Darwin Grosse

It isn’t very often that a single instrument will affect an entire generation of musician/composers, but the original Synclavier digital synthesizer found admirers ranging from Neil Young to Frank Zappa, and became a staple tool for film composers and sound designers - or at least the ones who could afford it. For the cost of a house (or two), the Synclavier system was a digital synthesis powerhouse, featuring innovative implementations of FM, additive synthesis, modulation sequencing, performance sequencing and (later) sampling.

As with many systems from the late 70’s and early 80’s, plummeting hardware costs led to the eventual cratering of the company; by the mid 80’s, New England Digital Corporation (the developers of the Synclavier) were no more. However, throughout the years, a dedicated group of users have kept the Synclavier flame alive, trading hardware, searching out repair parts and providing support for each other. But it seemed like a dying platform…

Imagine my surprise when, at last year’s NAMM show, I saw a number of people I know sporting Synclavier shirts. What the heck? It turns out that Cameron W. Jones (aka Synclavier Digital) teamed up with Arturia to create an updated version of the Synclavier as a software instrument, and it became a featured synth in the “V Collection” of Arturia’s softsynth collection. Since I could never afford a Synclavier - or, for that matter, a house - in the 80’s, I had to try this thing out!

If anything, it was better than my hope (and experience) could have led me to believe. I’d spent some time with Synclaviers in the subsequent years, mainly because I’d make friends with anyone that would let me in their studios to play with the devices. I was always amazed but confounded with some of the user interface choices, but inevitably came up with results that were unexpected.

The interface available with the Synclavier turns the tables on this sort of interaction. The pseudo-keyboard interface is similar to that found on the original hardware’s keyboard, but the synthesis engine implemented through the ‘Screen’ interface is one of the most intuitive ways to develop time-phased and/or -sequenced FM and additive synth patches I’ve ever worked with. The combination of envelopes, overlays, keyframing and modulation routing could overwhelm (especially since there are 12 different layers/partials to work upon), but the interface is crystal-clear, with time-saving conveniences at every turn.

While I could go through the whole process of describing the programming technique, it is probably easier to point to these videos to get a sense of the possibilities:

Setting up a simple generative sequencing patch in combination with the Synclavier V’s editing screen quickly proceeded to waste an entire afternoon on me. It didn’t take much work - and only a single viewing of the above tutorials - to put me in FM and additive heaven.

While I could spend the time to make an FM-ing, sequencing, additive polysynth, I’d much rather spend my time coming up with interesting sequencing options, quirky effects and fun loopers to create a better performance system for my work. And therein lies the beauty of the Synclavier V: not only does it represent a great implementation of a classic instrument, but it also provides an open playground for an entire class of synthesis that frees me to focus on the areas of work I really care about.

review-the-synclavier-v

Regarding the Synclavier V, I'm looking forward to using it in my next piece. As one of the inventors of the original Synclavier, I truly liked the hands on with the buttons, knob and keyboard. I'm not sure how I can create those tactile interfaces with Synclavier V but I am eager to learn.

https://www.youtube.com/watch?v=ikHtUq48rWE

Regarding the Synclavier V, I'm looking forward to using it in my next piece. As one of the inventors of the original Synclavier, I truly liked the hands on with the buttons, knob and keyboard. I'm not sure how I can create those tactile interfaces with Synclavier V but I am eager to learn.
https://www.youtube.com/watch?v=ikHtUq48rWE


Great, and very inspiring article, Darwin ! I followed all this technology in the day, and did a considerable amount of FM programming in the DX\TX world Yamaha had available. I certainly understand the power here on offer, and it's very exciting.

Mr. Appleton, I have to say the answer to your question is really answered beautifully in a combination Max, MIDI\OSC, and the plethora of available commercial and DYI interfaces possible. I've been doing this successfully now for a few years, and I Love it ! Max fills in the gaps left open by commercial products, and flies on from there. :-)

Best of luck, and let me know if you need any input\assistance there.

Mr. Appleton,  I have to say the answer to your question is really answered beautifully in a combination Max, MIDI\OSC, and the plethora of available commercial and DYI interfaces possible. I've been doing this successfully now for a few years, and I Love it ! Max fills in the gaps left open by commercial products, and flies on from there. :-)

you were actually suprised that someone finally created a software emulation of one of the last very few instruments on the planet which had not been emulated before? wasnt it about time?

can you please let me know what kind of ' Synclavier V' subpatch it is. I am new here at the forum and in learning MaxMSP etc.

I understand controlling the Synclavier V / VST~ instrument and programming simple MIDI controller is no problem but how I can start programming or format the bpatch??? object. It looks a little M4L like :)

Simon, what you're looking at in Darwin's patch is a display mode of the Max 

 object (I expect that the help file for the object shows that mode). Is that what you're referring to?

Simon, what you're looking at in Darwin's patch is a display mode of the Max vst~ object (I expect that the help file for the object shows that mode). Is that what you're referring to?


Max, I have just checked the Inspector settings and found the "Generic Editor" Mode and that is what I am looking for. Looking for hours... ; ) I thought I have to format a subpatch incl. slider obj etc.. Thank you very much for your response.

that the "industry" present us choices similar as the former V / PK

(the interactions between data-wheel, display, "B-52" button rows etc.)

Synclavier V seems an "alternative" to the org. hardware,

but hopes that resynthesis and other features would be possible,

but at this time, a good described block schematic is required and would be useful

it should be now the time
that the "industry" present us choices similar as the former V / PK
(the interactions between data-wheel, display,  "B-52" button rows etc.)

Synclavier V seems an "alternative" to the org. hardware,
but hopes that resynthesis and other features would be possible,
perhaps in the next update?
but at this time, a good described block schematic is required and would be useful

has someone here suggestions, hints howto embed a NED Synclavier System (Syncl 3) into an existing environment (e.g. Sibelius, Max 7, Samplitude Pro X) the connection via Midi-clk is one point

has someone here  suggestions, hints howto embed a NED Synclavier System (Syncl 3) into an existing environment (e.g. Sibelius, Max 7, Samplitude Pro X) the connection via Midi-clk is one point

Imbedding the entire NED system? Uh... not likely, since you're talking about software made to run on dedicated hardware which is likely to be generations away from what's on your Max. Hosting Arturia Synclavier V would be done in the same way you would host any other Audio Unit/VST plug-in in Max: by the use of the 

 object. Communication with the plug-in uses standard Max messages as described in the 

Imbedding the entire NED system? Uh... not likely, since you're talking about software made to run on dedicated hardware which is likely to be generations away from what's on your Max. Hosting Arturia Synclavier V would be done in the same way you would host any other Audio Unit/VST plug-in in Max: by the use of the vst~ object. Communication with the plug-in uses standard Max messages as described in the vst~ object's help file.

you said there 're exist diff. technologies and worlds between NED and the Max /msp environment

so would be "one way" to embed such a system like NED via Midi and the audiosignals via mixer -> audiointerface -> DAW's like Samplitude,

which other alternatives in these configurations, signalflow, would you suggest too, 

one important point is developing ideas, sketches via score, MaxScore e.g.) thanks and cheers

 you said there 're exist diff. technologies and worlds between NED and the Max /msp environment

so would be "one way" to embed such a system like NED via Midi  and the audiosignals via mixer  -> audiointerface -> DAW's like Samplitude, 

which other alternatives in these configurations, signalflow, would you suggest too, 
one important point is developing ideas, sketches via score, MaxScore e.g.) thanks and cheers

I hope you continue to have such quality articles to share with everyone! I believe a lot of people will be surprised to read this article! 

I hope you continue to have such quality articles to share with everyone! I believe a lot of people will be surprised to read this article! rolling sky 

Review: The Synclavier V