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Genre: Video Training

Learn how Analog synths fit into your modern music production workflow in this amazing tutorial for ALL audio producers.

In a world before computers and virtual instruments and long before MIDI, electronic music was made with analog modular synthesizers, with real 3-dimensional knobs, faders, and switches. Sounds were constructed by routing electricity from module to module with patch cords and turning potentiometers to sculpt sound and music real time. This was an awesomely creative period in the history of music. Composers/performers, like Morton Subotnick and The Electronic Art Ensemble, stood before their vast arrays of analog synths and towering sound systems performing otherworldly atmospheres of sound that to this this day are unmatched in their expression and primal audio pyrotechnics. These amazing synths were not controlled with your typical B&W keyboards that permeate todayÿs bleak controller landscape. Rather, they were triggered by ´Touch Activated Voltage Sources¡ and ´Multiple Arbitrary Function Generators¡. It was an exciting time. But all things must pass...

The next wave in electronic music history was the era of presets and MIDI and suddenly everyone stopped turning knobs! Instead of making connections we started making selections and the fundamentals of synthesis and signal flow became a lost art.

Now analog synths are back and these new instruments are excellent tools to teach the art and science of synthesis. We at MPV are proud to bring back synthesizer wizard and performer , Richard Lainhart, to show us just how these modular synths work. In his tutorial, Analog Synthesis in a Digital World, Richard demonstrates his Buchla Series 200e and takes us on a educational excursion to through the world of basic synthesis explaining the fundamentals of waveforms, signal flow, additive and subtractive techniques and how they apply to todayÿs software synthesizers. So get out your virtual patch chords and plug in to ´Analog Synthesis in a Digital World.

Topics:

Chapter 1: Using an Analog Modular Hardware Synthesizer

Section 1: An Introduction to Analog Synthesis

01. Introduction

02. Introducing Buchla & Lainhart

03. Types of Modules and Synthesis

04. Generators, Modifiers, and Controllers

Section 2: Analog Synthesizer Modules

05. Waveforms and Oscillators

06. Sine Waves and Square Waves

07. Waveshaping

08. All About Noise

Section 3: Controlling and Analog Modular Synthesizer

09. About Voltage Control and Frequencies

10. Voltage Control from a Battery

11. Sine Wave Modulation

12. Changing the Wave Shape

13. Voltage Control with an Advanced Keyboard Controller

Chapter 2: Waves, Envelopes, and Filters in Moog Modular V

Section 4: Moog Modular V Waveforms

14. Introducing Moog Modular V

15. Setting up a Basic Patch

16. Sine Wave vs. Triangular Wave

17. Harmonics and Overtones

18. Square and Sawblade Waves

19. Waveform Review

Section 5: Envelops and VCAs

20. Introducing Envelopes

21. The Waveform Display

22. Acoustic Envelopes: Attack and Decay

23. Acoustic Envelope of a Snare

24. Acoustic Envelope of Horns and Strings

25. Comparing the Acoustic Envelopes

26. Attack with String Instruments

27. ADSR - Attack, Decay, Sustain and Release

28. Attack

29. Decay and Sustain

30. Triggers and Gates

31. Releases and More

32. All Together Now

Section 6: Using Voltage Control Filters

33. Filter Types

34. Using the Low-Pass Filter

35. Assigning Controllers with MIDI Learn

36. Low-Pass Filter Resonance

37. Sawtooths and Extreme Low-Pass Resonance

38. Self-Oscillation

39. Oscillator Modulation

40. Oscillator Modulation with Other Waveshapes

41. The Classic Minimoog Bass - Part 1

42. The Classic Minimoog Bass - Part 2

43. Envelopes for Filter Control

44. Using a Second Envelop for Filtering

45. Summery of Envelop Usage

Chapter 3: More About Filters and FM Synthesis in Logic ES1 and ES2

Section 7: Filters in ES1

46. Velocity Filters

47. Filtering Noise

48. Envelope Following

49. Simulating Wind

Section 8: FM Synthesis in ES2

50. Introduction to the ES2

51. Fundamentals of FM in ES2

52. Vibratoÿs and Sidebands

53. Overview of the ES2

54. Definition of a Sideband

55. Harmonic and Inharmonic Overtones

56. Modulation Index and Deviation

57. Multiple Sidebands

58. Simulating Acoustics with Oscillators

59. Using Multiple Envelope Generators

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