Synth Design Podcast

Synth Design Podcast is back! Special edition with This is Not Rocket Science in Amsterdam. I actually went to visit them and see where the Fenix IV was designed and manufactured. It's by far, one of the most insightful episode I've released to date! We cover the design process, engineering, manufacturing and custom toolchain that had to be built for the Fenix. In the video we show the workshop, so if you can, it's worth your time to watch. Available on YouTube as well. The Fenix IV is the fourth edition in the Fenix family of synthesizers. Unlike other synthesizers, the Fenix does not conform to the usual divide of tonal versus experimental or additive versus subtractive synthesis. Instead, it offers a wide range of options for the user to create their unique sound. One of the key features of the Fenix IV is its multiple types of oscillators, filters, LFOs, envelopes, and effects to use in patching. This allows for a great deal of flexibility in sound design. Another unique aspect of the Fenix IV is that it bridges the analog versus digital divide. There is no longer a need to choose between the two, as the Fenix IV offers the best of both worlds. This "yes, and" mentality allows for even more creative possibilities and sonic exploration. Overall, the Fenix IV is a powerful and versatile synthesizer that offers a unique approach to sound design. With its multitude of options and features, the Fenix IV is a must-have for any musician or sound designer looking to push the boundaries of their creativity.

Sam Battle AKA Look Mum No Computer is one of the most active synth makers/hackers online. Last January I had the opportunity to invite him to chat with my students during the International Synth Design Hackathon, and a few weeks ago we had the opportunity to chat one on one. As a teacher I can really appreciate Sam's delivery of educational content, so in this conversation we talk about teaching, learning and failing. We also talk about perfectionism, and the challenges of being a professional (productive) creative. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/look-mum-no-computer

What is the right amount of controls? Knobs? Switches? When designing an instrument this question can get many answers. There is no right or wrong, and that's what makes it complicated. Pluto, from Modern Sounds, is an interesting instrument to study on that front. it combines various sound engines, two sequencers, effects and a generative composer into a little (yet quite spacious) package. The process of making it was full of iterations. Paper prototypes, various controls and testing - striving for a balanced instrument that's simple, yet full of surprises. Bringing generative composition and modularity into a small standalone instrument. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/modern-sounds

When architect Louis Sullivan coined the phrase Form Follows Function he set the foundation for good design in just three words. In the world of musical instruments, especially electronic ones, designers and engineers who follow the principle stand out of the crowd. In this episode of the Synth Design Podcast, I talk to Ciro Caputo from Unknown Devices - a synth designer and engineer from Italy. Ciro's approach appeals to me in particular because he starts formulating his concepts directly in Adobe Illustrator. Giving his ideas a clear visual representation helps cut down to the core functionality, which is then being realized in various techniques, both digital and analog depending on the need. Moreover, there's an evident love for detail in Ciro's work. Not only in sound and function, but also in motion graphics and brand identity. Altogether making it quite an interesting company to learn from, especially considering it is not only 2 years old. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/unwn-devices

Endless possibilities can lead to a horrible user experience, and when it comes to musical instruments in particular it can be hard to find the balance between functionality and how cumbersome is the interface is. What might have been a nightmare in synths like the DX7 can be avoided today, thanks to touch screens and large screen interfaces. In this episode, I'm discussing the topic with Loki Davison from @polyeffects. We cover a lot of ground, from his creative process, failed experiments, and a brief dive into convolutional reverb all the way to the screens of Beebo and Hector. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/screen-yes-menu-diving-no

It's the 20th episode! And I was waiting for this one since my first post on Instagram (it's been almost a year!). Instruo is in its own league when it comes to innovation. And I'm not talking only about the design, the interface, and aesthetics. From the naming of modules to how the company operates, they seem to be doing things in their own unique way. I talked to Jason Lim, who founded the company from a spare bedroom in Glasgow around 2016. They are currently 22 designers and engineers, and the company operates more like a music label than a conventional synth manufacturer. This is a deep dive conversation with lots of insight into design. Jason shares his techniques for interface design and goes through the various iterations for different modules. We also talk about future products (3 more VCOs!), module naming in Scottish Gaelic, MosCoW (a feature prioritization technique), and a pretty unconventional business model (to say the least!). Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/instruo

Should you open-source your work? Giving away your IP and all the hard work you put into a project might seem unreasonable to many of us, and yet for some makers, it's a no-brainer. In this conversation, I'm learning how Thea Flowers of @winterbloom designs and engineers her modules. She talks about her learning process of analog electronics, which is not a very straightforward path at all, even for a seasoned software engineer. She shares her creative vision and why making knowledge accessible is such a core element in it. We also talk about her modules, of course, and how one might tackle the challenge of adding features to products after their interface is settled. Check out the full conversation below and scroll for some images of prototypes and notebook sketches. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/winterbloom

Designing a complete stand-alone synthesizer is no joke. It can take years to research, experiment, design and build your grand vision. But can you start smaller? Build just the oscillator, or the filter, test them out with musicians and performers, and slowly acquire all the knowledge and experience you need to realize your master plan [insert Pinky and the Brain gif animation here]. Emmanuel Galvan from Bocuma Synths came to the synth industry from a sound engineering background. He quickly started building open-source instruments as a way to learn and fund his research into electronics and interaction. His goal is to create his own semi-modular synth, and he realizes it incrementally. Instead of investing years in research and building, not knowing if the instrument is of any interest, he releases sections of his grand vision as modules and small synths. Bocuma Synths are played by his friends in test parties where he can learn from musicians and producers what works, and what doesn't, so he could improve his work. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/bocuma-synths

Simon The Magpie has been circuit bending instruments and effects for many years. In the last few months, he started designing his own effects together with his business partner, Horseman. Their latest effect is a sequenced delay based on the PT2399 chip. It's an interesting take on pitch shifting that creates the wackiest tape-like sounds using a built in sequencer. In this conversation, we discuss the reasoning behind making effects in the first place. We then dive into the creative process and challenges in producing and manufacturing professional effect pedals. ‍Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/simon-the-magpie

The concept of noodling on a guitar is one we are all familiar with, but how do you noodle on a synth? Conductive Labs took the notion of noodling (or freestyle playing) on synths as the starting point for their NDRL sequencer. Rather than playing with notes, with the NDLR you play high-level concepts - chord progressions, arpeggiators and how they interact with one another. It's like conducting a little quartet rather than playing an individual instrument. And this might sound like playing Ableton, but it's very different than that. With the NDLR you don't mix between pre-recorded samples, but rather mix musical concepts. This way of playing informs the interface directly. There is no way to add individual notes precisely. Instead, you sequence ideas and progressions with a set of pre-defined rules. Putting design aside for a moment, in this conversation we go well beyond design and engineering. We discuss the challenges of fabrication and DFM (design for manufacturing). Producing instruments in China, or from home, and what it actually means to turn a prototype into a product that's produced by the thousands. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/conductive-labs

If you'd asked me 3 months ago what Expert Sleepers might release next I would have never have guessed an analog module. Yet, Andrew Ostler, the designer and engineer behind Expert Sleepers, did just that -3 analog modules in one week. In this conversation, I learn about Andrew's vision and what drives him to work on a certain module. This recent analog exploration started with a resonant 2-pole filter (yep! not 4-pole). This lead to the two additional modules - a sine core VCO and a phaser. Side note - my video is slowly going out of sync during this recording. This is because I tried to used Andrew's local recording in an attempt for better sound. His sound is great. That's what's important! Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/expert-sleepers

Disregard the convention in the search for playfulness - probably good advice for anyone who's looking to innovate. In particular with instruments, where playfulness is key to inspiration, prioritizing the experience over the "perfect sound" might lead to happy accidents. Gentle Wham and his older sister (or brother, however you wanna see it) Liquid Foam, are both quite special in that sense. Their sound is gritty and surprizing and their visual style, typography and icons reflect a bold artistic vision that does not conform. Gian, from Herbs and Stones, started tinkering with electronics at an early age. But it was only recently that he has taken the step to make his own instruments. In this conversation, we go through the various prototypes that lead to Liquid Foam. We touch on an unreleased filter

The Korg MS-20 filter has so many clones that it's hard to count. So why make yet another one? Unless... It's not really a clone. If you want to release an instrument to the market you might want to think beyond a basic synthesis building block. Sure, designing a filter circuit, an oscillator or a wave folder is a fun exercise. But, with so many basic modules out there, it's hard to stand out. Steve's MS-22 from ThreeTom modular can serve as a good example here. Tom Verschooten from Threetom Modular took the MS-20 filter as a starting point and added a clever modulation matrix that makes it quite a unique filter that fits nicely under a 4HP panel. This is a good example of a worthy engineering and design challenge that pushes the modular space forward. In this interview, Tom explains the various phases that lead to Steve's MS-22. He also touches on the importance of clear documentation, as well as the personal touch that can make a small manufacturer stand out. Tom's process is quite unconventional (for instance, skipping the breadboard phase altogether). Listen in to learn more! Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/threetom-modular

Archil comes to instrument design from a composer perspective. In the last 3 years, he has been designing mechanical instruments in search of new sound and performance techniques. His instruments are all about tactility. Using simple, yet effective, circuits to capture the sounds of everyday things and turning them into building blocks in his music compositions. His latest instrument, the Poet Pilot, uses eight large touchpads and knobs to control motors. The motors can be attached to virtually any object or material to turn into an electromechanical instrument - from a drum machine to a drone synthesizer. This makes the Poet Pilot a very versatile tool that's highly intuitive and performance-focused. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/archil-lab

Guitar effects are a gateway drug for synthesis, and we've gone a long way since the first distortion stomp was introduced around the middle of the last century. David Rainger's take on the conventional guitar effect is inspiring. He brings a fresh perspective on how one could shape their sound, using not only a combination of electronic circuits but playful interaction methods. In our conversation, we cover a couple of pedals. Among them, the Minibar, which is a distortion that works only when liquid is added to the circuit. The Snare Trap, inspired by the old Simmons Clap Trap and turned into a guitarist's personal drummer. And the Drone Rainger, which is a complete drone synth hidden inside a delay effect. The pedals are well thought out in terms of sound and interaction, but also in their visual style which makes them stand out from the crowd. David shares his (very analogue) design process, most of it done on paper, and working with a local metal shop to realize his unique enclosures. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/raingerfx

Make Noise interfaces are like a riddle. They remind me of minimalistic art pieces from the early 20th century - inviting you to question geometric compositions of mysterious lines and shapes. These instruments purposefully do not give a straight answer but hint towards a direction one could take. This is a deliberate design decision that aims to shape the way musicians use a Make Noise instrument. The design invites a particular kind of composer - one that will dare to explore an untrodden path, in the search for exceptional sounds and performance along the way. The interface is like a guide, a map of sorts, that can be read in various ways. The Strega, in particular, is interesting because of its unconventional signal path. This is not your traditional "voice", to say the least. Placing the delay/reverb in the center of the circuit directly affects the interaction with the instrument and the kind of sounds that will come out of it. In this conversation, we dive into the challenges of designing an instrument like the Strega - a synthesizer that was made in close collaboration with artist Alessandro Cortini. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/make-noise

Anyone who's into generative music knows the Turing Machine, by Music Thing Modular. A random looping sequencer that shaped the way we play with zeros and ones, creating melodies, modulation and cross-rhythms. In this conversation, Tom Whitwell from Music Thing Modular, shares the creative process behind the Turing Machine. He also discusses other modules like the Minidrive, which is designed around the Minimoog overdrive circuit and initially inspired by the legendary Grampian Spring Reverb overload. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/music-thing-modular

Hannes Pasqualini from Papernoise is responsible for some of the most iconic Eurorack interfaces out there. From Mutable Instruments and Alright Devices all the way to Hexinverter and WMD, Hannes' brings clarity to complex functionality. Visual design takes a prominent role in Hannes' work. In this conversation he is sharing his design and prototyping techniques and even going through the Mutable Instruments visual identity manual (oh, yes!) Although not mentioned in the conversation, Hannes' designs more than interfaces. Check out his portfolio for illustrations, motion graphics, visual identities, logos and more. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/papernoise

Wes, from Stem Modular, designs his modules for educational purposes. Not for music education, but for science lessons. Making theoretical concepts less intimidating and bridging gaps between theory and practicality. Students can learn by listening, playing and seeing how waveforms behave. Stem Modular is designed to be accessible. The case and panels are all made out of laser cut wood to reduce costs, but also to reduce plastic waste. Each case incorporates 2 headphone outputs, one on each side of the frame, to make it easier for 2 students to learn together. Sockets inputs and outputs are tightened with different nut shapes to make it easier to distinguish, but also to make it easier for visually impaired students to interact with the instrument. This is a truly inspiring conversation on a topic very dear to my heart - education. I hope you'll enjoy it! Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/stem-modular

On the edge of industrial design and art, there's an intriguing space where craftsmanship meets abstract thinking. Where a designer tinkers with materials and creates experiences that reflect on society. Brian Alexander (or Trace Bloom) has been working in this space for over 30 years. Creating devices that encourage a different kind of performance. Every instrument tells a different story. They are unique in material, form and technique. The process requires observation and exploration outside the conventional. This is a unique conversation that goes into the philosophy of creative expression. Where do we get inspiration from and how every little experience in our lives can inform our next design. This episode isn't only for synth design enthusiasts, but also anyone who's a maker, creator, musician or an artist. I hope you'll find a good dose of inspiration in it, and go make something remarkable. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/trace-bloom

Designing over 300 instruments will teach you a thing or two about user experience, interface design and ergonomics. In this interview, Girts Ozolins from Erica Synths, discusses the details that make an electronic instrument interactive and performable. We talk about the research that goes into synth design - first, figuring out the user experience, and then the electronics to make it work. An approach that helps make design decisions efficiently and professionally. Instruments we cover include Joystick II, Black Sequencer, Zen Delay and the Fusion Eurorack series. But we also touch on Girts' favourite mouse. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/erica-synths

Designing an open-ended instrument is a complex challenge. Open ended means flexible, and the more flexible an instrument is, the more complex it can become. It's a designer's role to strike the perfect balance. To deliver an inspiring instrument that allows creative expression, and at the same time make it easy enough to learn and memorize. In this deep dive conversation Sébastien Rochard, senior product manager at Arturia, shares his design process. Analyzing various sketches and prototypes of the Microfreak and Minibrute II, and even revealing a cardboard prototype Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/arturia

Meng Qi has been designing instruments for over 10 years. In this interview, we discuss the creative process behind the Wing Pinger. Inspired by Rob Hordijk's Blippoo Box, the Wing Pinger opens a world of sound design, performance and composition - exploring the boundaries of filter pinging. In designing the Wing Pinger, Meng Qi aimed for an intuitive, performative, instrument. The large chickenhead knobs allow for one finger swings that take the sound from beautiful melodies to complete chaos, and the touch keyboard encourages melodic performance. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/meng-qi

Oxi One is an outstanding example of innovation. It is an extensive controller both for midi and analogue devices. What I find most striking is the fact it was envisioned and realized single-handedly by Manuel Vázquez, from his home in Nigrán, Spain. In this extensive interview, Manuel explains the process and challenges both on the technical and conceptual levels. This is how an instrument is realized - from an idea to a Max For Live device all the way to a hyper-successful crowdfunding campaign. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/oxiinstruments

How do you design an interface for true randomness? How many controls would you offer the user? What constraints should you define? In this conversation with Michelangelo from Clatters Machines, I try to understand the design decisions behind the Garden Listener. A Eurorack synth module that taps into nature, captures data from living beings, and translates it to true generative control voltage. Join our community https://www.synthux.academy/join-discord Check out the website for prototype images and extra content https://www.synthux.academy/blog/designing-an-interaction-with-nature