FROM VCOs TO DCOs
Sep 1, 2004 12:00 PM, By Doug Eisengrein
Do the names Dr. Robert Moog, Alan R. Pearlman and Tom Oberheim ring a bell? How about Miller Puckette, David Zicarelli or Stephan Schmitt? These people, along with many other exceptional pioneers, are responsible for the history of and ongoing boom in sound synthesis. The former three made their biggest mark in the world of hardware whereas the latter three are gurus of the software realms. Each of these people has made valuable contributions to synthesizers, which, like the advent of electric guitars, forever changed the palette of sound for musicians. In this column, I will briefly describe analog and digital synthesizers, with a focus on the use of soft synths in the computer-centric studio.
VOLTAGE PIMPS
At the heart of traditional synthesizers are analog circuits that manipulate electrical currents to form tones. A synthesizer is similar to a microphone in that it is essentially a transducer (a device that translates one form of energy into another), in this case, translating electrical energy into sound. Although several flavors of synthesis — such as additive, FM and physical modeling — have developed throughout the years, traditional analog synths can be placed in roughly one of two categories: fixed or modular. The various components of the two types are often similar; some of the most common are voltage-controlled oscillators (VCOs), which generate sound; voltage-controlled filters (VCFs), which alter the shape and timbre of sound; and voltage-controlled amplifiers (VCAs), which alter the amplification of sound.
The advantage of modular synths is that their different components can be (actually, they need to be) patched together with patch cables in varying configurations by a player to create their tones. On the other hand, fixed-type synths are prebuilt in a certain configuration and don't make use of patching or additional modules. Modular types are far more flexible and can potentially provide a much wider spectrum of sound, but their big disadvantage is that they often are quite large and far more difficult to learn and program. And due to their cable-using nature, analog modular synths don't have memory — they need to be “programmed” via cable, one patch at a time.
ALONG CAME DIGITAL
Although software synthesizers have a lively history all their own, in many ways, they have assimilated the design of their analog forebears; in fact, many of them are meticulous digital replicas of original analog classics. Software synths also come in fixed and modular designs. A few examples of popular fixed types are Native Instruments Pro-53 (modeled on an analog classic, the Sequential Circuits Prophet-5), TC Works Mercury-1 and Emagic ES2. Some of the more common modular designs are Arturia Moog Modular V (based on the original Moog Modular), Cycling '74 Max/MSP and Native Instruments Reaktor. Unlike their analog kin, software synthesizers cannot really be called transducers; they are more like D/A converters. Software synthesizers generate sound via mathematical functions yet still utilize oscillators, filters and envelopes to shape their sound. Modular types even incorporate virtual patch cables, though all of these components are digital.
Analog and software synths each have unique advantages and disadvantages. Analog purists will always argue that the sound quality of analog is smoother, fatter and more natural-sounding due to the natural constant flow of electricity.
As for soft synths, their biggest advantages are memory capabilities, size, expandability and comparatively low cost. They are essentially weightless and occupy only the area of your computer screen. Modular versions (in theory) can be expanded infinitely without incurring any extra cost and indeed have the advantage of endless patch storage without physical cables. But don't be fooled: Size matters here, too. The biggest limitations to soft synths are imposed by your computer's processor. You can only run so many soft synths simultaneously or make the modular versions so big before exhausting your CPU. And though digital synthesis has made amazing strides in terms of sound quality due to robust computers, you still have to deal with the inherently rough audible edges of data blocks rather than the smooth flow of electricity. Digital is still not analog and vice versa.
LFOs TO GO
You can run most soft synths in two modes: stand-alone or as a plug-in within a digital audio workstation, such as Steinberg Cubase or Digidesign Pro Tools. Arguably the best thing about soft synths is portability. For performing musicians, there may be nothing more desirable than carrying a laptop loaded with their favorite organ software, as opposed to bringing along a massive Hammond in its own van. In the studio, if you have a computer aside from your main workstation that you can dedicate to your favorite virtual synths, it is often a great way to fly. It will save your primary workstation's valuable CPU resources and provide robust performance of your chosen synths. Running soft synths as plug-ins is the ultimate in plug-and-play. Most DAWs are capable of running them right on their own dedicated tracks. This means that they can be used easily for composition and recording, not to mention instantly hot-swapped.
The history of synthesis is long; lively; and rife with moments of sheer brilliance, 23rd-century science and musical ideas. Whether your studio is an analog museum or a virtual space station, exploring the nuts and bolts of synthesis can be awe-inspiring and educational, and I can guarantee that doing so will make you more prone to experimentation in your own productions. Do yourself a favor: Read up on the history of synthesis, read the manuals of your own units and then go tweak away. You and your musical audience will definitely appreciate it.
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