Synthesis
Production Techniques
Synthesis is the general idea of building sound from simple ingredients instead of only recording something that already exists. You start with one or more sound sources, shape them over time, and decide how bright, heavy, noisy, smooth, or animated the result should be.
That can sound abstract at first, but in practice it usually comes down to a few basic questions: what is making the sound, how is it being filtered or colored, and how is it moving over time?
Why synthesis matters
Learning synthesis is useful because it makes presets less mysterious. You stop seeing a patch as magic and start seeing it as a combination of choices.
That also makes problem solving easier. If a bass feels weak, you know to check the harmonics, the envelope, or the low-end balance. If a lead feels boring, you can look at motion, timing, or timbre instead of randomly stacking plugins.
Main methods on this page
- FM Synthesis is good for metallic, sharp, or complex harmonic tones.
- Granular Synthesis is useful for textures, stretching, and cloud-like sound design.
- Wavetable Synthesis is about scanning through waveform shapes.
- Subtractive Synthesis is the classic filter-based approach used in many synths.
- Additive Synthesis builds sound by stacking harmonics.
- Physical Modeling focuses on the behavior of strings, bodies, and resonators.
You do not need to master all of these at once. The practical benefit comes from understanding the character of each method and knowing when it solves the musical problem in front of you.
Also matches: synth programming, synthesis methods, sound synthesis, synthesis
Posts in this topic
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 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.
Granular synthesis is a method of sound synthesis that uses small segments of audio called grains to create complex sounds. In this lesson, we will explore how to create granular synthesis in the Bitwig Grid using the Sampler module.
Vector Synthesis is a method of sound synthesis that uses multiple oscillators to create complex sounds. In this lesson, we will explore how to create a vector synthesizer in the Bitwig Grid.
In this video, I show the viewers how to do vector synthesis in Bitwig's grid using the x,y coordinate pad and multiple instances of the drawable oscillator. I explain that vector synthesis involves blending between multiple oscillator shapes using a vector, which can be done with the x,y coordinate pad and multiple instances of the scroll. I also demonstrate how to use the blend modulator to fade between two inputs and give us one output waveform. I show how the bipolar mode can be used in the x,y pad for negative values and how to set up the modulation for the blend between the left and right side. I also suggest using a mod filter for subtractive shaping of the waveform and demonstrate how to set up the polyphony mode, so we can play chords. Additionally, I show how to use a vector 8 modulator, which is similar to the x,y pad, but with eight outputs. I explain how this can be used to blend between eight oscillator shapes, and how it provides more modulation for creating complex waveforms. Lastly, I give examples of how to use segments to find sweet spots for modulation and how to use wave tables for morphing the sound.
In this video, I want to give a big thank you to all my Patreon donators for supporting my music and community work. It's the first time in my career that I'm getting regular income just for music, and it feels great. Now, let's talk about additive synthesis. I've created an experiment using an additive synthesizer in the grid, which consists of a sine wave generator and multiple partials in different frequencies. By layering these partials, we can create complex sounds. I explain how to adjust the frequencies and introduce modulations to make the sound more interesting. I also demonstrate how to narrow the partials down to the fundamental frequency for different effects. The preset I created is called additive wonder, and you can download it from my GitHub repository. If you have any ideas or solutions on creating partials with less CPU usage, please let me know. Thank you for watching, and I hope you have fun experimenting with this preset. Bye!
Finally, a quick look at FM synthesis (using Phase-4). Digital piano sounds, bell sounds, and percussion aren't that different from each other. Here’s how you can tackle that with FM synthesis.
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.
A hands-on Behringer Poly D overview covering analog synthesis basics, oscillator and filter workflow, tuning quirks, and chord ideas for music production.
In this video, polarity talks about Tomofon, a plugin by Klevgrand. It is an additive synthesis plugin which dissects samples into harmonics and saves these harmonic values into tables. It can be used to extract harmonics from samples, voices, and instruments for ambient music.
Book of Bad Ideas but as a Website. A collection of modular techniques, tips and tricks for sound design or music production. Use it with eurorack or modular synths. Bitwig, VCV rack or similar.
Here we learn about FM and PM synthesis, and how to build a simple FM synth in the Grid.
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 how to use frequency modulation (FM) synthesis in Bitwig Studio, showcasing different and unusual ways to apply FM. I demonstrate how to modulate the frequency in a linear way using the speed knob in a sampler, creating harmonic and disharmonic sounds. Additionally, I explore FM techniques using wavetable LFOs, feedback modulation, and modulating the delay time.
In this video, I explore the voice spread feature in Bitwig Studio 5.1 and demonstrate how it can be used to create an additive synthesizer using the Grid and other devices. By adjusting parameters such as voice stacking, pitch offset, and volume, I show how to spread frequencies and manipulate partials to create unique sounds. The possibilities for sound design and modulation with voice stacking in Bitwig Studio are endless.
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 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 Steps module in Bitwig Studio 3.2, now with interpolation mode, looks similar to a multi-stage envelope generator but is more limited, as you can only interpolate between steps without flexible curve adjustments or additional point insertion. Despite these limitations, the Steps module is highly versatile and can be used as a drawable oscillator, for wavetable synthesis, phase modulation, and inventive sound design when combined with other Grid modules. The video demonstrates creative ways to use the Steps module within musical contexts, emphasizing the limitless potential of combining Grid devices in Bitwig Studio.