Single most crucial part of a synth
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Single most crucial part of a synth
This is going to be a two part thread (reason will be obvious when the second part comes up).
In any regard, was just wondering, what single aspect on a synth do you think is the most crucial?
Now, there is no need to keep yourself limited to the world of subtractive synthesis here, but just be sure that if what you are listing is something not common to most synths, that you point out what type of synthesis method it applies to (and what exactly it's function is).
To get things kick started though it's hard to pin down a single bit, but if I had to pin down a single thing, I'd say it was the synths Tonal Source (Oscillator) system/implementation.
In any regard, was just wondering, what single aspect on a synth do you think is the most crucial?
Now, there is no need to keep yourself limited to the world of subtractive synthesis here, but just be sure that if what you are listing is something not common to most synths, that you point out what type of synthesis method it applies to (and what exactly it's function is).
To get things kick started though it's hard to pin down a single bit, but if I had to pin down a single thing, I'd say it was the synths Tonal Source (Oscillator) system/implementation.
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The sound. Nothing else matters if a synth sounds like garbage (and it can't be programmed to sound great).
2nd, the interface. It's hard to pull me away from any synth with a full complement of analog knobs!
2nd, the interface. It's hard to pull me away from any synth with a full complement of analog knobs!
Two VCO: thanks to the push rods, one can choose several forms of waves at the same time!
(from a Babelfish translation of a Jupiter-6 site)
Yamaha: Motif XS6, TX802 Roland: D-550 Alesis: A6 Andromeda
(from a Babelfish translation of a Jupiter-6 site)
Yamaha: Motif XS6, TX802 Roland: D-550 Alesis: A6 Andromeda
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In looking over things so far, I'm seeing (in no particular order):
1. Tonal Source/Oscillator workings
2. EGs (granted it was Filter EGs mentioned in specific)
3. User interface
4. Filter (boiled down from LPF or HPF)
5. Mod Matrix (boiled down from Depth/Flexibility of Modulation Routings)
6. Cosmetic Look
I'm sure there are some other nominees out there, so by all means, those who haven't offered anything so far, rack your brains and try to single out the one most important aspect of a synth (in your opinion). And again, there is absolutely nothing to say you have to name something that is crucial to subtractive synthesis; just be kind enough to describe what exactly the parameter is/does if it's something more obscure.
1. Tonal Source/Oscillator workings
2. EGs (granted it was Filter EGs mentioned in specific)
3. User interface
4. Filter (boiled down from LPF or HPF)
5. Mod Matrix (boiled down from Depth/Flexibility of Modulation Routings)
6. Cosmetic Look
I'm sure there are some other nominees out there, so by all means, those who haven't offered anything so far, rack your brains and try to single out the one most important aspect of a synth (in your opinion). And again, there is absolutely nothing to say you have to name something that is crucial to subtractive synthesis; just be kind enough to describe what exactly the parameter is/does if it's something more obscure.