Subtractive Synthesis
Production Techniques
Subtractive synthesis is one of the most common ways to build synth sounds. You begin with a source that already contains plenty of harmonics, then remove parts of that sound with filters, envelopes, and modulation until the result fits the role you need.
That is why subtractive synthesis appears everywhere in electronic music. It is good for basses, leads, plucks, pads, keys, stabs, and many classic analog-style sounds.
Why it is called subtractive
The name sounds more technical than the process really is. You are not adding more and more detail from nothing. You are starting with something rich, then carving it into shape.
A saw wave is a simple example. It contains a lot of harmonic material. If you run it through a low-pass filter and shape the filter with an envelope, the sound can turn from bright and buzzy into round, muted, punchy, or soft depending on the settings.
So the core idea is simple:
- start with a harmonically rich source
- remove what you do not need
- shape the movement over time
Why it is such a good beginner method
Subtractive synthesis teaches cause and effect very clearly. You can usually hear what the filter does. You can hear what the envelope does. You can hear what resonance, key tracking, and modulation change.
That makes it one of the best synthesis methods for learning the basic language of sound design. Once you understand subtractive synthesis, many other methods become easier to understand too.
It also connects directly to practical production work. If a sound feels too sharp, too muddy, too static, or too big, subtractive tools often solve the problem quickly.
The main building blocks
Most subtractive patches are built from a short list of ingredients:
- one or more oscillators for the raw tone
- a filter for tone shaping
- an envelope for note behavior
- optional modulation for movement
The exact synth can change, but the logic stays similar. That is why subtractive ideas show up in many instruments, both simple and advanced.
What it is especially good at
Subtractive synthesis works well when you want a sound that feels solid and familiar. It is often easier to dial in musically useful results than with more abstract methods.
It is especially strong for:
- classic basses
- plucks and stabs
- warm pads
- straightforward leads
- filtered rhythmic parts
It can also become much more expressive when combined with Modulation, Distortion, or Bass Design.
A useful beginner mindset
Do not try to build the biggest patch right away. Start with one oscillator, one filter, and one envelope. Then listen to how each small change affects the tone.
Subtractive synthesis is less about complexity and more about control. A simple patch that is shaped well often sounds better than a huge patch that is doing too much at once.
Also matches: subtractive sound design, subtractive synthesis, subtractive
Posts in this topic
In this video, I showed how to use subtractive synthesizers to create simple and easy bass, lead, hoover, and kick drum sounds. I started by explaining what a subtractive synthesizer is and how to create a sine wave with one. I then showed how to create a kick drum using one envelope and how to create a lead sound using unison. I also showed how to create a hoover sound using two pulse waves and pulse width modulation. Lastly, I discussed how to create synthwave basses using distortion and the monophonic mode.
In this video, I explain why there is no sine wave in a classical subtractive synthesizer. This is because sine wave has no overtones and therefore makes no sense in terms of subtractive synthesis. I explain how the filter section can be used to target and amplify the fundamental frequency as well as other partials in the harmonic series. I also provide an overview of other synthesis methods such as additive synthesis, Wavetable synthesis, FM synthesis, phase distortion, vector synthesis, granular synthesis, and physical modeling. In each of these methods, sine waves make more sense. Finally, I explain why a saw and pulse waveforms are used in polysynth - because they give different harmonic overtones.
In this video, I demonstrate how to create a trumpet or saxophone sound in Bitwig's grid using subtractive synthesis. I avoid using samples, wavetables, or physical modeling. The sound is shaped using pinch and bend modules, as well as a phaser, before going through a filter and an amplitude modulation module. I also add filtered noise to simulate the air going through the horn. To simulate the characteristics of different instruments, I use fixed frequencies in an EQ module. An impulse response and delay are used to simulate room and add space to the sound. The main trick of the preset is shaping the phase signal with pinch and bend modules, which creates trumpet-like harmonics from a sine wave. I use Bitwig's expression modulator to map timbre, pitch bend, and pressure to add expression to the sound. I show how to do this in a separate polygrid. It took some time to find the right modulation amounts and timings, but the result is a cool and realistic trumpet sound. The preset is available for Patreon and YouTube subscribers, while others can try out the techniques I demonstrated.
In this video, I demonstrate how to create classic and straightforward synth sounds in Bitwig Studio using simple subtractive synthesis without heavy processing, allowing you to easily follow along and understand the foundations behind iconic tones. I also introduce a free resource on my website where you can find step-by-step guides, preset downloads, and detailed explanations for each patch. Throughout the video, I cover essential sounds like house organ basses, jungle and rave basses, techno leads, dub chords, and FX noises, emphasizing simplicity and the power of filters and basic waveforms.
The first subtractive synthesizer we're building in the Grid: Overtones are subtracted to create a sound.
In this video, I discuss different methods of synthesizing sounds inside the grid, including subtractive synthesis, additive synthesis, frequency modulation, physical modeling, and granular synthesis. I provide detailed tutorials on how to create your own oscillator and change the waveform over time using modules like steps, phaser, and value. I also demonstrate how to create an additive synthesizer by adding multiple sine waves with different frequencies and how to use a filter to modify the sound. Additionally, I show how to use granular synthesis and a resonator to create interesting sounds. Overall, the goal is to encourage viewers to create sounds for their projects rather than focusing on designing instruments. If you have any questions or comments, please leave them below, and don't forget to subscribe, like, and support the channel if you enjoy the content.
In this video, I show you how to easily synthesize hi-hats using a normal subtractive synthesizer like Polymer in Bitwig. By adjusting settings like detuning, unison, and adding noise, you can create a metallic sound with different velocity and filter expressions. To avoid CPU spikes, it is recommended to sample the hi-hats and use them in your project.
In today's video, I explore how to create cyberpunk, dark techno, and 90s Prodigy-style sounds using basic subtractive synthesis techniques, focusing on raw sounds and heavy distortion. I walk you through setting up a monophonic saw wave, creating a repetitive bass pattern, and adding various effects like LP filtering, diode distortion, and bit reduction to achieve a signature cyberpunk vibe. Lastly, I show how to complement the synths with simple drum patterns and side-chaining for added depth and rhythm, and mention that the project file will be available on my Patreon.
Learn how to build classic synth sounds in Bitwig, including basses, leads, pads, plucks, bells, and FM textures with core sound-design techniques.
In this video, I explain how I use filters and filter key tracking in my synthesizer sound design. I demonstrate how filters can be used to remove or amplify specific harmonics in a sound, targeting frequencies like the first and second harmonics to enhance bass presence. I also show how key tracking allows filters to follow the frequency of different notes, making the filtering process more precise.
This video highlights why Bitwig Studio stands out for its hands-on modularity, allowing users to easily create unique instruments and effects without coding or complex visual languages. Bitwig’s flexible modular system empowers both beginners and advanced producers to experiment, learn synthesis fundamentals, and develop custom sounds beyond what preset-heavy plugins offer. The creator emphasizes the value of creativity and learning through Bitwig’s tools, making it an ideal choice for anyone seeking a customizable and educational music production environment.
In this video, I demonstrate how to use the modulation capabilities in Bitwig Studio, specifically with the Polymer synthesizer. I show how to use a small trick with a wavetable to get more out of the synthesizer and push it in different directions. I explain the concept of using modulators and how you can create different sounds by modulating different parameters. I also show how you can use the wavetable oscillator as a modulation source and create FM, subtractive, and additive synthesis within the Polymer synthesizer. Overall, I highlight the power of modulations in Bitwig Studio and how they can enhance your sound design capabilities.
Let's create an small additive synth in the Grid out of our subtractive synth with some basic functionality.