Date:         Wed, 23 Jan 91 11:49:37 EST
From:         Joe McMahon <XRJDM@SCFVM.BITNET>
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.