Analog Synthesizers: Understanding, Performing, Buying- from by Mark Jenkins

By Mark Jenkins

During this publication, the technical rationalization of the character of analog sound construction is via the tale of its start and its next improvement by means of a variety of designers, brands and performers. the person elements of analog sound production are then tested intimately, with step-by-step examples of sound production ideas. Then the trendy imitative analog tools are tested, back with specified directions for programming and utilizing them, and the booklet is finished with appendices directory the key software traces to be had, tricks on values and buying, different assets of knowledge, and a discography of available recordings which offer sturdy examples of analog sound synthesis. The CD which accompanies the booklet provides many examples of analog sound production fundamentals in addition to extra complicated strategies, and of the skills of the person tools linked to classical and with imitative analog sound synthesis. * an entire background of analog sound in a single paintings* Interviews with Legends and builders of of analog synthesizers* Audio CD of demo sounds and tuitional items to demonstrate the tactics mentioned within the e-book

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Additional info for Analog Synthesizers: Understanding, Performing, Buying- from the legacy of Moog to software synthesis

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On the Minimoog and later designs, it is assumed that one of the envelope shapers will always be used to control final output volume, and so the voltage-controlled amplifier for audio output is permanently connected to an envelope generator, and not separately accessible as such. Aspects of analog sound Other modules are also conflated on integrated instrument designs. Some low-frequency oscillators (LFOs) used for modifying pitch or filter cut-off levels will offer a ‘random’ setting as well as the more conventional sine, sawtooth or square wave shapes.

For a time the vocoder was not even very popular, but can now be implemented as a digital effect and is widely seen in rack-mount effects units, synth modules and keyboards, and even small pedal-sized effects, though without the accessibility and programmability of the original analog vocoder designs. The vocoder (voice coder) derives from work in the telecommunications field to compress the human voice for more efficient transmission over a telephone line. Bell Labs, among other companies, was working on vocoder technology in the 1950s, and this involved splitting the voice sound into separate frequency bands (just as found on the graphic equalizer of a hi-fi system) and using the output from each band to drive an amplifier applied to just one frequency band of an alternative input signal.

22 Envelope generators differ from VCO and VCF designs in that they control other functions but generally do not have either a voltage control or an audio signal fed into them. In fact, they only have one input – a trigger or ‘gate’ voltage, usually in the form of a brief, relatively high voltage ‘spike’, which starts the envelope generator (EG) going through its cycle. The most obvious source of this is spike from the keyboard – every time a note is played, the keyboard generates a trigger or gate that sets off the envelopes, which ensures that, in addition to adopting a particular pitch, the new note also has its own loudness and filter envelope.

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