Revision Sheet Digital and Analogue Synthesisers

An analogue synthesisers sound is produced by entirely electronic means. Analogue synthesiser operation can be divided into three main areas: An electronic sound source what we hear Electronic controls that alter and shape the sound sources output A trigger that activates a sound source. There are many kinds of analogue synthesiser. The most common are: Modular / semi-modular systems Integrated all-in-one systems e.g. Roland SH-09 Both types of synth use the same technology, but modular synths are expandable you can add more modules on. The modules are joined together by patch leads. An integrated synth is not expandable as so does not usually require patching cables to route the sound source to the different internal modules. Sound Source: Most common in analogue synths Voltage Controlled Oscillator (VCO) If the synth has only one sound source it will only be able to produce one pitched note at a time (monophonic), whereas with more it will be capable of producing several notes at once (polyphonic). A VCO is capable of producing different timbres and outputs as follows: sine wave, triangle wave, sawtooth wave, square wave (often with a variable pulse width). Another form of sound source is a noise generator. White noise and pink noise are good examples of this. A White noise generator produces random signals. White / Pink noise generators are almost always secondary modules within a synth, with the VCO module being the primary sound source. Noise generators and VCOs are often combined to create more comples timbres, such as drums or cymbals. Sound Shaping: A VCO is almost always fed into another module / section called a VCF (Voltage controlled filter) to create interesting sounds.

A VCF allows users to cut or attenuate certain frequencies of the output signal, and usually features cut-off or resonance controllers. There are low pass filters, band pass filters and high pass filters available in VCFs. A Voltage Controlled Amplifier (VCA) allows the user to boost the volume / amplitude of the incoming signal.

Both VCFs and VCAs can affect the sound of the VCO but cannot control this over time without the aid of an envelope. An envelope generator (EG) is a circuit that outputs a control signal that can affect the signal over time. The most common type of EG is an ASDR, wich stands for Attack, Sustain, Delay and Release: Attack the time the input sound takes to reach its initial peak. Decay the roll off of sound after it has reached its peak Sustain how the level is maintain until the performer lets go of the keyboard trigger. Release the moment the trigger is released and the envelope goes into the release phase, and how long it takes for the sound to die away. An ASDR often controls the output of a VCF or VCA, but it can also be routed in a modular synthesiser to control other modules too. Triggering / Playing a Synthesiser To play an analogue synth as a musical instrument it must be triggered. The trigger requires a control voltage (CV) to tell the oscillator what pitch to produce, or a filter frequency and gate to open and close the electric circuit. The most common type of trigger is a keyboard. In an analogue synth, the keyboard acts as both a CV and a gate the CV sets the pitch of the oscillator and the gate turns the CV on and off when the keys are depressed and released. Many analogue synthesisers feature a mixer section, which allows the user to balance the level between different sound sources. Other controls: Pitch bend used to adjust frequency / voltage in relation to the note triggered. The pitch bend control can often be assigned to different functions as well. Portamento allows the user to glide between two notes at a gradual rate, by varying the voltage incrementally between the two notes at a speed set by the user.