by m.c.death
The Desktop Synthboy v1.0 (back in H&V #7) featured a general
overview of a computer-based MIDI studio. Maybe one or two of you have
been influenced by the previous article to start thinking about
procuring a synth for your project or for other deviations. This article
is intended for those curious ninnie musicians. We will discuss a few
key issues and nuances of procuring a new synthesizer.
Acquiring a synthesizer is no trivial matter. With prices ranging from
$50 (used) to $8,000 or greater, the purchase of a synthesizer must be
pontificated and mulled over with care -- such financial decisions are
as heavy as purchasing a car or a computer (some new high-end synths
cost even more than a new Geo Metro!). Unless you are a member of the
Rockefeller family, procuring a synth can be a major factor in your
financial (and otherwise) life. Selecting and scoring a
synth requires more critical discrimination than choosing between a Big
Mac and a Whopper.
There are many important aspects of a synthesizer, and the most crucial
is the sound of the synth. Unfortunately for the sake of simplification,
sound is a very subjective quality -- a synth that sounds pretty
gosh-darn orgasmic to one synthgeek will sound like utter bovine
defecation to another. Add to this lack of standardization the influence
of external factors: cultural (in Detroit, for example, it might be
highly unfashionable to buy Japanese-manufactured synths...),
genre-based ("that synth is great because it has them radical TR-808 and
TB-303 sounds..."), or superficial (which synth company doesn't program
showroom presets that cater to the lowest-common-denominator audience?).
The most important issue is, "Does the synthesizer sound
good to YOU?" You're the one who's going to be spending
countless hours cuddled up with this electronic household appliance day
after day, and it makes more sense to procure a synth because you like
its sounds, not because the salesperson was attractive or kissed your
ass enough.
An integral element of an electro-industrial band is its sounds and
textures, and unless you want to sound like a fourth-rate Nitzer Ebb
wannabe using exclusively factory preset sounds ("Analog Sequence,"
"Industrial Bass," "Fat Analog Pad," ad nauseum), it helps to be
discriminating as far as synth sounds are concerned. If you prefer
buying synths for such purposes, you may want to skip the next two
sections (go straight to part 4, "Budgetary Issues"). For those of you
who are not awe-struck by those factory presets and are even more
discerning, the following sections are for you....
The synthesizer's sound is determined by many factors. The key element
is its sound synthesis engine (the oscillator). Different synths use
various sound-generation algorithms or techniques. The most prevalent
one these days is the digital "Sample-Playback" synthesis method, where
sound information is digitally stored on the synthesizer's ROM (or
sometimes RAM) chip. This has become the predominant method for sound
creation, and probably the most clichéd. What it boils down to
is, the synthesizer plays samples of instrument from its memory. Compare
that with analog synthesizers. Instead of digital microchips, analog
circuitry is used as a sound source. The advantage of analog synthesis
is the warmer, richer sound that the algorithm provides, but the drawbacks
are its unstable filters and its recent status as a clichéd
flavour-of-the-month synthesis method. A big tone-generation method from
the '80s championed by Yamaha (and still sometimes used today) is the
digital FM (Frequency Modulation) synthesis technique, where wave forms
are altered according to their correlative frequency levels and
algorithms. Real geeky shit, but if done right, FM synthesis can sound
interesting. Not many recent synths rely on this method, however. It's
less user-intuitive than analog synth tweaking, but some artists have
produced amazing timbres and applications with this synthesis method
(many early computer sound cards still use FM technology). One of the
latest synthesis technology is the digital "Physical Modeling," in which
complex mathematical models are used to emulate traditional acoustic and
electroacoustic instruments in a realistic way.
As far as sample-playback synths are concerned some of them have
numerous wave samples in their memory, while others have a limited number
of waveforms with which to work. Although abundant number of waves is
preferable, quality of the waves are more important than the quantity of
the waveforms, although quality is a subjective matter.
Once the sound is created through its oscillators, the sound waves are
then filtered out (or attenuated) by frequency and amplitude filters.
These mechanisms help shape the waveforms and add sonic character to
them. Some low-end synths will be devoid of filters -- unless you are
happy with the preset, unadulterated sounds of the oscillators, the lack
of filters sucks in terms of functionality. Most filters are of the
"low-pass" type, in which higher frequencies are truncated, thus varying
the timbre according to the amount of filter used. Some synths, however,
have multi-mode filters, in which one can select between a low-pass and
a high-end (or sometimes even bandpass) filter mode. These multi-mode
filters are more versatile for shaping original and creative sounds. One
important aspect of the filter (in my opinion) is its Resonance
parameter -- most synths will have this feature, others may not.
Resonance is essential for creating an electronic feel to the sound.
Some synth manufacturers may downplay the lack of a resonant filter, but
for electro-industrialists, the filter is a powerful tool that adds a
dimension to the sonic spectrum. High-end synths also allow the user to
manipulate filter settings in real-time, through either MIDI controllers
or by other controllers (dials, knobs, etc.). This is the basis for lots
of acid-type sweep sounds and other kewl sonic
manipulation.
Many synthesizers on the market allow the user to combine multiple
sounds (oscillator/filters outputs, generally called "tones") in to one
single "patch." Unless it's a low-end synthesizer in which only one of
those tones can comprise a patch, one can get complex sounds by combining
anywhere between two to eight tones into a single patch. This combining
of tones can make for really fat, varied, and original sounds, and this
approach to sonic creation just rules.
Most modern synthesizers are multi-timbral, or have the capability of
playing multiple sound patches at once. They are usually spread over
many MIDI channels, but for example, one can program and sequence a
single synthesizer to play piano, lead, bass synth, synth pad, guitar,
and drum parts simultaneously, provided that the synthesizer has enough
polyphonic and multi-timbral capabilities. Of course, if one uses
patches that take up many voices or tones, complex arrangements would be
impractical or impossible (this is why many synthesists who have heavy
layered sounds employ multiple synths, this author being no exception).
Better synthesizers usually have flexible sound manipulation
capabilities. One can subtly or drastically alter the characteristic of
the waveform by the use of modulation sources, such as Low Frequency
Oscillators (LFOs), pitch bends, and even built-in effects processors
that add sonic characteristics such as reverb, delay, chorus,
distortion, and flanging. Sonic manipulation is used extensively in
The Downward Spiral -- upon closer listening (no pun intended),
there are elements of noise, weird pulsations in the sound
waves, and other interesting sound quirks that make the Nine Inch
Nails experience interesting.
Other goodies that go along with advanced synthesizers include built-in
sequencers (which, in most cases, pale in comparision to computer
software sequencers) that may come in handy for live applications;
controller sliders and pads, which allow the user to create real-time
sonic manipulations (very cool); multiple audio outputs (very useful for
tailoring audio output and for facilitating advanced signal processing);
and direct interfacing to a personal computer (many entry-level
synthesizers geared towards the multi-media market employ this useful
feature).
So now that your head is swimming with all these terms and concepts,
here's another factor in synth-purchasing that should require less
braincell straining....
Either way, one should consider what kinds of sounds that the
prospective synth is best at creating. For those fat Moog bass synth
sounds found on Pretty Hate Machine, either an analog synthesizer
or a physical modelling synth would fit the bill well. However, if one
seeks to emulate weird, surreal piano and horn sounds (think The
Downward Spiral), sample-playback synths are better suited for
those. For creating a huge wash of electronic atmospheric drones,
synthesizers with advanced modulation capabilities, regardless of
synthesis method, would best suit the purpose. The type of sound sought
after by the prospective synthgeek definitely can influence the synth
procurement process.
For example, my studio has seven synths (in addition to two percussion
modules). Two of them are analog synthesizers, and the other five are
digital synths. I usually use one of the analog synths for the bass
sounds (because, in the work that I do, I like the sound of those fat,
analog synths for the most part), and use the digital synthesizers for
bell, piano, winds, strings, unmusical noise, and percussive parts. This
is because all synthesizers have their strong and weak
parts -- it would be a mistake for me to use one of my analog
synths to emulate an orchestral hit or a saxophone (unless I want to
create something even cheesier than "Purest
Feeling"). The digital synths are better for emulating acoustic
instruments anyway, and each of my devices are, to an extent,
specialized for exploiting the strengths of individual units.
Of course, there is more...
Other nontraditional sources for synths include the tried-and-true classified ads (but remember, you get gear "as is") which
can be both cool and sucky. It's cool if you know that the gear has been
well taken care of, and if the price is a steal. It really sucks when
the seller tries to pry top dollars from you for a piece-of-shit synth.
Of course, there are clueless idiots out there who have no sense of fair
market value for used synths. Rather than dealing with those buffoons, it's
best to look for deals elsewhere. The Internet, bulletin
boards, and on-line services are also good resources for buying
gear. However, be careful about whom you deal with. When considering an
Internet transaction, try to obtain Net references. There are too many
scam artists out there thriving off unsuspecting Internet victims who do
not take the proper precautions. But on the other side of the coin,
there are many honest people on the Net. I have bought three
synthesizers this way from three different individuals, all of whom
dealt with the transactions in a fair and professional manner.
Incidentally, those folks are responsible for two of the most powerful
synths in my studio.
No matter what avenues you may seek to procure that synth, it always
helps to know the going rate ("street value") of
synthesizers. This way, when dealing with sellers, you have a rough idea
of whether you're getting screwed or not. It gives you better leverage
if you know the right price for a particular piece of gear, and sellers
may be willing to negotiate a price that is advantageous to you. In
other words, it is prudent to do some research on the prices of synths,
as well as their features.
If you're playing in a full-fledged band with live instruments (guitars,
drums, basses, kazoos, etc.), the role of a synthesizer may not be much
in the overall context of the group sound. In that case, having one
synth in your arsenal will help you get by most of the time. However, if
you're doing a one-person all-synth project, à la Howard Jones,
it is conceivable that having one synth will not do the trick. Of course,
other factors need to be considered as well -- if you are doing major
multi-tracking and have a multi-timbral synth at your fingertips, having
additional synths may not be of paramount importance, but if your synth
is an older, unitimbral synth or a monophonic synth, and you want to
create heavy synth textures, having additional synths (or a multitrack
recorder) will help. If you're doing Orbital-esque heavy synth music
with rich, multifaceted textures, having multiple synths is a must.
Of course, some of us synth-heads just can't get enough, and are
consequently headed towards having synthesizer musea in
our living rooms. A very successful underground industrial band
that I highly admire have about 31 synths in their arsenal. Some
struggling artists who haven't even released an album yet (*coughcough*)
feel that it's important to accumulate at least seven synths in their arsenal in order to get anything
done. Ah, it's a matter of taste, eh?
m.c.death (synthboy@teleport.com) is
secretly lusting after his eighth synth, which he is contemplating
scoring sometime in 1997. The Synthboy is currently involved in three
"bands" -- spooge, attenuated euphoria, and death con
one (with fellow riot nrrrds/a.m.ninnies Jason Haas and Chris
Wiberg). Oh yeah, m.c.d. has been working on his attenuated
euphoria debut album since 1991.
*Assistant editor's note: For a great place to scope
out musical instruments in the Dallas/Fort Worth
hope and vaseline -- hnv@nin.net
hat to look for when buying a synthesizer
hat features are important?
rogrammability
So you want to buy a synthesizer. And you already
know exactly what your dream synth can and cannot do. So exactly what
are you going to do with it when you buy it? Are you going to create a
sonic masterpiece? Are you willing to spend hours and hours of time
programming original sounds? Do you just want to use sounds that are
emulative? Or maybe you want to do both.
uying a synth for emulative reasons vs. innovative reasons
Obviously, this is going to be a big concern for any synthgeek. How much
are you willing to spend for a synthesizer that will best suit your
needs? One should not overlook cost as a factor for synth procurement.
Spendier synths do not necessarily mean better sound quality and/or
power. A budget-buy synth that is easy to use, has a good learning
curve, etc., is definitely going to make you more productive than a
spendier synthesizer that has a steeper learning curve. What good is
spending lots of money on a synth if you can't learn how to exploit and
use all of its capabilities? On a related note, I have heard
excellent-sounding works done on a "cheaper" synthesizer, as well as
extremely bland-sounding synth music that was created using high-end
synth gear. In general, expensive synths have more
features and cool effects, but there is generally a steeper learning
curve associated with them. udgetary issues
So why should you pay more for a new synthesizer when you can get them
used? Fortunately for us synthgeeks, there are always people who are
selling used gear, so buying used synths is a viable
alternative to spending lots of your hard-earned income on
synthgear. Several things to keep an eye out for: 1) make sure that all
the buttons, knobs, and features work on the synth you are considering
buying. There is nothing worse than thinking that you got a great
bargain on a synth, then discovering that the buttons do not work like
they are supposed to. 2) Unless you are a natural-born synth programmer,
get the manual for the synth. Not only will reading a manual save some
time and frustration, but you may find interesting tricks and features
(designed and accidental) that you might use to your advantage; 3) make
sure that you are not being sold a piece of gear that has useless
altered presets and sounds. Previous owners usually have custom sounds
that may be inappropriate for your tastes, and it would help if you
acquire an instrument that is fairly close to its factory configuration.
Fortunately, many of the popular synths have original factory setting
data available by keystroke combinations or through MIDI
system-exclusive data available on sound cards or downloadable from the
Internet. In the worst-case scenario, you can find kindred souls who
still have the factory settings on Internet Usenet groups, such as
rec.music.makers.synths and comp.music.midi.uying new or used?
Let's say you are in a project with other synthgeeks. This raises some
interesting issues regarding the choice of synth for procurement.
Suppose you and your collaborator want to share sound data and files
between synths. In this scenario, you would want to score a synth that
you can transfer files with. Most synths have system-exclusive (sysex)
capabilities for transmitting files to and from other devices (other
synthesizers and computers equipped with MIDI sysex handling
capabilities). Some devices can read data files that are formatted for
other synths and/or samplers. Some synths can even read standard
computer (.AIFF and .WAV) files! This flexibility is desired in
situations where you need to interchange data in a variety of formats.
In addition, many modern synths have the ability to play back MIDI
files, which are becoming increasingly popular with computers (and the
Internet, even). Henceforth, it is conceivable that your choice of synth
can be influenced by its compatibility and interchangeability with other
users.
ompatibility with other synths, devices, and users
There are traditional and non-traditional sources for locating that
elusive first synth. Obviously, the musical instruments store* is the first place
you're going to look. These shops are great places to look for new and
sometimes second-hand synthesizers. You may expect to shell out a
reasonable amount of bucks for that shiny new synth, but you can often
get good deals. Music shops usually allow you to test-drive gear, and in
most (but not all) cases, the salespeople are knowledgeable about synths
(although there are still some high-sales slimebags out there who only
see $$$ signs when you walk into their store). Mail-order
catalogs are great places to look for bargains. I do mail-order
shopping all the time. However, the drawbacks include the inability to
test out a synth, having to wait two weeks or so for that UPS shipment
to arrive, and having to play package-notice tag with UPS or the post
office (that's what I get for having a day job that keeps me out of my
house a lot).here to look for synths
Once you get over the hurdle of obtaining your first synthesizer, you
might find it very useful, and sometimes even necessary, to score
additional synths for your studio. But how much is enough, and when is
having multiple synths not enough? The answer is subjective, as there
are so many factors that you must consider.
ow many synths do you need in your studio?
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