On the shortcomings of modern synthesizers and how to deal with them

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Everyone loves music. But not everyone is able to play it. Only a few are able to create it, and even fewer people create musical instruments for this. Legendary instruments, along with legendary composers and musicians, go down in history, but few are interested in these very instruments. We are interested. So why not make your microscopic contribution to history?


Background


I remind you that this is my vision of history. Anyone who is afraid of a distortion of facts, or just knows her, can skip this topic.

It all started in the 60s of the last century, when some enthusiasts who believed that it was the future were cutting electronic music and gluing it on magnetic tapes. Of course, they did not fail, although the conditions for recording it, to put it mildly, then left much to be desired, and only rather wealthy engineer musicians could afford it. Why engineers? Because they created the very “cosmic” sounds on huge, cabinet-like machines, which were called sound synthesizers. These were monophonic instruments, but they didn’t really need polyphony - by pressing a single key they could play as many voices as the musician was rich - the synthesizer could easily be equipped with new and new modules, which are described below. Often the keyboard was absent altogether, or it contained only a couple of octaves - it almost did not play a role. To understand the synthesis of sound and record electronic compositions, it was not enough just to be a musician - when you saw a bunch of wires and a huge cabinet, you just wanted to take your guitar and pass by. So music began to be written by those who were far from it, which led to the fact that synthesizers were associated with tons of wires ...



... and healthy cabinets!



But already in the 70s, the lumbering sounds of the famous “Modulars”, created by students under the floors of boring engineering universities, began to arouse the sensible interest of almost all the bands and musicians of that time. A huge, no, the largest role in the development of "electronics" was played by the American company "Moog", named after the founder and producing lamp heads until that time. Robert Mug became just a superhero, devoting the rest of his life to analog synthesizers. His company still successfully exists, and its products represent the ideal sound quality of vintage analog synthesizers.

By the way, In Soviet Russia also made analog synthesizers, which were known far beyond its borders. Here is a classic example of the legendary Polivox.

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Somewhere in the 80s, digital synthesizers appeared and began to develop; their era continues to this day, as it is easy to notice. But people tend to get tired. Companies such as Casio or Yamaha suddenly lost customers (but not popularity), because people, tired of fed up presets, remembering the warm and versatile sound of old whoppers, rushed to grandfathers in the attic in order to return them. Weakened and almost bent firms, still producing modular synthesizers, cut through the chip and began to break prices. And some newly created companies, such as Waldorf, not only cut this chip, but also made useful conclusions for themselves, preparing surprises for later. When it became clear that not everyone could afford modular pleasure, but they got presets, Waldorf gave birth to Waldorf Q, a new generation synthesizer,

Waldorf Q in skilled hands

Well, then you know yourself - computers, plug-ins, cheaper radio components ... Now all kinds of synthesizers have an equal right to exist, they are all in demand, but computers and digital synthesis still dominate, and even more - presets (yes, yes, exactly therefore, your dubchik sometimes sounds so the same - modulation by the same parameters, presets are all similar).

Yamaha Workstation, as an example of a modern digital synthesizer. Well, everything is history, with a few exceptions: the large modular synthesizers are back again. Details became cheaper, schemes previously kept by companies in the strictest confidence appeared on the now fast Internet. So why not? .. Fuck, where's the soldering iron?

Actually, the project


Taking into account the whole history of these tools, the crazy possibilities of computers and cheap stones, the availability of old circuits and even the presence of step-by-step instructions and tutorials on them, we decided to create something monstrous ... But first I will try to list the advantages and disadvantages of classical modular and modern digital synthesizers (hardware synthesizers will be considered, in the sense of physically existing as tools).

Cons of purely modular synthesizers:
  • They are big;
  • They are unstable (heating of components and tuning does not apply to modern home-grown modular modules with modern details);
  • Thousands of wires (connecting modules with patch cords, at best, with a contact matrix, but then the possibilities are reduced and the tool ceases to be “infinite”);
  • I want to beat a chord, but only the bottom key will work;
  • I would like to save this configuration for future use, but now collect something else - sorry, it won’t work out. Draw a little diagram on a piece of paper, take a picture of the position of the potentiometers, toggle switches and switches - maybe restore it;
  • Knobes themselves will not turn. If you want to simultaneously rotate ten knobs at different speeds for a beautiful change in sound - call the many-armed Indian gods.


Pros:
  • Patch cords (despite the inconvenience, these are real, intuitive and tangible connections, but not prescribed in the program, carrying tons of code, lags and endless lists of options for where you can attach it and what to do about it);
  • “Infinity” (Have you got money? Buy a new module! - the dimensions and equipment of the synthesizer are limited only by the imagination of the instrument owner and the thickness of his wallet (well, by the size of the room, hehe). Almost all modules are independent and can be connected wherever your heart desires, just give it everyone nutrition;
  • Flexibility. (what kind of architecture I want, such and heaped up);
  • Your sound is absolutely unique. There is no such sound in presets, it can be changed right now, during the game. A wide range of sound - from inaudible low to inaudible upper with the same quality as the first and second. In general, this is exactly the sound.


Cons of digital synthesizers:
  • Limited architecture;
  • Immutable architecture;
  • Poor low-frequency reproduction is possible, because of which they can be divided in directions: for dubstep, for drums, for pads, backgrounds and noises.


Pros:
  • Small dimensions;
  • Provide absolutely all types of synthesis (but each individual instrument usually represents a combination of a maximum of two of them);
  • You can save configurations and load them directly during playback with the click of a button;
  • Polyphony. More money - more polyphony;
  • They allow you to carry out a wide range of work with sound, from playback and recording to information, equalization and distribution of channels (a hallmark of the so-called workstations);


I wanted to combine these two types of tools and try to get rid of some of the minuses and without losing their dignity. But for starters, a tutorial on how a modular synthesizer works. You can rummage around here , on the left you need to find the MFOS In The Classroom / Analog Synth 101 section - everything is fine written there, though in English.

Here are the main modules (in short):
Generator
Generator (VCO, Voltage Controlled Oscillator). It is usually able to generate a sinusoidal, sawtooth, triangular and rectangular waveform. The square waveform comes with a Pulse Width setting. Of greatest interest is the sawtooth freestyle - it contains the most harmonics. Since our synthesis is subtractive (subtractive - we take the signal and filter out everything that is unnecessary), the more harmonics the original signal contains, the better. The frequency of the generator can be modulated using voltage from the keyboard or from another generator. The more generators, the more opportunities modulation of some signals by others and the more fun.

Lfo
Low Frequency Oscillator (LFO) is a special type of generator designed to generate various very low frequency waveforms used for modulation. The period of such signals can reach several minutes, so a large part of the frequency range of this generator will not be heard to a person. However, some models have several modes of operation for a variety of purposes.

Envelope Generator
Envelope Generator is also a modulation source. Generates a signal of a special shape, which has such characteristics as attack, recession, level and attenuation. Attack - the time taken to increase the signal until the recession begins. It is activated when a key is pressed on the keyboard or when a Gate signal arrives at the generator input. Recession - the time taken to decrease the signal to a Level also adjustable. Attenuation - the time spent on attenuation of a signal from a previously determined level to zero begins when you release the key or when the Gate signal at the input decays. Can be simplified to an Attack-Attenuation cycle.

Mixer
Mixer - simply mixes the signals in different proportions.

Filter
Filter (VCF - Voltage Controlled Filter) - filters out the incoming signal. There are different types of filters with different filtering stiffnesses (usually 12 or 24dB per octave) and different types: low-pass, high-pass and band-pass filters. The main characteristics are cutoff frequency and resonance. Resonance raises the level of frequencies that are close to the cutoff frequency, and therefore the sound becomes more “harsh”. At maximum resonance, self-excitation occurs and the generation of a sinusoid begins with a frequency equal to the cutoff frequency of the filter. These characteristics can be changed using a modulating signal.

Amplifier
Amplifier (VCA - Voltage Controlled Amplifier) ​​- is used to modulate the signal level by another signal.


For a synthesizer, the usual minimum is two generators, a mixer with three inputs and one output, one filter, one LFO, two envelope generators (well, you can have one), one amplifier. Such small systems are not even equipped with patch cords - there are few combinations of connections, you can get by with buttons and switches. The sounds of the oscillators, as well as an illustration of the operation of each module in different modes and videos, can be seen on the same MFOS website - the Analog Synthesiser Modules / Path to Your MFOS Modular / << selected module >> section.

Plans, plans, plans ...


Our main task is to build such a modular synthesizer, all parameters of which (excluding module connections) will be controlled by a microcomputer, can be stored in memory for future use. This also opens up opportunities for significantly reducing the dimensions of the tool, since most of its dimensions are not printed circuit boards and circuits, but front panels. You can beat this in this way: let's say we want to have three oscillators, respectively, there will be three identical front panels. You can make one front panel, which displays the inputs / outputs of all oscillators, and three buttons. To change the frequency of the first oscillator, you must press the first button and turn the frequency knob, to change the frequency of the second - press the second button and turn the same knob, and so on. At the same time, space savings are obtained a little less than three times. With this method, it is necessary to replace all the resistors on the front panel with encoders, the state of which will be read and stored by the central controller, and in accordance with these data, change the resistance of the resistor in the circuit. Also, with the help of the controller, it is possible to record sound and then use these pieces as presets, which will undoubtedly make the synthesizer 20% cooler. And yet ... But what can not be done with this controller! To achieve our goal, whether we like it or not, we will have to make more than one intermediate tool, because only by experience can we do at least something (well, not from scratch, damn it). the state of which will be read and stored by the central controller, and in accordance with these data, change the resistance of the resistor in the circuit. Also, with the help of the controller, it is possible to record sound and then use these pieces as presets, which will undoubtedly make the synthesizer 20% cooler. And yet ... But what can not be done with this controller! To achieve our goal, whether we like it or not, we will have to make more than one intermediate tool, because only by experience can we do at least something (well, not from scratch, damn it). the state of which will be read and stored by the central controller, and in accordance with these data, change the resistance of the resistor in the circuit. Also, with the help of the controller, it is possible to record sound and then use these pieces as presets, which will undoubtedly make the synthesizer 20% cooler. And yet ... But what can not be done with this controller! To achieve our goal, whether we like it or not, we will have to make more than one intermediate tool, because only by experience can we do at least something (well, not from scratch, damn it).

I would like to know how people will react to such an idea, here. Well, I hope the first post was a success, thanks to those who read to the end.

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