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Moog Music's Guide To Analog Synthesized Percussion

This document provides instructions for synthesizing percussive sounds using an analog synthesizer. It explains that percussive sounds are created by striking and quickly releasing a medium. It recommends setting the attack and sustain parameters to minimum and using the release parameter to determine how long the sound rings out. It describes using oscillators, filters and noise generators to create harmonic content and different wave shapes that are suitable for various percussion instruments. The document concludes by recommending experimentation to develop rich synthesizer experiences.

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Saverio Paiella
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75 views6 pages

Moog Music's Guide To Analog Synthesized Percussion

This document provides instructions for synthesizing percussive sounds using an analog synthesizer. It explains that percussive sounds are created by striking and quickly releasing a medium. It recommends setting the attack and sustain parameters to minimum and using the release parameter to determine how long the sound rings out. It describes using oscillators, filters and noise generators to create harmonic content and different wave shapes that are suitable for various percussion instruments. The document concludes by recommending experimentation to develop rich synthesizer experiences.

Uploaded by

Saverio Paiella
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Moog Music’s Guide To Analog Creating tones for reproducing the

family of instruments in which sound

Synthesized Percussion
arises from the striking of materials
with sticks, hammers, or the hands.

The First Step


COMMON
Th e f irst ste p in synth esizing a sound , pe rcussive VOLUME
o r o t h e r w i s e , i s u n d e r s t a n d i n g h o w t o v i s u a l i ze ENVELOPES UN-MUTED
sonic information in terms of the control BASS DRUM
p a r a m e t e r s o f y o u r s y n t h e s i ze r.

M o s t s y n t h e s i ze r s e m p l oy a 4 - s t a g e a m p l i f i e r
e n v e l o p e t o c o n t r o l a s o u n d ’s vo l u m e o v e r t i m e .
T h e s e 4 “ s t a g e s ” a r e c o m m o n l y l a b e l e d : AT TAC K ,
HORNS TIGHT SNARE
D E C AY, S U S TA I N & R E L E A S E .

ADSR ATTACK: The amount of time it


takes a sound to rise from zero to
maximum when a key is depressed.

DECAY: The amount of time it takes


a sound to descend from maximum
level to sustained level.
amplitude

SUSTAIN: The level at which a


sound remains while a key is held,
after the Decay stage is complete.
attack

d e c ay

sustain

release

RELEASE: The amount of time it


takes for a sound to descend from
time its sustained level to zero.

A M P. E N V E L O P E
tight
tight

boom
boom

Percussive sounds are typically played by quickly


To synthesize a drum sound, begin by creat- striking and releasing a medium, (think of finger
ing a percussive amplifier envelope. When drumming on an MPC). With this in mind, use the
striking a drum head, the sound does not Amplifier Envelope's Release control to determine
“swell” in, nor does it continue to sustain if how long or short a sound “rings out” after a note is
you hold the stick against the head. With release. The Decay control will influence your Release
this in mind, set the Attack and Sustain settings when Sustain is set to zero, so set Decay to
parameters to their minimum position. center position until you get a feel for it.
Moog Music’s Guide To Analog Creating tones for reproducing the
family of instruments in which sound

Synthesized Percussion
arises from the striking of materials
with sticks, hammers, or the hands.

Sound Source Oscillators


N ow that yo u have a pe rcussive amplif ie r These are a s y n t h e s i z e r ’s
e nvelope , you n e e d a sound source . K icks , snares , primary source of sound.
toms , & cymbals c an all be create d using a similar Oscillators create dif ferent
amplifier e nvelope with dif ferent harmonic waveforms that c an be use d to
c o n t e n t . Sy n t h e s i ze r s o f f e r m a n y t o o l s w i t h w h i c h determine the complexit y of
to create harmonic content including oscillators , harmonic content before it is
f ilters , noise generators and modulation . sent through the filter sec tion .

Wave S h a p e s
TRIANGLE: Contains SAW: C o nt a i n s a ll
exponentially descend- i nte g e r h a r m o n i c s .
ing odd harmonics. Use U s e fo r wa r m , a r ti c-
with noise for pitched u l ate p e rc u s si o n
tom drums.

NOISE: Contains all


SQUARE: Contains only
frequencies. Noise is
odd harmonics. Its
used to create snares,
hollow sound is good for
and to add acoustic
low register kick drums.
qualities to synth
percussion.

F I LT E R S E C T I O N
FILTER: The filter can be driven into self-oscillation by
si
y
e frequenc

ne

setting it's Resonance control to maximum. At this point


frequency

the filter becomes a sine wave generator perfect for


creating massive 808-style kicks & toms. The Cutoff
sin

parameter of a self-oscillating filter now controls its


frequency, while the KB AMOUNT knob determines how
the keyboard's pitch effects the Cutoff frequency.

DON’T FORGET: Experimentation & learning will reward


you with a lifetime of rich synthesizer experiences. self
oscillation
M O D WH E E L must b e up • LFO R A NG E S E LEC TIO N set to hig h ( M anual pg . 2 8) • • FILTER SLOPE set to 1 Pole (Manual pg. 28) • LFO GATE RESET set to ON (Manual pg . 25)
Mod Wheel in up position
S PAC E D R U M
Mod Wheel in up position

M O D WH E E L must b e up • LFO R A NG E S E LEC TIO N set to hig h ( M anual pg . 2 8) •


H I H AT/ B LOC K • FILTER SLOPE set to 1 Pole (Manual pg. 28) • MULTI TRIG set to ON (Editor)

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