned it was initially quite daunting trying to see how they were arranged on specific synths, like the MS-20. Thankfully I’m now a lot more familiar with hardware design conventions.
Do you agree all the points made here? What has been left out?