Single most crucial part of a synth

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Post by neandrewthal » Mon Sep 10, 2007 4:01 pm

Other than what is mentioned, I will add a speedy LFO, nothing is worse than one that only goes fast enough to make zapping noises, think of all the great sounds you are missing out on.
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Post by Automatic Gainsay » Mon Sep 10, 2007 5:39 pm

Let's remember what the term "synthesis" means.
In that spirit, I have to say sound... or interface.
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Post by gs » Mon Sep 10, 2007 6:08 pm

I'd say the filter, but it really depends on the type of subtractive synth we're talking about. On VCO/DCO subtractive synths, the filter plays a greater role in tone shaping than on a digital/ROMpler type of subtactive synth, where the oscillators (i.e. samples) are more crucial toward the finished sound. The filter now playing a more subservient role to the oscillators in digital PCM compisite synthesis.
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Post by elmosexwhistle » Mon Sep 10, 2007 6:43 pm

a keyboard would sure come in useful ^.^ x

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Post by zmd » Mon Sep 10, 2007 6:57 pm

i'd say price.
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Post by Alex E » Mon Sep 10, 2007 7:41 pm

Given it doesn't have speakers- the audio outs.

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Post by code green » Mon Sep 10, 2007 8:10 pm

without meaning to discount the importance of other parts, i would say the filters are most important.

my reasoning is: a good filter has the capacity to make any sound interesting.

obviously, though, it's the interaction of quality components that makes a killer synth.

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Post by JUGEL » Mon Sep 10, 2007 9:00 pm

for me it's a tie between the filter .. and the strength of the output.

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Post by michael stein » Mon Sep 10, 2007 9:12 pm

Lately I have this problem with wanting to always route an E.G. to a hard synced OSC. waaaoooooom. So I think complex routing capabilities. Can't afford a sunsyn so i'm going after th P8 soon. i would say analog but I'm also a sucker for 8-bit.

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Post by sacredcow » Mon Sep 10, 2007 9:38 pm

The filter. Preferably filters, even in a monosynth.
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Post by Soundwave » Mon Sep 10, 2007 10:16 pm

In terms of what I look for when trying out a subtractive synth it has to be the character of the filter as this is essentially the main element for subtracting your sound to how you want it.
Filter overdrive can fatten up any weak sound source and if the resonance sounds rich then so will your sound. I think its a similar overdrive/feedback quality that electric guitarists go for in a good amp/overdrive FX.
You can have all the mod matrix's and fancy waveshaping features you want but if the synth has a flat sounding filter with zippy resonance then the sound will always sound flat and artificial (in a bad way).
The SH101 is a good example of simple features with a cracking filter and lets not forget the acidic resonance of the TB303's 18LPF which is the main charm to the sound also the exotic Z-plane filters on the E-mu's is the main attraction rather than the mod routings and user interface.

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Post by Neonlights84 » Tue Sep 11, 2007 5:06 am

I think a synth is made or broken in the filter.
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Post by MrFrodo » Tue Sep 11, 2007 5:15 am

I also think the filter is most important. You can have your individual-sounding oscillators, sure, but you need a good, thick filter.

(In yesteryears, it was the ARP Axxe filter that turned my friend's Korg X5 into a thick-sounding "string machine." Just a drag that he can't just do that on his own.
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Post by MrSoundStrange » Tue Sep 11, 2007 10:07 pm

the inscription: "cs80" .... 8)

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Post by Synthazaiser » Tue Sep 11, 2007 10:14 pm

I prefer a synthesizer with all of the mentioned components. I say that the most crucial part of making music with a synth is how you use whatever sound you manage to produce in context.
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