Sound Synthesis

Contains only odd harmonics (1st, 3rd, 5th...) creating a hollow, woody character. Classic video game and chiptune sound. Duty cycle (pulse width) changes harmonic balance.

Contains all harmonics in decreasing amplitude—the brightest basic waveform. Foundation of most synth patches. Excellent for leads, basses, and pads that need to cut through.

Contains only odd harmonics like square, but at much lower amplitudes—softer and more flute-like. Good for mellow sounds and sub-bass with slight edge.

Removes low frequencies while letting highs pass through. Essential for cleaning up muddy sounds, creating thin textures, and making room for other bass elements in a mix.

Combines LP and HP—removes both high and low frequencies, leaving only a band in the middle. Creates telephone-like effects, vocal formants, and focused sounds.

Boosts frequencies at the cutoff point, creating a peak. At high settings, the filter begins to self-oscillate and produce its own tone. Creates the classic 'acid' squelch sound.

How long it takes to fall from the attack peak to the sustain level. Short decay = plucky sounds. Long decay = smoother transition to sustained portion.

The level maintained while the key is held (after decay completes). Note: Sustain is a LEVEL, not a time. 0% = sound dies after decay. 100% = no decay audible.

How long the sound takes to fade to silence after releasing the key. Short release = tight, controlled. Long release = atmospheric, washy.

How much the LFO affects the target parameter. Subtle depth adds life without being obvious. Extreme depth creates dramatic effects.

The waveform of the LFO determines the character of modulation. Sine = smooth, Triangle = linear ramps, Square = abrupt switching, S&H = random steps.

Sync locks LFO to your project tempo for rhythmic effects. Retrigger restarts the LFO each time you play a note, ensuring consistent modulation.

Almost any parameter can be a destination. The most expressive synths let you modulate anything. Common targets create familiar effects.

The amount determines how much the source affects the destination. Can often be positive (increase) or negative (decrease). This is where you dial in taste vs effect.

A mod matrix shows all connections in one place. Each row: Source Destination Amount. Advanced synths have dozens of slots. This is the heart of sound design.

More voices = thicker sound but higher CPU. 2 voices: subtle doubling. 4-8 voices: classic supersaw territory. 16+: extreme walls of sound.

Unison voices can be panned across the stereo field. Spread controls how wide they go. 0% = all center (mono-compatible). 100% = full left-right spread.

The iconic trance/EDM lead: 7 detuned sawtooth oscillators. Originated in Roland JP-8000. Every major synth can recreate this. The amount of detune determines character.

Position (0-100%) determines which waveform in the table is currently playing. Static position = static timbre. The magic happens when you modulate this parameter.

Serum popularized visual wavetable editing. You can draw waveforms, import audio, process with effects, and see exactly what shape is playing. The visual feedback revolutionized sound design.

Vital offers Serum-level wavetable synthesis for free. Same concepts: wavetable morphing, extensive modulation, visual feedback. Proof that the principles matter more than the specific tool.

The frequency ratio between carrier and modulator determines harmonic content. Integer ratios (1:1, 1:2, 2:3) = harmonic. Non-integer ratios = inharmonic, bell-like, metallic.

Index controls how much the modulator affects the carrier. Low index = subtle warmth. High index = extreme brightness and complexity. This is your main timbre control.

The DX7 (1983) made FM synthesis accessible. 6 operators, 32 algorithms (routing patterns). Defined the sound of 80s pop. Notoriously hard to program—presets ruled.