DeutschSynopsis
Modular synthesizers changed music making, starting in the 1960th. Many models have been developed over the past decades. The 6-day workshop will cover some of its history but mainly use the digital clone VCV Rack to teach the building blocks of synthesis. Each student will learn patching principles with oscillators, filters, envelope generators, etc., to build essential sound production patches. From there, we will develop a more complex improvisation environment with several sound layers and real-time parameter control. The final project is a live improvisation using the virtual synthesizer they constructed.
Aims
Students will understand sound synthesis more deeply with just a small set of digital tools. By the end of the course, students will have created their synthesizer environment and can improvise with it. Critical listening and feedback throughout the week encourage risk-taking and develop confidence in the student’s artistic and technical abilities.
Presentation
The last day offers the opportunity to showcase each student’s work with group feedback. Participants should outline their creative process and reflect on elements that were easy to integrate and the direction they wish to take in the future.
Prior knowledge
No prior knowledge of sound synthesis is required. Knowledge of a Digital Audio Workstation like Reaper, Logic, Ableton Live, Cubase, is beneficial.
Schedule (can be adapted to institutional needs)
There are typically two lectures daily, followed by individual, practical work.
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Lecture 01 |
Building blocks of sound synthesis, Introduction to the VCV Rack environment, creating a user account, downloading libraries |
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practical work: |
Use the first introduction patches to familiarize yourself with the environment. Create a simple patch with VCO, LFO, VCF |
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Lecture 02 |
History of synthesis, overview of module types |
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practical work: |
use the remaining introduction patches to understand gates, triggers, etc. |
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Lecture 03 |
Complex oscillators: Tidal and Macro Oscillators |
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Practical work: |
create an evolving sound texture with these two oscillators, use LFN and slow LFO to shape micro and macro time |
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Lecture 04 |
Complex oscillators: Texture synthesizer, Granular Synthesis |
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Practical work: |
augment the evolving sound texture with these two oscillators, use again LFN and slow LFO to shape micro and macro time |
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Lecture 05 |
sequencers and clocks, mixers |
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Practical work: |
use traditional and stochastic sequencers to control your sound textures, combine sounds with mixers |
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Lecture 06 |
mixers with sends, reverb and controlled sends to effects |
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Practical work: |
incorporate effects |
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Lecture 07 |
organizing sounds into layers, mute unused strips, MIDI control, multiple parameter mapping |
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Practical work: |
Map your layers to an external MIDI controller, reorganize your instrument into a playable patch |
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Lecture 08 |
intermodulation, polyphony, delay feedback, audio feedback |
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Practical work: |
augment your instruments to create polyphonic voices |
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Lecture 09 |
introduction to my personal improvisation environment |
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Practical work: |
finalize your improvisation environment and sketch a plan for a 3-minute piece, practice a performance |
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Lecture 10 |
extending the work environment with sound sends to a DAW, automating parameter control |
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Practical work: |
using the Blackhole sound driver, we will send the sound results into Reaper and understand how to automate sound control inside the DAW to compose, beyond an improvisation |
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Day 6 |
Presentations, critique, and final discussion |