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A Doepfer modular analogue synthesiser.

I have played Baldwin organs at a time when they were still marketed and in my opinion, for what it is worth, they were pretty good in relative terms. That is to say, they sounded significantly better on the whole than the general run of analogue organs by other manufacturers, and they were only beaten by a few custom built instruments in which cost was not a factor. It would not be true to say they sounded as good as a good digital organ today, but they compared favourably with the early Allen digitals in the 1970’s. Nor, of course, did they sound indistinguishable from a pipe organ, but that is true for all pipeless organs. To my ears they also sounded much better and more natural than the cloying tone of the more expensive Compton Electrone which, like the Hammond, also relied on attempts at additive synthesis with insufficient numbers of harmonics.”

Peter Forrest, The A-Z of Analogue Synthesisers Part One A-M, Oct 1998.

Many different types of synthesis have been invented since the first successful (and affordable) commercial analogue synthesisers in the late 1960"s. The following are perhaps the best known ...

Planet Of Tunes - Subtractive (analogue) synthesis

are the the only true analogue synthesisers in our armoury

The GS1 was an expensive (around £12,000 in 1981) FM synthesiser (but not the first FM synthesiser, this was the even more expensive New England Digital Synclavier released in 1978). The arrival of FM synthesis was greeted with confusion and horror by electronic musicians who had just become used to subtractive modular analogue systems. FM synthesis is a radically different approach to sound synthesis; subtractive starts with a complex waveform and subtracts harmonics and tone with filters and modulation to produce the desired timbre whereas Additive Synthesis has no filters but creates varying timbres through the application of combinations of modulators or ‘operators’.

The very connected process of Resynthesis is highly connected to Additive Synthesis. In essence, Resynthesis involves analyzing the harmonic structure of a sampled sound, and trying to recreate that structure. Additive Synthesis is essentially Resynthesis, excluding the fact that Resynthesis is the recreation of a specific existing sound, not a general instrument tone. Given this link, additive synthesis is quite often used in Resynthesis processes.

What Is Analogue Synthesis? A Mini Guide To Analogue

15/04/2013 · What Is Analogue Synthesis

Before digital control, analogue synthesisers used an interconnecting arrangement of controlled voltage/gate signals to trigger their various components. For example, a key/note played on a keyboard would send a control voltage to an oscillator to tell it what pitch to produce, and another control voltage to an envelope which in turn would "instruct" an amplifier "shape" the volume envelope of the sound as it emerged from the oscillator.

In the early days of synthesis when only modular systems were available, sounds were created by connecting modules with patch cords and adjusting settings on each module. The settings and patch cord connections for a sound came to be referred to as patches. Recalling a patch was a laborious process, until performance synthesisers began to integrate micro-processor control and ROM memory was developed to store a patch configuration digitally. There is still no way to store a patch created with a modular analogue system.

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27/11/2013 · Non subtractive analog synthesisers

Also known as "Analogue Synthesis", subtractive synthesis was the original synthesis method developed for the early synthesisers of the 1960's and 70's. Subtractive synthesis produces distinctly synthetic sounds and involves using Oscillators to create changing electrical pressure soundwaves which are then processed, or "Modified" to alter their pitch, frequency content and amplitude over time. In essence, elements of the original waveform are "wobbled" and "subtracted".

- - Non subtractive analog synthesisers ..

Subtractive synthesis was the original synthesis methodology. Because it used analogue rather than digital components it is often called analogue synthesis.

How do digital synthesizers compare to analog

In the late 1980"s there was a demand for an affordable synthesise methodology which could produce a range of analogue, digital and natural sounds. This led to the development of S & S synthesis by Roland in Japan.

What's the difference between analog and digital synthesizers

An Oscillator is an electronic sound source. It is the device which creates the electrical pressure soundwave in a synthesiser. Oscillators can be analogue or digital.

program designed to emulate an analogue subtractive synthesizer

Subtractive Synthesis is a very simple signal chain of an oscillator (sound source) running through a filter (EQ curve) which is then sent to an amplifier for gain staging and ADSR control. This method is very easy to achieve in both analog and digital realms and can be used to create numerous (possibly infinite) instruments, effects, and sounds.

Analogue (Subtractive) synthesis theory

The analog subtractive synthesizer was initially designed for this purpose–as an alternative to hiring musicians to play on recordings, however, it quickly morphed into its own instrument, creating various sounds never before made by any acoustic instrument.

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