Date: Wed, 23 Jan 91 11:49:37 EST From: Joe McMahon Subject: Review: "Secrets of Synthesis" (W. Carlos) Review: "Secrets of Synthesis" (W. Carlos, CBS MK 42333) This CD is a survey of synthesis techniques and concepts from the most basic to advanced topics. It consists of a series of recorded examples with extensive commentary by Wendy Carlos herself. The presentation is approximately on the level of a mid level college course; the assumption is made that the listener is conversant with basic analog and digital concepts and their meanings, but it is not necessary to completely understand how to program an ADSR or to use additive synthesis to build a timbre from scratch to profit from this CD. Those who are more familiar with the concepts will probably feel more comfortable with the presentation, however. The greatest strength of this CD is its good choice of examples. These are all taken from the body of Carlo's work, and are carefully chosen to communicate the concepts in each case. Each new idea is carefully demonstrated; listening as the synthesist's most powerful tool is emphasized. The CD begins by examining the basic resources available to the synthesist, starting with analog methods. This includes typical examples of waveforms and envelopes, but Carlos goes on to demonstrate that different waveform doesn't necessarily mean different sound. She shows how orchestration plays a large part in enhancing the listenability of electronic textures, emphasizing that it is always necessary to maintain interest. Topics include techniques not often taught in traditional orchestration: the strategic use of doublings to emphasize melodic lines or to draw attention to some specific voice; hocketing as a means of providing action and spatial differentiation among parts; and the use of combinations of these tools in achieving textures impossible with traditional instruments. Carlos then turns to digital synthesis; in particular, additive synthesis as exemplified in the DGS Synergy. She demonstrates the construction of a basic timbre (a xylophone) by playing the partials separately, combining them, and then completes the sound by adding attack transients and appropriate enveloping. Carlos then compares and contrasts digital textures with analog ones. Speaking of orchestral textures, she says: "...good analog can be good, but good digital is better. That's because analog is thicker; the sounds are bold and simple, rather like a cartoon. Digital sounds can be equally as bold, but they can also be subtly complex, with individual personalities, and so they stand out from one another. Digital can be more transparent." This is nicely demostrated by several pieces, including two versions of a piece from the "Digital Moonscapes" album, which demonstrate the differences in density and clarity between the analog and digital versions. The mixing of timbres is illustrated, both through an interpolated timbre: low clarinet, high violin, in between neither and both at the same time; and through hybrid timbres, blending piano attack with cello sustain, glockenspiel attack with woodwind sustain, and so on. Alternate tunings are discussed, with demonstrations of various tunings including the "perfect scale" (implied by the natural overtone series) and mean-tone tunings. This CD is full of useful hints, especially in the carefully-analyzed examples. A phrase from one of the "Switched-On Bach" Scarlatti sonatas is reconstructed from the bass line up specifically to demonstrate hocketing, but the same example also gives an excellent lesson in orchestration, the variance of timbre to maintain interest, and in multitracking all at the same time. The listener must be objective about Carlos' advice; much of the section on digital synthesis is colored by her enthusiasm for that medium because it has worked well for her; others may find that analog synthesis has more to offer them because they desire or need the characteristics which no longer make analog as suitable for her work. One should also remember that Carlos is trained as a classical composer and prefers through-composed pieces to improvisation or live performance. Still, even the most hardened "just-roll-the-tape-and-we'll-fix- it-later" performer can benefit from Carlos' experience and advice. I would recommend that anyone who would enjoy hearing the advice of a well-known and talented composer and performer get this CD. It is not a cookbook, but more the memoirs of a master chef. It bears repeated listening, and should be valuable to anyone who wants to improve their synthesis and orchestration skills. --- Joe M.