Resources Needed- Trailer Music

[Len911]

Theory versus the practical. The approach I would take learning synthesis, is to learn the basics, like the types of synthesis, what a modulator is, etc., but then make a list of the various types of synths, and then under the types, list product names. Then go to youtube, and watch overview videos of those different products. Some you might cross off your list. The purpose is to narrow the list down to your favorite, or at least favorites for your budget, and then watch tutorial videos for specific products. That is the crux of the theoretical versus the practical. It's sort of a shortcut, because theory can't tell you what features are available, or how the different products sound, which is something you are going to do anyway. Another example, I just learned Massive is not only a VA (virtual analog) synth, it also includes wavetable synthesis. Anyway, just a little short cut tip I often use for many things.

[waveheavy]

Sounds like you're talking about this kind of stuff...

https://www.youtube.com/watch?v=WniOZT7FlKM

The different types of those kind of effects - Hit, Whoosh, Whoosh-Hit, Impact, Braam, Subfall-Downer, Drone.

If you don't want to buy those in libraries but make your own, it's mostly about layering, not really manipulating LFOs and Oscillators with synth sound design (which some trailer composers also do). From what I hear it's about combining and layering. Might hear a whoosh joined with a hit and braam, each a fraction of second apart, etc. Or just plain stacking like the above YouTube example of building a braam. YouTube also has examples of how build your own Risers, Noise Sweeps, etc.

[edmondredd]

Theory versus the practical. The approach I would take learning synthesis, is to learn the basics, like the types of synthesis, what a modulator is, etc., but then make a list of the various types of synths, and then under the types, list product names. Then go to youtube, and watch overview videos of those different products. Some you might cross off your list. The purpose is to narrow the list down to your favorite, or at least favorites for your budget, and then watch tutorial videos for specific products. That is the crux of the theoretical versus the practical. It's sort of a shortcut, because theory can't tell you what features are available, or how the different products sound, which is something you are going to do anyway. Another example, I just learned Massive is not only a VA (virtual analog) synth, it also includes wavetable synthesis. Anyway, just a little short cut tip I often use for many things.

Len that's a very comprehensive answer, and thanks a lot for that. I am currently on Logic, but on an older version of X, without Alchemy. I'll probably check out the different synth available and follow your advice on how to pick one.
Time to get on youtube and check the different ones

waveheavy, thank a lot for the links. I actually do a lot of layering, especially while writing for an orchestra. I generally like to create my own risers, boom hits, and now trying to incorporate some synth sound
Probably this video would reflect what I'm talking about
https://www.youtube.com/watch?v=E7q0ZHknjjc

[mojobone]

Len, thank you for your answer and the links.. it is probably the start of what I'm looking for, and I guess next step would be to fully understand how to design sound using the different types of synth.
again thanks a lot for these resources,

Maybe this is what you're looking for. I'll quote from TapOp's review of the free PDF article:

"Every rare once in a while, I stumble across something on the Internet that is so unique, overlooked, and vital, that I feel I need to point it out to somebody. SY Programming is one of those finds. Written in 2002 by Mr. Janßen, it's seemingly a how-to guide on programming the Yamaha SY77, an overlooked digital synthesizer from the post-DX7 years. But once you start reading this paper, it becomes clear that this document is so much more.

If you've been reading my sporadic reviews on synthesizers and software over the past couple years, you'll likely guess that I've been looking to uncover some of the missing links that lie somewhere between early modular analog synthesizers, early digital synthesizers like the Synclavier, and current software synths (many of which are iOS-based) that can emulate nearly any hardware synth ever made.

At some point, I'll write a review of the SY77 that I bought on reverb.com (for a small fraction of its original cost), but for now, I just want to suggest that anybody who is interested in digital synthesis (FM in particular) — or any signal creation or modulation approach really — should read this 61-page document. What makes it so unique in my mind is that it's presented in a very formal, academic "technical paper" format, but it's written in an easy-to- understand style that takes a complex subject and makes it immediately accessible. Janßen's background is in robotics, and he holds several patents in that field, which clearly qualifies him to discuss technical matters. But he seems to realize that most of the people who will want to read this paper are not scientists or programmers, but producers and musicians, and he speaks directly to the latter group. His explanation of John Chowning's FM synthesis algorithm is the easiest to understand I've read, as he breaks it down into very basic, practical, conceptual blocks and examples — and only at the very end of the paper does he get into the actual math and theory behind FM synthesis. As a bonus, the paper includes a comprehensive overview of pretty much every analog and digital synthesis method invented, covering both history and theory, and even offering some real-world examples of synths that implement those methods.

If you're interested in synthesizers and synthesis techniques, especially FM and Yamaha's overlooked AFM, SY Programming is a must-read. -JB"

[Len911]

I've sort of revisited synthesizers a little after getting involved in this thread!

I found a company that has imo some really innovative and interesting concepts and synths. Tone2, in particular, their Nemesis synth. It also happens to be "Neo-Fm". The sounds, again imo, sound like something you'd actually hear from a wide range of genres, including film and tv. The thing with synths nowadays, there are so many hybrid synthologies going on, not so many one-trick ponies that stay true to the technology of the past.
https://www.tone2.com/nemesis.html

The future of FM Synthesis

Nemesis takes FM synthesis to its next evolutionary step: NeoFM synthesis. Conventional FM synths use phase modulation (PM) instead of genuine FM synthesis, yet such synths are branded as 'FM' for marketing reasons. The traditional PM approach is limited and results in a bell-like sound or in an unpleasant metallic sound. 'Real analog FM' suffers from drift, resulting in a disharmonic sound, which is musically not useful. The innovative neoFM approach combines the advantages of both synthesis types, but without adopting the weaknesses. It is now easier than ever to get very good sounding results.
Aside from NeoFM, Nemesis features an impressive selection 22 digital synthesis types. Import a sample and resynthesize a waveform or use the additive spectrum editor to manipulate the partials. With several play modes like polyphonic, mono & legato, true 4x stereo unison and an unlimited number of waveforms the sky is the limit...literally.

It could be the best way to learn is to read product manuals, and then consult references for gaps in the principles??

[mojobone]

I haven't plowed all the way through the PDF I posted, but it makes mention of the fact that all synths labeled "FM" actually feature phase modulation.

[Len911]

I haven't plowed all the way through the PDF I posted, but it makes mention of the fact that all synths labeled "FM" actually feature phase modulation.

It makes one wonder what they actually do in the Nemesis to correct the deficiencies in PM and FM. Maybe they drop the deficiencies and one or two of the other 20 synthesis types take up the slack? I see their newest synth Icarus is a wavetable synthesis, but you can modulate the oscillator with FM and other types. Their Rayblaster synth uses "Impulse Modelling Synthesis", uh-huh, it doesn't use oscillators of it's own anyway, it uses whatever is in the imported wave sample. Like the impulse response in a convolution reverb, sort of??

[mojobone]

I haven't plowed all the way through the PDF I posted, but it makes mention of the fact that all synths labeled "FM" actually feature phase modulation.

It makes one wonder what they actually do in the Nemesis to correct the deficiencies in PM and FM. Maybe they drop the deficiencies and one or two of the other 20 synthesis types take up the slack? I see their newest synth Icarus is a wavetable synthesis, but you can modulate the oscillator with FM and other types. Their Rayblaster synth uses "Impulse Modelling Synthesis", uh-huh, it doesn't use oscillators of it's own anyway, it uses whatever is in the imported wave sample. Like the impulse response in a convolution reverb, sort of??

Details on the differences betwixt PM and FM are in chapter 6 of the PDF labeled, "Theory". [here be math problems] I mainly concentrated on chapter 4 which is essentially a recipe book for getting certain typical "synth" sounds with a Yamaha digital synth.

Yeah, "Impulse Modeling" sounds a lot like convolution, which is IIRC, an FFT-based snapshot of a set of filter and phase characteristics. Like a vocoder modulating a signal with another signal, only in this case you're modulating a sound file with a sound file, if that makes any sense. Of course you can also still modulate with your sines, saws and squares, same as ever, but FPGAs are gonna allow software synths with nigh unlimited routing possibilities in about a minute; it'll be fun to see where it all goes.