Ben Zalaznick

March 15th, 2015

Senior Seminar
Ms. Anderson & Ms. Ferrara
Synthesizing Sound from Scratch

My project Synthesizing Sound from Scratch revolves around my love for music. As
my musical tastes continued to grow and spread towards more progressive types of music, I
began to wonder how such complex beats, melodies and rhythms could be stitched together. I
had been looking up to producers for a very long time but knew little about their trade. Behind
all of the crazy antics and personas of the Disk Jockey world, a trade with which I was already
familiar, lay a totally different and complex skill. I spearheaded my curiosity with the essential
question of my project: How does one digitally create original sounds for music production
rather than utilize pre-existing material? The extent of my knowledge began and ended with a
tool known as a synthesizer: an electronic musical instrument, typically operated by a keyboard,
producing a wide variety of sounds by generating and combining signals of different frequencies.
To get a better understanding of how a musician digitally creates music, I decided to refine my
areas of research in regards to this question: What techniques are used on a global scale? How
has musical technology evolved throughout history? What careers can one access from
possessing the knowledge of sound design?
To gain a full understanding of the synthesizer I will be using for my project, the history
of such a tool must be understood first. How did such a strange and seemingly modern device
come into existence? The idea was first conceptualized in the end of the 19th century. In 1897
Thaddeus Cahill applied for a patent to protect the principle backing an instrument to be known

as the Telharmonium. Looking through old newspaper articles1 and descriptions of such a large
and primitive device provides a perspective on how incredible it is humans have this primitive
machinery into complex computer programs. This 200 ton machine was powered by twelve
steam run electromagnetic generators, making the machine both burdensome and loud. Using
velocity sensitive keys the device was able to be played in real time. Its true prowess, however,
laid in its ability to produce multiple frequencies at the same time. The public named this device
Telharmony, because its music was directed into the public telephone network, in light of no
public address systems bringing available at the time. This crude design would then inspire
several other prototypes, like Leon Theremins 1919 design of operation via proximity to the
physical keys, sensitized to electromagnetic waves. Ondes Martenot in 1928 was who first
crafted the string driven design. The name synthesizer stems from French duo Joseph Givelet and
Edouard Coupleux in 1929, shortened from the name Automatically Operating Musical
Instrument of the Electric Oscillation Type. These often decrepit tube circuitry powered devices
are what eventually led to the more modern voltage controlled synthesizer in 1963. The idea
stemmed from American innovator Bob Moog after he encountered the composer Herbert
Deutsch. Deutsch inspired Moog to combine a voltage-controlled oscillator and amplifier module
with a keyboard in 1964the first prototype of a voltage-controlled synthesizer.2 With the
burdensome tube circuitry system out of the mix, Moog was able to add a great deal modules,
making his design that much more diverse and complex. Wendy Carlos LP release SwitchedOn Bach3 in 1968 marked the first commercial success owed to the synthesizer. After some
1 The 'Telharmonium' or 'Dynamophone' Thaddeus Cahill, USA 1897." 120 Years of Electronic Music. N.p., 20 Sept. 2013. Web. 12
Apr. 2015. <http://120years.net/the-telharmonium-thaddeus-cahill-usa-1897/>.

2 "BOB MOOG: Pioneering Synths." BOB MOOG: Pioneering Synths. N.p., n.d. Web. 12 Apr. 2015.
<http://www.soundonsound.com/sos/may98/articles/bob.html>.

3 Switched on Bach cover art

criticisms Moog realized that these modular synthesizers were far too advanced and costly for
the average musician: likely to fail if sold through traditional music retailers. In 1969, Moog
rallied engineers Jim Scott, Bill Hemsath, and Chad Hunt to design a small, portable, cost
effective, simple synthesizer. After three prototypes were built, the Minimoog Model D4 was
released in the summer of 1970. The general public now had a synthesizer that didnt require you
to hardwire modules or constantly check the connections and structure of the interior. With a
design now available to the public, the confusing interface of the design became the new issue. It
was also frustrating to musicians that they had to literally recreate the physical settings on the
interface for every sound the engineered.In 1978 the issue was finally resolved. The five-voice
polyphonic Prophet-5, was the worlds first synthesizer with a storage facility and easy to
identify interface.5 All the settings for each of its five installed monophonic synthesizers were
stored in memory slots: forty in the initial model. All five synthesizers shared a single user
interface, which simplified the creation process considerably. Despite its initially costly price, the
instrument was extremely popular and over 8,000 were built until 1985. Far more relevant to
modern Electronic Dance Music however, is the fully digitized synthesizers, that live as
programs within computers. The Synclavier was first introduced in 1976 was the only
synthesizer with an entirely digital sound generation system. Devices like the Synclavier were
based on specialized processors, which had to be developed by the manufacturers themselves.
Assembly by hands of the musicians was somthing was entirely impossible. This development
cost made the Synclavier an investment that few could afford. The solution to this was to
integrate these programs into sound cards on to the ever growing in popularity personal
4 "MiniMoog SN History." MiniMoog SN History. N.p., n.d. Web. 12 Apr. 2015. <http://minimoog.monsiteorange.fr/page1/index.html>.

computer. Passport Soundchaser and the Syntauri were the first executions of this idea. Both
programs were built off of a processor card with a standard musical keyboard attached to it. The
processor card was routed through the Apple II computer. The synthesizers were programmed
through the keyboard and monitor. The synthesizers were polyphonic6, contained programmable
waveforms, envelopes, and sequencers. Modern sound cards in every corner of the world now
follow this concept. The knowledge of where this musical technology comes from will be
extremely helpful in the music making process, as this information gives the user a solid idea for
how the intricacies of these programs work and the effort required to compact such data into
such a small space. Therefore, to know where these machines come from and how they work
provides a huge benefit to all aspiring musicians: An extra set of training wheels in the journey to
fluency in sound design. This technology is very impactful, because it is the technology directly
responsible for modern methods of producing in literally every corner of the world.
The knowledge of how to engineer sound opens the world up to many job opportunities.
Individuals can pursue their own musical ambition, help with multimedia projects like movies,
TV shows and video games, to simple things like creating ringtones and text signals. However,
my personal interest for sound design lies in the producers who bring their sounds to a public
level. While many of these stars have theatrical personas attached to their brand, all of them
usually possess unique skills in operating a digital audio workstation and synthesizer. A good
example of this is one of my favorite trap groups Flosstradamus. Flosstradamus, a duo from
Chicago, are highly accredited to bringing trap music to the mainstream spotlight. While some
of their popularity is based around their spectacular brand design, most of it lies in their music
6 polyphonic
adjective
1.
2.

producing many sounds simultaneously; many-voiced.

"a 64-voice polyphonic sound module"

and technical live performances7. While its true not everyone can become a huge EDM star,
many more people can manage to find work in the industry as a normal sound designer through
the certified training programs at universities around the world. Sound designer Aaron Marks,
apart of designingsound.org provides a look into the life of a freelance sound designer: a person
who records sound and/or produces his own to sell to studios.
Once youve got your gear up and running and an expanding personal library of sounds, your next task is
to put together a solid showcase of your talent and skills. Unless youre already a known quantity with a good
reputation, most potential clients insist upon hearing examples of your work and what they can expect if they hire
you. A demo reel is the way to show that you know your stuff. Your reel can be anything from an emailable mp3, a
CD or even a DVD if youve got some stunning visuals to grab their attention. Whatever shows off your work in the
best light is the way to go.Unlike music, sound effects are a bit more difficult to showcase on a reel. While you can
play one sound, then another sound, then another, this isnt very imaginative and will put your potential client to
sleep fairly quickly. Youll have the best impact if you can grab them immediately and take them for a ride! One
popular method is to create a variety of audio scenes with the sounds youve created or recorded. Tell a story using
just sound effects, perhaps a medieval battle, 2 cars racing through city streets, a natural disaster or life on the farm.
What you do is entirely up to you but telling a story is much more interesting and memorable than playing single
sounds.8

To hear a man like Aaron Marks talk about his success in the industry is encouraging. Even if
one were to take an endeavour into their own music, if they are to fail, their talents can be
utilized in other ways to provide a living for themselves. Many of these viable careers even earn
you the opportunity to have your name in the credits of the project, a rewarding feeling
nonetheless. An inspiring integration of this trade into music has been accomplished by one of
the most revered producers of the 21st century, Baauer, who is responsible for the internet viral
trend Harlem Shake. In a Documentary9 sponsored and filmed by Redbell, Baauer takes to the
global frontier to look for unique sounds across the globe. By actually going into the field and
harnessing recording equipment himself, he is able to add an incredible stroke of personality to
7 "Flosstradamus Reveal Their Secrets." WIRED Videos. N.p., n.d. Web. 12 Apr. 2015.
<http://video.wired.com/watch/flosstradamus-reveal-their-secrets>.

8 <http://designingsound.org/2010/10/aaron-marks-special-so-you-want-to-be-a-sound-designer/>."Aaron Marks Special: So, You

Want to Be a Sound Designer?" Designing Sound. N.p., n.d. Web. 12 Apr. 2015.

9Searching For Sound. Searching For Sound. N.p., n.d. Web. 14 Apr. 2015
http://baauer.redbull.com

his tracks. Songs Like Swoopin10 and Clang11 are a testament to his masterful
synchronization of beautiful natural sounds found in his travels through China and his years of
refined experience behind a desktop. In this way Baauer is a role model for modern production
techniques, as he consistently provides examples of music that push the boundary of innovation.
Not only does Baauer create beautiful music, he also demonstrates the power of music as a
universal agent for peace. The positive influence Baauer leaves with his music all over the globe
shows how sounds and music are truly a globally interconnected network between all humans.
One of the greatest enemies and controversial aspects of synthesizing original sound is the
infamous Ghost Producer of the production world. A ghost producer is someone who
possesses talents in sound engineering and production, but does it for a price in the false name of
their clients alias. Their jobs are to rapidly create tracks with mainstream appeal to help
inauthentically generate a fan base. To many industry professionals, this is viewed as an immoral
and dishonest act. World renowned house and festival DJ Nicky Romero is one of these
individuals.
We spend so much time and effort making the sounds, making arrangements, finding the chords and everything and
you just send an email saying, 'I'm gonna pay you a certain amount of money and I wanna have a song. Its just
insane. It happens all the time. There are rich dads in this world that just pay for their sons and pay producers tons of
money to have music out there and make them a big artist. But an artist is created by creativity and originality and
discipline. It is not created by money.12

Nicky Romero has thankfully done much to bring attention to the immorality that ghost
producing is. Without pure intention and honest motivations, a musical journey will not yield
fruitful success. Just as Bob Moog and Baauer put genuine work into finished masterpieces,

10 https://soundcloud.com/baauer/swoopin
11 https://soundcloud.com/baauer/clang
12 "Nicky Romero Discusses the Dangers of Ghost Producing.

musicians must remain in the mentality of originality and personal inspiration to keep the
practice clean.
The world of music production is a wild and seemingly unpredictable one. Technology is
constantly changing and new methods of production are constantly being brought to the fore
front of the industry. As a young producer, it often feels overwhelming to try to even scratch the
surface of this trade. I still share this anxiety driven feeling with many other inspired young
individuals. Through my research, I have bought myself one step closer to quelling this anxiety,
as I now have a pool of information to use as a resource. I am more excited than ever to begin
my musical journey through Massive, and prove to myself my creative worth. With a heightened
sense of inspiration and awareness\ to the production scene, I feel this can be accomplished in a
way I never have before.

Bibliography

1. The 'Telharmonium' or 'Dynamophone' Thaddeus Cahill, USA 1897." 120 Years of Electronic
Music. N.p., 20 Sept. 2013. Web. 12 Apr. 2015. <http://120years.net/the-telharmonium-thaddeus-cahill-usa1897/>.
2. "BOB MOOG: Pioneering Synths." BOB MOOG: Pioneering Synths. N.p., n.d. Web. 12 Apr. 2015.
<http://www.soundonsound.com/sos/may98/articles/bob.html>.
3. http://www.wendycarlos.com/cdcovers/SOBNew.jpg Wendy Carlos Cover Art
4. "MiniMoog SN History." MiniMoog SN History. N.p., n.d. Web. 12 Apr. 2015. <http://minimoog.monsiteorange.fr/page1/index.html>.
5: n/a
6: Google.com

7. "Flosstradamus Reveal Their Secrets." WIRED Videos. N.p., n.d. Web. 12 Apr. 2015.
<http://video.wired.com/watch/flosstradamus-reveal-their-secrets>.
8. <http://designingsound.org/2010/10/aaron-marks-special-so-you-want-to-be-a-sound-designer/>."Aaron Marks
Special: So, You Want to Be a Sound Designer?" Designing Sound. N.p., n.d. Web. 12 Apr. 2015.
9. greatsythensizers.com
10. "Swoopin." SoundCloud. N.p., n.d. Web. 14 Apr. 2015.
11.. "Clang." SoundCloud. N.p., n.d. Web. 14 Apr. 2015.
12. Searching For Sound. Searching For Sound. N.p., n.d. Web. 14 Apr. 2015.
13. "Nicky Romero Discusses the Dangers of Ghost Producing." Fuse. N.p., n.d. Web. 14 Apr. 2015.
<http://www.fuse.tv/videos/2014/04/nicky-romero-fuse-news-interview>.

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9.

The five-voice polyphonic Prophet-5