Single most crucial part of a synth
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- neandrewthal
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- Automatic Gainsay
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Let's remember what the term "synthesis" means.
In that spirit, I have to say sound... or interface.
In that spirit, I have to say sound... or interface.
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http://www.youtube.com/automaticgainsay
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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- elmosexwhistle
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a keyboard would sure come in useful ^.^ x
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- michael stein
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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.
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.
- Neonlights84
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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.
(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.
The greatest thing we ever have is the will to survive.
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Rest in peace, Dr. Robert Moog.
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- MrSoundStrange
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- Synthazaiser
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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.
Currently have: Baby Grand Piano, B3, CP-30, DX7, Casiotone MT-210, Axxe 1, EPS-1, Promars, MC-202, TR-606
Used to have: POLY-800, TR-505, Techstar TS-306, DX7, ESI-32, Juno-106, DX27, Synthcart, JX-3P, ESQ-M, Mono/Poly, MS2000BR, VX90
Used to have: POLY-800, TR-505, Techstar TS-306, DX7, ESI-32, Juno-106, DX27, Synthcart, JX-3P, ESQ-M, Mono/Poly, MS2000BR, VX90