Analysis of Synthesizers: ES1 and ES2 - Essay Example

Analysis of Synthesizers: ES1 and ES2 Introduction Electribe Sequencers are an innovative type of samplers which not only play back a recorded sound, but let process the samples to create an own signature sound. A sample played on it can be effectively modified using the pitch, filter and effect knobs in order to drastically alter the sounds. These sequencers have a unique Time Slice function which chops a sample sound or phrase into pieces, creating intricate patters from a simple loop or phrase. The re-sampling functions help in the implementation of effects to a previously-recorded sample, thereby, re-sampling the outcome. Innovative sounds with absolutely no deterioration in audio quality are some of the eminent qualities of Electribe Sequencers. They are inclusive of a built-in effects processor with eleven types of effects which can be switched on or off for each of the parts. The eleven types are inclusive of basal effects such as Reverb and Chorus, as well as distinct effects like Decimator, Isolator and Resonant Filter. The internal memory of the Electribe S can hold 128 user patterns. 2. The Electribe Sequencer Series The ES-1 is a simple and easy to use rhythm production sampler which uses DSP synthesis technology to allow anyone from novices to professionals in order to create truly original music (Owner's Manual, 1996). It can easily help in assigning the sampled sounds to parts, use the panel knobs and keys to process the sound spontaneously, thereby, using these sounds to easily create the rhythm patterns. The ES-1 proves to be an ideal implement for any musical, Disco Jockey, Sound Creator who wants more uniqueness and originality in their music creations. The most striking features of this sequencer allow its samples recorded by the user to be assigned to ten sample parts, including one Slice Sample part as well, where the sound of each part can be processed according to the user's choice. Around 100 monaural and 50 stereo sounds sampled by the user can be saved in the internal memory. The parts generated by editing the samples can be combined with rhythms so as to create distinct patters, thereby, enabling the user to make use of the ES-1 as a totally innovative type of rhythm machine. The ES-1 provides a Motion Sequence function which records and loops the knob movements and can be recorded for each of the parts of the pattern. It provides eleven types of effects and delay, and the pattern set play function allows the user to register approximately 64 distinctive patters to the 16 keys, thereby, successively select and play them. Moreover, the ES-1 can be regulated from an external sequencer or keyboard as a MIDI sound module. Sample sounds, patterns and songs created by the user can be stored on Smart-Media (Owner's Manual, 1996). Outfitted with an innovative user interface, ES1 provides subtractive synthesis which meets the ideals of classic analog. The prominence of analog synthesizers is truly justified by ES1 as it has rich scale of sound, punchy filters, flexible modulation likelihoods and tremendously rapid envelopes (News, 1999). The ES1 integrates seamlessly within the Logic's intrinsic digital mixer, all plug-ins effects can be effectively brought in to use and all parameters can be automated. The straight linkage with the sequencing engine of the Logic System guarantees unsurpassed exactitude through sample-accurate timing which is paramount in comparison to any extrinsic MIDI synthesizer. ES1 is the first in a complete range of virtual instruments for the Logic Series. As a real instrument, it offers extremely supple tone genre which puts the entire palette of analog sounds at disposal, i.e. earth-shattering basses, rich scale of pads and textures, screaming leads, extremely sharp percussion and striking effects (News, 1999). Dependent upon the computer's performance, I can ensure that one can use up to eight ES1 instruments at the same time in the Logic Audio Program, each with up to 16 voices. In the hardware arena, the same set-up would cost a small affluence. However, together with this cost benefit, the ES1 presents a huge timing advantage as well. Despite the number of ES1 to be brought in to use, the picture-perfect integration in Logic Audio offers sample-accurate timing which is again, superior to any other MIDI hardware. Giving an option amongst a highly stylized graphic editor and a simplified control screen, there are five significant parameters that appear on the control screen of ES1, they are Master Tuning, Analog, Voices, Bend Range, and the Output Level. Filter choices can be made only in the graphic editor where one can pick a 12 dB, 18dB, 24dB Classic, or 24 dB Fat low pass filter, as well as fiddle with the cut-off and resonance (Obee, 2000). ES1 possesses a number of solid presets which function in a variety of settings. Nonetheless, its overall sound quality of the synthesizer as well as its speed of ease of use was more impressive. Logic Audio doesn't delight ES1 as a MIDI object, however, as an audio object, ES1 responds like one. In order to overcome the flaw of this instrument if it takes a second to catch resulting in an unconventional response, a little pre-roll can be added before you initiate with playing. Coming to a range of delivering innovative products which challenge the creative resources of musician and provoke the capabilities of the modern computer, another synthesizer ES2 embodies these qualities and is the latest synthesizer in the Software Music Line (Press Release, 2001). It is powerful as well as intricate because of its innumerable facilities which are however easy to use, it is capable of generating incredibly fat sounds. The ES2 synthesizer possesses up to 16-note polyphony per unit, with 3 oscillators per voice, where, oscillators 2 and 3 can sync to oscillator 1 (Press Release, 2001). Analog and digital waveforms which include Frequency Modulation, Ring Mod, Noise and others can be brought in to use as sound sources. Electronic music producers, sound designers and programmers can now realize its full potential as composers now go deep inside this fascinating synthesizer. The ES2 is one of the oldest synthesizers in Logic and one of the most underutilized due to its intricacy. This one plug-in possesses everything from FM synthesis to ring modulation to vector synthesis, digi-waves to very intricate filters and routing that it cannot be brought in to use until and unless its features are comprehended entirely (Steve). It is the perfect object to demystify the wonderful arena of music. 3. Comparison between New and Old Synthesizers Early analog synthesizers made use of technology which was derived from electronic analog computers and laboratory test equipment. They were generally modular synthesizers which consisted of a number of independent electronic modules connected by patch cables in to a patch bay. The old instruments included voltage-controlled oscillators, voltage-controlled filters and voltage-controlled amplifiers. Many synthesizers also had effect devices such as the reverb units, and tools such as sequencers or sound mixers. Prominent modular synthesizer manufacturers are Moog Music, ARP instruments and Electronic Music Studios. Moog includes standards which are recognized worldwide for control interfacing on analog synthesizers, using a logarithmic pitch control and a separate pulse triggering signal. All in one analog synthesizers included Moog, ARP, Roland, Korg, and Yamaha. Since they possessed complexity of generating even a single note using the analog synthesis, most of the synthesizers remained monophonic. They had limited polyphony, typically supporting four voices. Poly moog was an attempt to create a truly polyphonic analog synthesizer possessing sound generation circuitry for every key on the keyboard. With the advent of 1980s, analog synthesizers were replaced by the digital ones and samplers. Musicians from the techno, rave and DJ scenes who took interest in the production of electronic music, but without the budget for large digital systems, initiated with taking interest in the second-hand analog equipment available. According to Jenkins, one disadvantage of the Moog synthesizer is that it had no memory and hence he preferred using Synclavier since its hard-disk sampling system was comparatively good (Jenkins, 2007). In the similar way, ARP synthesizers, payer-piano type of programmable controllers were designed so that they could be interfaced with analog controlled synthesizers. The machine consists of a modified chart recorder drive assembly with an optical reading head (Gabrielsen, 1974). The controller circuitry reads, translates and transmits data from a machine score to the synthesizer. It also consists of coded chart recorder paper where coding and modifying is easily performed. 4. Conclusion Both the old as well as new Synthesizers have their pros and cons respectively. The most widely used synthesizers can easily be integrated in current technologies as they consume reasonable power and meet most of the wireless as well as wired applications (Shu and Sanchez-Sinencio, 2005). The sound and feel of the new range of synthesizers, because, they are a plug-in, one does not need another memory-intensive application in order to get a quality synth. The field of virtual synth plug-ins remains in its infancy, however, instruments like the ES1 and ES2 put a lot of power in to it. They are an essential implement for any Logic Audio user. References 1. Gabrielsen, Brent. 1974, A Programmable Control Device for Analog Synthesizers. AES E-Library. 2. Jenkins, Mark. 2007, Analog Synthesizers. Burlington: Elsevier Ltd. 3. News. 1999, Emagic Introduces ES1 Synthesizer. The Sonic Spot (12/01/1999). [Online] . 4. Obee, Jeff. 2000, EMAGIC ES1 (MAC/WIN). Penton Media, Inc. 5. Owner's Manual. 1996, ES1 Owner's Manual. KORG. 6. Press Release. 2001, Emagic Announces New ES2 Synthesizer for Logic Audio. Harmony Central MusikMesse 2001 Coverage. (March 7, 2001). 7. Shu, Keliu and Edgar Snchez-Sinencio. 2005, CMOS PLL Synthesizers. Springer. 8. Steve, H. Steve Horelick Continues to Enlighten Logic Pro Users with 'ES2 Exposed' Online Tutorial Series. Emmy-Nominated Composer/Sound Designer Uses Nonlinear Educating Device (N.E.D.). Read More