The Basics of Synthesizer Terminology 

As a creative musician, you know that synthesizers are an indispensable tool for crafting unique and captivating sounds. But with so many technical terms and jargon to navigate, it can be difficult to know where to start. That's why we've put together this essential guide to synthesizer terminology, which breaks down 52 of the key terms and definitions you need to know.

 

First, let's start with the basics. A synthesizer is an electronic instrument that generates sound using a combination of oscillators, filters, and envelope generators. Oscillators are the building blocks of synthesis, and are responsible for creating the raw waveforms that are then modified and shaped by the other components of the synthesizer. There are several different types of oscillators, including sine, sawtooth, and square, each of which has its own unique characteristics.

 

Filters are another essential element of synthesizers, and are used to shape the timbre of a sound by boosting or cutting certain frequencies. There are many different types of filters, including low pass, high pass, and band pass, each of which has a different effect on the sound. Envelope generators, on the other hand, are used to control the amplitude and other characteristics of a sound over time, allowing you to create complex, evolving sounds.

 

Once you have a basic understanding of oscillators, filters, and envelope generators, you can start to explore more advanced concepts. For example, LFOs (low frequency oscillators) are used to modulate various parameters of a sound, such as pitch or filter cutoff, in order to create vibrato, tremolo, and other effects. Modulation sources, such as envelopes and LFOs, can be routed to various destinations within the synthesizer, allowing you to create even more complex and dynamic sounds.

 

Of course, there are many more terms and concepts to learn in the world of synthesizers, and this guide only scratches the surface. But by understanding the basics, you'll be well on your way to exploring the endless possibilities of synthesis and creating your own unique sounds. Whether you're a beginner just starting out with your first synthesizer, or an experienced musician looking to expand your knowledge, this guide is a valuable resource for anyone interested in the fascinating world of synthesis. Don't let technical terms and jargon hold you back, use this guide to amplify your creativity and let your signal flow. Let's get started!

 

52 Key Terms and Definitions 

 

1. Oscillator

A circuit that generates a basic waveform, such as a sine, square, or sawtooth wave, which can be used as the building block for creating sounds.

An oscillator is a circuit that generates a basic waveform, such as a sine, square, or sawtooth wave. These waveforms are the building blocks for creating sounds on a synthesizer, and the type and shape of the waveform can have a significant impact on the timbre and character of the resulting sound. Oscillators can be manipulated and controlled in various ways, such as by changing their frequency, waveform, or amplitude. They can also be modulated by other signals, such as envelopes or LFOs, to create complex and evolving timbres.

 

2. Filter

A circuit that modifies the spectrum of a sound by boosting or cutting certain frequencies.

A filter is a circuit that modifies the spectrum of a sound by boosting or cutting certain frequencies. This allows the timbre of a sound to be shaped and sculpted in various ways, such as by making it brighter or darker, sharper or duller, or more or less complex. Filters can be controlled in various ways, such as by adjusting their cutoff frequency or resonance, or by modulating them with envelopes or LFOs. Different types of filters, such as low-pass, high-pass, band-pass, and notch filters, have different characteristics and can produce different effects on a sound. Filters are a key component of many synthesizers and are essential for creating a wide range of timbres and sounds.

 

3. Envelope

A set of parameters that control how a sound changes over time, such as its attack, decay, sustain, and release.

An envelope is a set of parameters that control how a sound changes over time. This can include the attack, which is the initial time it takes for a sound to reach its maximum amplitude; the decay, which is the time it takes for the sound to fall to its sustain level; the sustain, which is the level that the sound remains at until the note is released; and the release, which is the time it takes for the sound to decay to silence after the note is released. Envelopes allow a synthesizer to create sounds that have a natural and dynamic quality, such as simulating the attack and decay of a plucked string or the decay of a percussion instrument. They can also be used to create more complex and evolving sounds, such as by modulating the envelope of one oscillator with another.

 

4. LFO

A low-frequency oscillator that can be used to modulate other parameters of a synthesizer, such as pitch or filter cutoff, to create vibrato, tremolo, and other effects.

An LFO, or low-frequency oscillator, is a type of oscillator that operates at a very low frequency, typically below the range of human hearing. LFOs are commonly used to modulate other parameters of a synthesizer, such as pitch, filter cutoff, or amplitude, in order to create vibrato, tremolo, and other effects. Because LFOs operate at a low frequency, the resulting modulation is too slow to be heard as a distinct pitch or frequency, but it can be perceived as a movement or variation in the sound. LFOs can be controlled in various ways, such as by adjusting their frequency, waveform, or depth, and they are a key component of many synthesizers for creating dynamic and expressive sounds.

 

5. MIDI

A protocol for communicating musical information between synthesizers and other devices, such as computers and controllers.

MIDI, or the Musical Instrument Digital Interface, is a protocol for communicating musical information between synthesizers and other devices, such as computers and controllers. MIDI allows different devices to send and receive information about musical events, such as notes, pitches, velocities, and parameter changes. This allows synthesizers to be connected and controlled in various ways, such as by using a computer to record and edit MIDI data, or by using a keyboard controller to play a synthesizer remotely. MIDI is a widely-used and versatile technology that has greatly expanded the capabilities of synthesizers and other musical devices.

 

6. Polyphony

The number of voices or notes that a synthesizer can play simultaneously.

Polyphony refers to the number of voices or notes that a synthesizer can play simultaneously. This is an important consideration when choosing a synthesizer, as it determines how complex and dense the resulting sounds can be. A synthesizer with a high polyphony can play many notes at once, allowing for chords, harmonies, and other dense textures. A synthesizer with a low polyphony may only be able to play a few notes at once, limiting the complexity of the sounds that can be created. Some synthesizers have variable polyphony, allowing the user to adjust the number of voices depending on the needs of the specific sound or performance.

 

7. Wavetable

A collection of waveforms that can be used as the starting point for creating sounds.

A wavetable is a collection of waveforms that can be used as the starting point for creating sounds on a synthesizer. Wavetables are typically stored in digital memory and can be accessed and manipulated by the synthesizer in various ways. Different wavetables can have different characteristics, such as the number and type of waveforms they contain, their resolution, and their overall timbre and character. Wavetables are often used in digital synthesizers that employ wavetable synthesis, which is a method of creating sounds by starting with a wavetable and then modifying it with filters, envelopes, and other effects. Wavetables can also be used in other types of synthesis, such as sample-based synthesis or granular synthesis, to provide a variety of timbres and sounds.

 

8. Subtractive synthesis

A method of creating sounds by starting with a complex waveform and then using filters and envelopes to shape and modify it.

Subtractive synthesis is a method of creating sounds by starting with a complex waveform, such as a sawtooth or square wave, and then using filters and envelopes to shape and modify it. This is called "subtractive" because the filters are used to subtract or cut certain frequencies from the waveform, resulting in a sound that is less complex and more focused than the original waveform. Subtractive synthesis is a common technique used in many synthesizers, and it allows for a wide range of timbres and sounds to be created. It is often used in conjunction with other synthesis methods, such as additive synthesis or FM synthesis, to create more complex and varied sounds.

 

9. FM synthesis

A method of creating sounds by modulating the frequency of one oscillator with another, resulting in complex and harmonically rich timbres.

FM synthesis, or frequency modulation synthesis, is a method of creating sounds by modulating the frequency of one oscillator with another. This creates complex timbres and harmonically-rich sounds that are difficult to achieve with other synthesis methods. In FM synthesis, the modulating oscillator is called the "carrier" and the modulated oscillator is called the "modulator." The frequency and amplitude of the modulator are used to control the frequency and amplitude of the carrier, resulting in a wide range of timbres and effects. FM synthesis is often used to create bell-like and metallic sounds, as well as complex and evolving timbres. It is a powerful and versatile synthesis method that is used in many synthesizers.

 

10. Patch

A configuration of a synthesizer's parameters that defines a specific sound.

A patch is a configuration of a synthesizer's parameters that defines a specific sound. This can include settings for the oscillators, filters, envelopes, and other components of the synthesizer, as well as global settings such as the overall volume and tuning. Patches can be stored in the synthesizer's memory and recalled later, allowing the user to quickly switch between different sounds. Patches can be created by the user, using the synthesizer's controls and settings, or they can be pre-programmed by the manufacturer or other users. Many synthesizers allow patches to be shared and exchanged with other users, allowing for a wide range of sounds and timbres to be available for a single synthesizer.

 

11. VCO

A voltage-controlled oscillator, which is a type of oscillator that can be modulated by an external voltage to change its frequency.

A VCO, or voltage-controlled oscillator, is a type of oscillator that can be modulated by an external voltage to change its frequency. This allows the frequency of the oscillator to be controlled by other components of the synthesizer, such as envelopes, LFOs, or keyboard controllers, resulting in a wide range of expressive and dynamic sounds. VCOs are commonly used in analog synthesizers, where they are controlled by analog voltages, and they are a key component of many classic synthesizer sounds. In digital synthesizers, VCOs may be implemented using digital signal processing techniques, but they can still be controlled by external voltages in the same way. VCOs are often used in conjunction with other synthesizer components, such as filters and envelopes, to create complex and dynamic sounds.

 

12. VCF

A voltage-controlled filter, which is a type of filter that can be modulated by an external voltage to change its cutoff frequency.

A VCF, or voltage-controlled filter, is a type of filter that can be modulated by an external voltage to change its cutoff frequency. This allows the filter to be controlled by other components of the synthesizer, such as envelopes, LFOs, or keyboard controllers, resulting in a wide range of expressive and dynamic timbres. VCFs are commonly used in analog synthesizers, where they are controlled by analog voltages, and they are a key component of many classic synthesizer sounds. In digital synthesizers, VCFs may be implemented using digital signal processing techniques, but they can still be controlled by external voltages in the same way. VCFs are often used in conjunction with other synthesizer components, such as oscillators and envelopes, to create complex and dynamic sounds.

 

13. VCA

A voltage-controlled amplifier, which is a type of amplifier that can be modulated by an external voltage to control the volume of a sound.

A VCA, or voltage-controlled amplifier, is a type of amplifier that can be modulated by an external voltage to control the volume of a sound. This allows the volume of a sound to be controlled by other components of the synthesizer, such as envelopes, LFOs, or keyboard controllers, resulting in a wide range of expressive and dynamic sounds. VCAs are commonly used in analog synthesizers, where they are controlled by analog voltages, and they are a key component of many classic synthesizer sounds. In digital synthesizers, VCAs may be implemented using digital signal processing techniques, but they can still be controlled by external voltages in the same way. VCAs are often used in conjunction with other synthesizer components, such as oscillators and filters, to create complex and dynamic sounds.

 

14. Portamento

A glide effect that transitions smoothly between two notes.

Portamento is a musical effect that causes the pitch of a note to glide smoothly from one pitch to another. This can be used to create expressive and legato melodies, as well as other musical effects such as glissandos and pitch slides. Portamento is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The rate and depth of the portamento effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also allow for other types of pitch glides, such as pitch bends or pitch envelopes, which can be used to create even more complex and dynamic sounds.

 

15. Glide

Another term for portamento.

Glide, also known as portamento, is a musical effect that causes the pitch of a note to glide smoothly from one pitch to another. This can be used to create expressive and legato melodies, as well as other musical effects such as glissandos and pitch slides. Glide is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The rate and depth of the glide effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also allow for other types of pitch glides, such as pitch bends or pitch envelopes, which can be used to create even more complex and dynamic sounds.

 

16. Ring modulation

A type of synthesis that involves multiplying two waveforms together, resulting in a complex timbre with harmonics at the sum and difference frequencies of the original waveforms.

Ring modulation is a type of audio effect that combines two signals by multiplying their amplitudes together. This creates complex and inharmonic timbres that are not possible with other synthesis methods. Ring modulation is commonly used to create bell-like and metallic sounds, as well as otherworldly and abstract timbres. It is often used in conjunction with other synthesis methods, such as FM synthesis or additive synthesis, to create even more complex and varied sounds. Ring modulation is a key component of many classic synthesizer sounds, and it is commonly found on synthesizers that are designed to create experimental or avant-garde timbres.

 

17. Sampling

The process of recording and storing digital audio data, which can be used as the basis for synthesized sounds.

Sampling is the process of recording and reusing a sound or musical passage in another context. This can be done by recording a sound with a microphone or other audio input device, and then storing the recording in digital memory, such as on a computer or synthesizer. The sample can then be played back at different pitches, speeds, or directions, as well as being processed and modified with effects such as filters, envelopes, or modulation. Sampling allows for a wide range of sounds to be used in music, such as recordings of real instruments, found sounds, or pre-existing recordings. It is a versatile and powerful technique that is used in many different types of music, and it is a key component of many synthesizers and other electronic instruments.

 

18. Sample-based synthesis

A method of creating sounds by using pre-recorded samples as the starting point and then modifying them with filters, envelopes, and other effects.

Sample-based synthesis is a method of creating sounds by starting with recordings of real sounds, such as instruments, vocals, or found sounds, and then modifying and processing them in various ways. This can be done by playing back the sample at different pitches, speeds, or directions, as well as applying effects such as filters, envelopes, or modulation. Sample-based synthesis allows for a wide range of timbres and sounds to be created, and it is often used in conjunction with other synthesis methods, such as subtractive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use sample-based synthesis, and they often include built-in libraries of samples that can be used as the starting point for creating sounds.

 

19. Granular synthesis

A method of creating sounds by breaking a digital audio recording into small "grains" and then rearranging and manipulating these grains in various ways.

Granular synthesis is a method of creating sounds by dividing a recording into very small segments, or grains, and then playing back the grains in various ways. This can be done by selecting the grains based on various parameters, such as their pitch, amplitude, or position in the recording, and then playing them back at different pitches, speeds, or directions. Granular synthesis allows for a wide range of timbres and effects to be created, such as dense and complex textures, or evolving and granular soundscapes. It is often used in conjunction with other synthesis methods, such as subtractive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use granular synthesis, and they often include built-in tools and algorithms for selecting and playing back the grains in various ways.

 

20. Wave sequencing

A method of creating sounds by sequencing a series of different waveforms, resulting in complex and evolving timbres.

Wave sequencing is a method of creating sounds by combining and switching between different waveforms, or pre-defined sounds, over time. This can be done by arranging the waveforms into a sequence, and then playing back the sequence with a variety of controls, such as tempo, pitch, direction, or looping. Wave sequencing allows for a wide range of timbres and patterns to be created, and it is often used to create complex and evolving sounds. It is a key component of many synthesizers, and it is often used in conjunction with other synthesis methods, such as subtractive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed specifically for wave sequencing, and they often include built-in libraries of waveforms and tools for creating and editing sequences.

 

21. Analog synthesis

A method of creating sounds using electrical circuits and components, such as oscillators, filters, and envelopes, rather than digital processing.

Analog synthesis is a method of creating sounds using analog electronic circuits, such as oscillators, filters, and envelopes. This is in contrast to digital synthesis, which uses digital signal processing techniques to create and manipulate sounds. Analog synthesis is known for its warm and organic timbres, as well as its wide range of creative possibilities and expressive potential. Analog synthesizers often use voltage-controlled components, such as oscillators and filters, which can be modulated by envelopes, LFOs, or other external signals to create complex and dynamic sounds. Many classic synthesizer sounds are based on analog synthesis, and it remains a popular and powerful technique for creating electronic music and sound design.

 

22. Digital synthesis

A method of creating sounds using digital signal processing techniques, such as wavetable synthesis, FM synthesis, and sample-based synthesis.

Digital synthesis is a method of creating sounds using digital signal processing techniques, such as wavetable synthesis, FM synthesis, or sample-based synthesis. This is in contrast to analog synthesis, which uses analog electronic circuits to create and manipulate sounds. Digital synthesis offers a wide range of timbres and sound design possibilities, and it is often more precise and versatile than analog synthesis. Many modern synthesizers are digital, and they often include a variety of synthesis algorithms and techniques, as well as built-in libraries of samples and waveforms. Digital synthesizers can also be controlled and programmed using computer software, allowing for even greater flexibility and customization of sounds.

 

23. Modulation

The process of using one signal to control the parameters of another, such as using an LFO to modulate the pitch of an oscillator.

Modulation is the process of using one signal to control or change another signal. This is commonly used in synthesizers to create complex and dynamic sounds, such as by using an envelope or LFO to modulate the pitch or filter cutoff of an oscillator. Modulation can be either linear or exponential, depending on how the relationship between the two signals changes over time. Modulation can also be unidirectional, where the modulating signal always has the same effect on the modulated signal, or bidirectional, where the effect of the modulation can change depending on the direction or phase of the modulating signal. Modulation is a powerful and versatile technique that is used in many synthesizers to create expressive and dynamic sounds.

 

24. Chorus

An effect that creates a fuller, richer sound by combining multiple slightly detuned copies of the same sound.

Chorus is a type of audio effect that creates the impression of multiple voices or instruments playing the same part, by combining a slightly detuned and delayed version of the original sound with the original sound. This creates a thick and rich sound that can add depth and movement to a musical part. Chorus is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The rate, depth, and delay of the chorus effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also include other types of chorus or doubling effects, such as flanging or phasing, which can be used to create even more complex and dynamic sounds.

 

25. Flanger

An effect that creates a sweeping, jet-like sound by combining a delayed version of a sound with the original.

Flanger is a type of audio effect that creates a sweeping, whooshing sound by combining a slightly delayed and modulated version of the original sound with the original sound. This creates a swirling and moving sound that can add motion and interest to a musical part. Flanger is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The rate, depth, and delay of the flanger effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also include other types of modulation effects, such as chorus or phasing, which can be used to create even more complex and dynamic sounds.

 

26. Reverb

An effect that simulates the reflections and reverberation of sound in a physical space, adding a sense of depth and space to a sound.

Reverb is a type of audio effect that simulates the sound of a space or environment, by creating multiple reflections of the original sound. This creates a sense of depth, ambiance, and spatiality, and it can make a sound appear to be in a particular location or environment. Reverb is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The type, size, and decay of the reverb effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also include other types of spatial effects, such as delay or modulation, which can be used to create even more complex and dynamic sounds.

 

27. Distortion

An effect that adds harmonics and overtones to a sound, giving it a rougher, grittier character.

Distortion is a type of audio effect that intentionally alters the waveform of a sound, usually by overdriving or saturating the signal. This creates a rough and edgy sound that can add grit, bite, or aggression to a musical part. Distortion is commonly used with synthesizers and other electronic instruments, and it is often controlled by a dedicated knob or slider on the instrument's control panel. The type, amount, and character of the distortion effect can be adjusted to create a wide range of timbres and effects. Some synthesizers also include other types of saturation or overdrive effects, such as fuzz or drive, which can be used to create even more complex and dynamic sounds.

 

28. Arpeggiator

A function that automatically plays a sequence of notes based on a chord or input melody, creating arpeggiated patterns.

An arpeggiator is a device or program that automatically plays a sequence of notes based on the notes that are being played on a keyboard or other input device. An arpeggiator can take a chord of notes and play them back one at a time, either in a regular order or in a random or complex pattern. This allows for complex and evolving musical structures to be created without the need for extensive sequencing or keyboard skills. Many synthesizers include built-in arpeggiators, but they can also be implemented as external devices or software programs. Arpeggiators can be controlled in various ways, such as by adjusting the tempo, pattern, range, or direction of the arpeggio.

 

29. Sequencer

A device or software that records and plays back sequences of musical events, such as notes, chords, and parameter changes.

A sequencer is a device or program that allows the user to create and edit musical sequences, or patterns of notes and other musical events. Sequencers are commonly used with synthesizers to create repeating patterns of sounds, such as bass lines, chords, or drum beats. They can also be used to create more complex and evolving musical structures, such as arpeggios or modulations. Sequencers can be either hardware or software, and they can operate in various ways, such as by playing back pre-recorded MIDI data or by generating real-time events based on user input. Many synthesizers include built-in sequencers, but external sequencers can also be used to control multiple synthesizers or other devices at once.

 

30. Patch bay

A system of connections that allows the various components of a synthesizer to be routed and interconnected in various ways.

A patch bay is a device that allows electronic instruments and other audio equipment to be connected and routed in various ways. Patch bays typically consist of a series of jacks, or input and output connections, arranged in a grid or matrix. By using patch cords, or cables, the user can connect the jacks in different configurations, allowing for a wide range of signal routing possibilities. Patch bays are commonly used in recording studios, live sound setups, and other musical environments, where they can provide a flexible and modular way to connect and route audio equipment. Many synthesizers and other electronic instruments include built-in patch bays, allowing for easy integration and control of other equipment.

 

31. Waveform

The shape of a sound as it varies over time, such as a sine wave, square wave, or sawtooth wave.

A waveform is the shape or form of a sound wave, as it is represented visually, such as on an oscilloscope or a digital audio editor. Waveforms can be either periodic or aperiodic, depending on whether the sound repeats at regular intervals or not. They can also be either symmetrical or asymmetrical, depending on whether the waveform has the same shape on both the positive and negative halves of the waveform. Waveforms can be modified in various ways, such as by changing the amplitude, frequency, or phase of the waveform, and these modifications can have a significant impact on the timbre and character of the resulting sound. Waveforms are an important concept in sound and music, and they are a key component of many synthesis techniques and audio effects.

 

32. Harmonics

The overtones or additional frequencies that are present in a complex sound, in addition to the fundamental frequency.

Harmonics are the individual sinusoidal components of a complex sound wave, such as the fundamental frequency and its overtones. The harmonic spectrum of a sound is the distribution of its harmonic components, and it is a key determinant of the timbre and character of the sound. The harmonic spectrum can be modified in various ways, such as by filtering or overdriving the sound, and these modifications can have a significant impact on the timbre and character of the resulting sound. Harmonics are an important concept in sound and music, and they are a key component of many synthesis techniques and audio effects.

 

33. Formants

The characteristic resonances of the human vocal tract, which give vowels their distinct timbre.

Formants are the regions of resonance in the frequency spectrum of a sound, which are determined by the shape and size of the vocal tract or other sound-producing mechanism. Formants are a key determinant of the timbre and character of a sound, and they are often used to identify or classify different sounds, such as vowels in speech or different instruments in music. Formants can be modified in various ways, such as by changing the shape or size of the vocal tract, and these modifications can have a significant impact on the timbre and character of the resulting sound. Formants are an important concept in sound and music, and they are a key component of many synthesis techniques and audio effects.

 

34. Noise

A type of sound that contains a broad spectrum of frequencies, often used as a source for creating percussive or organic sounds.

Noise is a random or chaotic signal that contains a wide range of frequencies and amplitudes. Noise is often used in synthesizers and other electronic instruments to create a variety of timbres and effects, such as white noise, pink noise, or brown noise. Noise can be generated in various ways, such as by using a dedicated noise generator circuit or by applying random or chaotic modulation to a signal. Noise can be filtered, shaped, or modulated in various ways, and it can be used as a sound source, as a modulation source, or as a source of randomness or unpredictability. Noise is a versatile and powerful tool in sound design and music, and it is a key component of many synthesizers and other electronic instruments.

 

35. Additive synthesis

A method of creating sounds by combining multiple sine waves at different frequencies and amplitudes, resulting in complex and rich timbres.

Additive synthesis is a method of creating sounds by combining multiple sine waves or other simple waveforms at different frequencies, amplitudes, and phases. This allows for a wide range of timbres and harmonics to be created, and it is a powerful and versatile technique for creating complex sounds. Additive synthesis is often used in conjunction with other synthesis methods, such as subtractive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use additive synthesis, and they often include built-in tools and algorithms for combining and shaping the component waveforms. Additive synthesis is a key component of many classic synthesizer sounds, and it remains a popular and powerful technique for creating electronic music and sound design.

 

36. Eurorack

A Eurorack is a type of modular synthesizer that uses standardized modules and connectors, allowing users to create complex and customizable synthesizer setups.

A Eurorack is a type of modular synthesizer that uses a standardized format for the modules and connectors. The Eurorack format was developed by the German company Doepfer, and it has become one of the most popular and widely used modular synthesizer formats in the world. Each module in a Eurorack system is a small, self-contained unit that can be plugged into the rack and connected to other modules using patch cables. This allows users to create complex and customizable synthesizer setups, with a wide range of modules available for different functions and purposes. Eurorack modular synthesis is popular among musicians and producers who are looking for a flexible and expressive way to create and manipulate sounds.

 

37. Amplitude modulation synthesis

A method of creating sounds by modulating the amplitude of one oscillator with another, resulting in complex timbres and effects.

Amplitude modulation (AM) synthesis is a method of creating sounds by modulating the amplitude of a carrier waveform with one or more modulator waveforms. This creates complex timbres and harmonics that are not possible with other synthesis methods. AM synthesis is commonly used to create bell-like and metallic sounds, as well as other complex and inharmonic timbres. It is often used in conjunction with other synthesis methods, such as additive synthesis or subtractive synthesis, to create even more complex and varied sounds. AM synthesis is a key component of many classic synthesizer sounds, and it is commonly found on synthesizers that are designed to create experimental or avant-garde timbres.

 

38. Phase modulation synthesis

A method of creating sounds by modulating the phase of one oscillator with another, resulting in complex timbres and effects.

Phase modulation (PM) synthesis is a method of creating sounds by modulating the phase of a carrier waveform with one or more modulator waveforms. This creates complex timbres and harmonics that are not possible with other synthesis methods. PM synthesis is commonly used to create bell-like and metallic sounds, as well as other complex and inharmonic timbres. It is often used in conjunction with other synthesis methods, such as additive synthesis or subtractive synthesis, to create even more complex and varied sounds. PM synthesis is a key component of many classic synthesizer sounds, and it is commonly found on synthesizers that are designed to create experimental or avant-garde timbres.

 

39. Spectral synthesis

A method of creating sounds by manipulating the spectrum of a sound, either by filtering or by directly synthesizing the individual harmonics.

Spectral synthesis is a method of creating sounds by manipulating the harmonic spectrum of a sound, rather than the waveform itself. This can be done by filtering or modifying individual harmonic components of the sound, or by using techniques such as granular synthesis or formant synthesis to create complex timbres and effects. Spectral synthesis allows for a wide range of timbres and sounds to be created, and it is often used in conjunction with other synthesis methods, such as additive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use spectral synthesis, and they often include built-in tools and algorithms for filtering and modifying the harmonic spectrum of a sound.

 

40. Wave shaping synthesis

A method of creating sounds by distorting or modifying a basic waveform, resulting in complex timbres and overtones.

Wave shaping synthesis is a method of creating sounds by altering or shaping the waveform of a sound, rather than the harmonic spectrum. This can be done by using a wave shaper function, which maps input amplitudes to output amplitudes, creating a characteristic shape or curve that modifies the waveform. Wave shaping synthesis allows for a wide range of timbres and effects to be created, and it is often used in conjunction with other synthesis methods, such as additive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use wave shaping synthesis, and they often include built-in wave shaper functions and tools for creating and editing the shape of the waveform.

 

41. Additive synthesis

A method of creating sounds by combining multiple sine waves at different frequencies and amplitudes, resulting in complex and rich timbres.

Additive synthesis is a method of creating sounds by combining multiple sine waves or other simple waveforms at different frequencies, amplitudes, and phases. This allows for a wide range of timbres and harmonics to be created, and it is a powerful and versatile technique for creating complex sounds. Additive synthesis is often used in conjunction with other synthesis methods, such as subtractive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use additive synthesis, and they often include built-in tools and algorithms for combining and shaping the component waveforms. Additive synthesis is a key component of many classic synthesizer sounds, and it remains a popular and powerful technique for creating electronic music and sound design.

 

42. Granular synthesis

A method of creating sounds by breaking a digital audio recording into small "grains" and then rearranging and manipulating these grains in various ways.

Granular synthesis is a method of creating sounds by dividing a sound into very small segments, or grains, and then manipulating and reassembling these grains in various ways. This can be done by changing the pitch, duration, or position of the grains, or by applying effects or modulation to the grains. Granular synthesis allows for a wide range of timbres and effects to be created, and it is often used to create complex and evolving sounds. Many synthesizers are designed to use granular synthesis, and they often include built-in tools and algorithms for dividing, manipulating, and reassembling the grains of a sound. Granular synthesis is a key component of many experimental and avant-garde sounds, and it remains a popular and powerful technique for creating electronic music and sound design.

 

43. Physical modeling synthesis

A method of creating sounds by simulating the physical behavior of acoustic instruments or other sound sources.

Physical modeling synthesis is a method of creating sounds by simulating the physical characteristics and behavior of real-world objects or instruments. This is done by using mathematical algorithms and computer models that replicate the way that sound is generated, transmitted, and radiated by the object or instrument being simulated. Physical modeling synthesis allows for a wide range of timbres and effects to be created, and it is often used to create realistic or authentic-sounding versions of real-world instruments. Many synthesizers are designed to use physical modeling synthesis, and they often include built-in models of different instruments or objects, as well as tools and algorithms for fine-tuning and customizing the simulation. Physical modeling synthesis is a key component of many modern synthesizers, and it remains a popular and powerful technique for creating electronic music and sound design.

 

44. Vector synthesis

A method of creating sounds by combining multiple waveforms in a dynamic and interactive way, using a joystick or other control device.

Vector synthesis is a method of creating sounds by combining multiple waveforms or other sound sources in a two-dimensional space, using a joystick or other controller to move a point, or vector, between the sources. This allows for a wide range of timbres and effects to be created, as the relative balance and mix of the sources can be continuously varied in real-time. Vector synthesis is often used in conjunction with other synthesis methods, such as additive synthesis or FM synthesis, to create even more complex and varied sounds. Many synthesizers are designed to use vector synthesis, and they often include built-in tools and algorithms for combining and shaping the component waveforms, as well as a joystick or other controller for moving the vector. Vector synthesis is a key component of many classic synthesizer sounds, and it remains a popular and powerful technique for creating electronic music and sound design.

 

45. Resolution

The number of bits or digits used to represent a digital audio signal, which determines its dynamic range and precision.

Resolution is a term that is used to refer to the level of detail, precision, or clarity in a digital audio or video signal. It is commonly measured in terms of the number of bits or the sample rate of the signal, and it determines the range of amplitudes, frequencies, and other characteristics that can be represented by the signal. Higher resolution signals can provide more detailed and accurate representations of the original sound or image, but they may also require more storage space, bandwidth, or processing power. Many synthesizers and other electronic instruments allow the user to adjust the resolution of the signal, and this can have a significant impact on the timbre and character of the resulting sound.

 

46. Bit depth

Another term for resolution.

Bit depth is a term that is used to refer to the number of bits that are used to represent the amplitude of a digital audio or video signal. Higher bit depths provide a greater range of amplitudes that can be represented by the signal, and this can result in a more detailed and accurate representation of the original sound or image. However, higher bit depths also require more storage space, bandwidth, or processing power, and they can result in larger files or higher data rates. Many synthesizers and other electronic instruments allow the user to adjust the bit depth of the signal, and this can have a significant impact on the dynamic range, noise floor, and overall quality of the resulting sound.

 

47. Sample rate

The number of times per second that a digital audio signal is sampled, which determines its maximum frequency response and playback speed.

Sample rate is a term that is used to refer to the number of samples per second that are used to represent a digital audio or video signal. Higher sample rates provide a greater range of frequencies that can be represented by the signal, and this can result in a more detailed and accurate representation of the original sound or image. However, higher sample rates also require more storage space, bandwidth, or processing power, and they can result in larger files or higher data rates. Many synthesizers and other electronic instruments allow the user to adjust the sample rate of the signal, and this can have a significant impact on the bandwidth, aliasing, and overall quality of the resulting sound.

 

48. Audio interface

A device that connects a synthesizer to a computer or other device, allowing it to be used as an input or output for audio signals.

An audio interface is a device that connects a sound source, such as a microphone or musical instrument, to a computer or other recording device. Audio interfaces typically include inputs and outputs for connecting various audio equipment, as well as digital conversion and other signal processing hardware. Audio interfaces are commonly used in recording studios, live sound setups, and other musical environments, where they provide a way to connect and route audio equipment, as well as a means of converting the analog audio signals to digital signals that can be processed and recorded by a computer. Many synthesizers and other electronic instruments include built-in audio interfaces, allowing for easy integration with other equipment.

 

49. MIDI interface

A device that connects a synthesizer to a computer or other device, allowing it to communicate using the MIDI protocol.

A MIDI (Musical Instrument Digital Interface) interface is a device that connects a MIDI-enabled device, such as a synthesizer or drum machine, to a computer or other MIDI-enabled device. MIDI interfaces typically include inputs and outputs for connecting various MIDI equipment, as well as hardware and software for routing and processing the MIDI data. MIDI interfaces are commonly used in recording studios, live sound setups, and other musical environments, where they provide a way to connect and communicate with MIDI-enabled devices, as well as a means of creating and editing MIDI data. Many synthesizers and other electronic instruments include built-in MIDI interfaces, allowing for easy integration with other MIDI equipment.

 

50. Keyboard controller

A device that allows a synthesizer to be played using a musical keyboard or other input device.

A keyboard controller is a type of electronic keyboard that is designed to control other devices, rather than produce sound on its own. Keyboard controllers typically include a range of keys, pads, and other controls, as well as connections for MIDI, USB, or other types of interfaces. Keyboard controllers are commonly used in conjunction with synthesizers, drum machines, software instruments, or other sound-producing devices, where they provide a way to play and control the sound. Keyboard controllers are often portable and lightweight, and they are a popular choice for musicians who want to play and control electronic instruments in a live or studio setting. Many synthesizers and other electronic instruments are designed to be used with a keyboard controller, and they often include features and settings that allow for easy integration and control.

 

51. Envelope generator

A circuit or module that generates a control signal that varies over time, such as an attack-decay-sustain-release (ADSR) envelope, which is used to shape the amplitude or other characteristics of a sound.

An envelope generator is a circuit or module that generates a control signal that varies over time, such as an attack-decay-sustain-release (ADSR) envelope. This signal is often used to shape the amplitude or other characteristics of a sound, allowing for the creation of dynamic and expressive timbres. Envelope generators typically include controls for the attack, decay, sustain, and release parameters, as well as other settings such as envelope depth or velocity sensitivity. Many synthesizers and other electronic instruments include envelope generators, and they are a key component of many classic synthesizer sounds. Envelope generators are also commonly used in other types of electronic music equipment, such as drum machines or samplers, where they are used to shape the amplitude or other characteristics of individual sounds or samples.

 

52. ADSR

ADSR envelopes are commonly used to shape the amplitude or other characteristics of a sound in a synthesizer or other electronic instrument, allowing for the creation of dynamic and expressive timbres.

ADSR is an acronym that stands for attack-decay-sustain-release, and it refers to the four main stages of an envelope generator. The attack stage is the initial transient portion of the envelope, where the amplitude of the signal increases rapidly from zero to its maximum value. The decay stage is the portion of the envelope where the amplitude decreases from its maximum value to the sustain level. The sustain stage is the portion of the envelope where the amplitude remains constant at the sustain level. The release stage is the portion of the envelope where the amplitude decreases from the sustain level to zero, after the sound has been released or stopped. ADSR envelopes are commonly used to shape the amplitude or other characteristics of a sound in a synthesizer or other electronic instrument, allowing for the creation of dynamic and expressive timbres.

 

Summing Up

Hopefully you are less confused now that when you started. To sum up, this guide has provided a solid overview of the essential terminology in the world of synthesizers. From the basic concepts of oscillators and filters, to the more advanced techniques of envelopes and LFOs, we have covered the key terms and definitions that every synthesizer user should know. However, this is only the beginning of your journey into the world of synthesizers. These electronic instruments are capable of creating a vast range of sounds and effects, and the possibilities are truly endless.

 

As you continue to learn and explore synthesizers, you will discover new techniques, sounds, and approaches that will inspire and excite you. Whether you are a beginner looking to get started with synthesizers, or an experienced musician looking to expand your knowledge and skills, there is always more to learn and new sounds to create. So, take what you have learned from this guide and use it as a springboard to further your understanding of synthesizers and how to use them effectively.

 

In addition to learning more about the technical aspects of synthesizers, we also encourage you to experiment and play with them. Don't be afraid to try out new things, to explore different sounds and settings, and to push the boundaries of what these instruments are capable of. Synthesizers are tools for creativity and expression, and the only limit is your own imagination. So, start exploring the world of synthesizers and see where your creativity takes you.

And if you get stuck creatively along the way you can try one of our creative card decks to unblock your creativity.