Softsynth

A software synthesizer or softsynth is a computer program that generates digital audio, usually for music. Computer software that can create sounds or music is not new, but advances in processing speed now allow softsynths to accomplish the same tasks that previously required the dedicated hardware of a conventional synthesizer. Softsynths may be readily interfaced with other music software such as music sequencers typically in the context of a digital audio workstation. Softsynths are usually less expensive and can be more portable than dedicated hardware.

Types

Softsynths can cover a range of synthesis methods, including subtractive synthesis (including analog modeling, a subtype), FM synthesis (including the similar phase distortion synthesis), physical modelling synthesis, additive synthesis (including the related resynthesis), and sample-based synthesis.

Many popular hardware synthesizers are no longer manufactured but have been emulated in software. The emulation can even extend to having graphics that model the exact placements of the original hardware controls. Some simulators can even import the original sound patches with accuracy that is nearly indistinguishable from the original synthesizer. Popular synthesizers such as the Moog Minimoog, Yamaha DX7, Korg M1, Sequential Circuits Prophet-5, Oberheim OB-X, Roland Jupiter-8, ARP 2600 and dozens of other classics have been recreated in software. Software Synth developers such as Arturia offer virtual editions of analog synths like the Minimoog, the ARP 2600, as well as the Yamaha CS-80. GForce produces a Minimoog (with sounds designed by Rick Wakeman) and a version of the ARP Odyssey. There is also a variety of popular software synthesizers that are exclusively software. Synths like Serum 2 and its predecessor Serum (both created by Steve Duda under Xfer Records), Pigments by Arturia, Vital developed by Vital Audio, and even Alchemy, originally developed by Camel Audio, which is famously associated with Logic Pro after its acquisition by Apple.

Some softsynths are sample-based, and frequently have more capability than hardware units, since computers have fewer restrictions on memory than dedicated hardware synthesizers. Sample libraries may be many gigabytes in size. Some are specifically designed to mimic real-world instruments such as pianos. Sample libraries' formats include '' .wav'', '' .sf'' or .sf2.

Softsynths suffer their own issues compared to traditional hardware. Softsynths tend to have more latency than hardware; they can also suffer from crashes and data loss. This is why oftentimes a composer or virtual conductor will want a "draft mode" for initial score editing and then use the "production mode" to generate high-quality sound as one gets closer to the final version. The draft mode allows for quicker turn-around, perhaps in real time, but will not have the full quality of the production mode. The draft render is roughly analogous to a wire-frame or "big polygon" animation when creating 3D animation or CGI. Both are based on the trade-off between quality and turn-around time for reviewing drafts and changes.

Software instrument

A software instrument can be a synthesized version of a real instrument (like the sounds of a violin or drums), or a unique instrument, generated by computer software. Software instruments have been made popular by the convergence of synthesizers and computers, as well as sequencing software like GarageBand, Logic Pro, and Ableton Live. Also of note is software like Csound and Nyquist, which can be used to program software instruments.

History

In 1986, Aegis released Sonix for the Commodore Amiga. Alongside a graphical score editor, Sonix featured a 4-voice software synthesizer. It featured MIDI input, a recognizable user interface, waveform drawing, an envelope, LFO, and non-resonant filter - calculating the synthesized result in real-time and sending it out, polyphonically, to the Amiga's 4 PCM-based channels. In 1996, Steinberg, a German software company, released the VST standard. In 1997, Seer Systems released the first commercial software synthesizer, named Reality, which combined previously used forms of synthesis such as PCM, wavetable, FM, additive and physical modeling. This helped integrate software synthesizers into DAW software, streamlining usage. As computers became more powerful, software synthesizers did as well. This led to developments in new forms of synthesis such as granular synthesis. Other software synthesizers focused on recreating or imitating other instruments. For example, some software synthesizers focused on physical modeling in order to imitate instruments like organs and electric pianos.

See also

* :Software synthesizers
* :Music software plugin architectures
* Digital audio editor
* Modular synthesizer
* Music sequencer
* Sound module
* Synthesizer
* '' SynthFont''
* TiMidity++
* Video game music
* List of music software

References

{{DEFAULTSORT:Software Synthesizer
Music software
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MIDI