Frequencies to Remember
Classically, the sound spectrum is divided into three parts: low, medium and high frequencies. The frequency limits, although not everyone agrees with this, can be defined as follows: low from…

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Melodies and rhythms of the brain: what neurosciences say about music
Playing musical instruments can be considered a kind of sport for the brain: it involves almost all of its areas, because musicians have to strain the visual, auditory and motor…

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Sound perception
Sound is one of the types of information that a person receives from the outside world in addition to information, in addition to other sensory organs (vision, touch, smell). Since…

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A look from inside. About VST Tools

This article reveals the idea of ​​creating VST synthesizers, the understanding of which is lacking for musicians, especially those who are constantly looking for more and more new synthesizers and those who like to argue which synthesizer is better and what. Due to the fact that many issues have a psychological basis, the process of choosing a “favorite” synthesizer will also have to be considered from the point of view of classical psychology.

Beginner’s Look

To begin with, I propose to answer the question of which synthesizer is most attractive to you and why, also which is not the most attractive. Answer yourself enough, since all your answers are already known to me in the forums.

The first mistake that newcomers make when choosing a synthesizer is advertising, for the frequent sound of the synthesizer, the musician does not like it, it is not convenient for this individual to configure, but he continues to use it only because it is really a “cool synthesizer”. An example is the same NI FM-7. Only thanks to the huge number of Presets they continue to use it, although the tuning of such a synthesizer is really the work of a professional, I certainly do not mean the stupid torsion of the knobs “what happens,” but the directional tuning of the synthesizer to a certain sound. Although I probably hastened with FM-7, since the more primitive VSTs often do not know how to tune at all, or do not want to, and to get a new sound they prefer to download new synthesizers to their composition, although many of them simply duplicate the capabilities or slightly differ.

Another mistake that is constantly observed is the desire to consider sound from the point of view of available effects, for example, one synthesizer does not have Reverb, and the second has, in terms of quality Presets, one that does not lose and beginners tend to think that having a synthesizer is it’s better, which is actually not necessary, since most professionals almost never use internal effects, but hang high-quality external ones, for example, Waves.

The third drawback of a novice is the judgment in the picture, for example a synthesizer with a naked woman – a godsend for a teenager. If the synthesizer is outwardly beautiful, this does not mean its functional abilities, but this is often forgotten. So the problems of beginners can be expressed with the saying “I hear the ringing, but I don’t know where it is”.

Mid-Range Look

Concern about the choice of a synthesizer for mid-level musicians is also understandable, for often it comes down to complete ignorance of the principles of synthesizer construction. For example, if I say that the synthesizers of one manufacturer’s company are the same, it will cause them a storm of emotions. But I even insist on this, as the programming experience shows, the sound core present in the synthesizer is rarely rewritten, and to be more precise, almost never. The same applies to the interface, you can easily notice that for some companies the interface from synthesizer to synthesizer is almost identical, and if you think that people who are too lazy to redraw pictures are not too lazy to rewrite the sound core, then you are mistaken.

An example of this is the now-popular Albino synthesizer and its simplest sibling Alpha. If you make a comparison, you can easily see that Albino is not functionally superior to the free Alpha synthesizer, with the exception of such parameters as the number of oscillators, voices, etc. So the choice of a synthesizer turns out to be nothing more than a fiction (see the beginner’s look).

So we figured out the core. You can also add filters and effects that are inherited from generation to generation and the senior synthesizer is considered the best only because it is the sum of the capabilities of the others, for example, the company made a new type of Reverb, for release it immediately releases a small free (or paid) synthesizer with this effect and looks at the exclamations in the forums, if the positive adds, for example, the new Delay, so this synthesizer is clearly a take-off for the new version of the best synthesizer company (well, for example, a new filter with once in Albino it’s not stuck, but first they will build it into Alpha for the test), to which these tested effects add why it is not done at first – very simply so as not to drop the authority of a powerful synthesizer with unfinished effects (in our case, Albino).

As you can see from the above, the process of creating a new synthesizer based on existing principles is nothing more than a matter of a couple of three hours, the rare appearance of new synthesizers is a purely psychological ploy, for example, NI could produce 7-8 synthesizers per day, but instead released a designer Reactor

The essence of the commercial move is the long production of synthesizers, so that people get used to the previous one and not create competition among their own products so that they are bought by everyone, and not selectively. The second trick is pontooning and creating the image of a synthesizer, here is a whole science of advertising, so we won’t go deep.

So, how can you summarize the release of a new synthesizer is nothing more than a modified old, no matter what the difference between them.

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