Tag: Music Production

Introduction to Arturia Synthx V

Hello, everyone! I’m Jooyoung Kim, an audio engineer and music producer.

Recently, Arturia released a virtual instrument called Synthx V, a recreation of the legendary Elka Synthex. Today, I’ll introduce this fascinating plugin and share my thoughts on its features.

As always, this post reflects my honest opinions, despite receiving a complimentary NFR (Not for Resale) copy from Plugin Boutique and Arturia.

Find Out Synthx V at Plugin Boutique

Purchasing through the links in this post helps support my blog. I truly appreciate your support!

The Legacy of Elka Synthex

Elka Synthex, the inspiration behind Synthx V, was a polyphonic analog synthesizer produced by the Italian manufacturer Elka between 1981 and 1985. Designed by Mario Maggi, it stood out with several groundbreaking features for its time.

One of its key innovations was the use of digitally controlled oscillators (DCOs), ensuring stable tuning regardless of changes in temperature or humidity. It also featured a 4-track sequencer, dual-layering, and stereo voice separation.

Moreover, its joystick modulation control allowed for more expressive real-time performance compared to conventional pitch bend or modulation wheels. Users could assign custom sounds through layering and keyboard splitting, and later models even supported MIDI.

What’s in Synthx V?

Arturia’s Synthx V faithfully reproduces the original Elka Synthex’s functionalities while adding modern enhancements.

The plugin allows you to work with two layers (A & B) and up to 16 voices (8 per layer), creating a rich stereo image.

It also includes advanced features like a multi-arpeggio mode and step sequencer, which are perfect for crafting intricate patterns and pads.

Additionally, you can apply up to four effects from a selection of 17, offering even more versatility for sound design.

Should You Buy It Now?

While Synthx V isn’t currently part of Arturia’s Black Friday sale, it may become available in a future V Collection 11 bundle. So, unless you’re in a rush, it’s worth waiting for a sale.

Plus, Plugin Boutique is running a special promotion this month. With any purchase, you can choose a free bonus: Ujam Beatmaker VICE, Native Instruments Monark, or a mastering course.

Be sure to check out these offers if you’re planning to buy plugins this month. Thanks for reading, and see you in the next post!

I Bought a Vintage Cort A4 Bass!

Hello, I’m Jooyoung Kim, an audio engineer and music producer.

For a while now, I’ve been wanting to have more control over certain articulations, like sliding, vibrato, and slap techniques. That led me to decide that I should start playing the bass myself.

Since I’ll be using it for music production, I didn’t want to settle for a cheap, entry-level instrument. At the same time, I didn’t have the budget for a high-end one…

This is where a solid domestic brand comes in handy!

Yes, I’m talking about Cort. My electric guitar is Cort, and now my bass is too.

It’s an older model, so unfortunately, it only works in active mode with no option to switch to passive. There’s also some rust on the knobs and bridge, which is a slight drawback. However, after trying it out, I really liked the sound—it’s exactly what I was looking for.

I had borrowed a Squier bass from an older friend for a few days (though I’m not sure what model it was), and I have to say, this Cort bass feels way more comfortable in my hands.

The strings are a bit old, so I’m curious how it will sound once I change them.

Then I thought about adding a switch for active/passive mode and took a look inside the back panel.

The wiring looks like a bit of a mess, so I’ll have to think it over when I get more time.

The goal is to practice more and eventually record most of the bass parts myself! But honestly, I feel like I might end up buying a Precision bass too… It never ends!

I’ve also been wanting to learn drums—am I becoming a one-man band? Haha.

See you in the next post!

Basics of Mixing – 9.2 Saturation of Transistors and Vacuum Tubes

Hello, I’m Jooyoung Kim, an audio engineer and music producer. I’ve been quite busy lately, and my blog posts have been delayed…^^;;

Today, I want to talk about the saturation effects of transistors and vacuum tubes.

Shall we get started?

First of all, why do we use transistors and vacuum tubes? Let’s start with this question. Why exactly are they used?

In the past, they were found in speakers, amplifiers, and even microphone preamps used by musicians—basically everywhere. The primary reason we use them is to “amplify” small electrical signals.

Now, I believe you understand why components like vacuum tubes or transistors are included in speaker power amps, integrated amps, microphone preamps, and why they are called “amps” in the first place.

In my previous post, “[Link – 9.1 Harmonics and Saturation],” I explained from a non-linear signal perspective why harmonics are produced when signals pass through these devices.

Let’s dive into how these harmonics are generated.

W. Bussey and R. Haigler, “Tubes versus transistors in electric guitar amplifiers,” ICASSP ’81. IEEE International Conference on Acoustics, Speech, and Signal Processing, Atlanta, GA, USA, 1981, pp. 800-803, doi: 10.1109/ICASSP.1981.1171205.

The image above is from a 1981 paper titled Tubes versus Transistors in Electric Guitar Amplifiers. It shows the response of electric guitar amps that use vacuum tubes or transistors.

The graph on the left shows the frequency response, while the one on the right displays harmonic distortion. It’s clear how different they are, even without further explanation.

References
O., H. R. (1973). Tubes Versus Transistors – Is There an Audible Difference? Journal of the Audio Engineering Society, 21, 267–273.

If you search online for Tubes Versus Transistors – Is There an Audible Difference?, you’ll find this paper. It’s originally an AES paid article, so if there’s any issue with the image, I’ll remove it…^^;;

Anyway, the top left graph shows two triodes (vacuum tubes), and the top right shows two pentodes (vacuum tubes). The bottom left graph combines capacitors and transistors, while the bottom right combines transformers and transistors.

So, what is this measuring? It’s measuring harmonic distortion based on input level. Rather than focusing on specific meanings, it’s enough to note that they are all very different.

If each vacuum tube and transistor has different harmonic distortion characteristics, is it really meaningful to define sound solely based on whether it’s a tube or a transistor? In my view, it’s not that significant.

What’s important for music production, in my opinion, is not differentiating between these categories but understanding how each specific device affects sound individually.

This is a microphone preamp with a vacuum tube… Doesn’t it make sense that different brands of tube preamps have their own distinct characteristics?

As an equipment enthusiast, I find myself trying to understand each piece of gear one by one, and my bank account… well… haha… ha… ha…

To make matters worse, I also play instruments, so it’s quite the struggle… I’ve been hunting for a second-hand bass recently because I’ve decided to play bass myself. It looks like I’ll be carrying this gear addiction with me for the rest of my life.

That’s it for today. In the next post, I’ll discuss the saturation effects of tape 🙂

Purchased the Wharfedale D310 4-inch Passive Speakers

Hello, I’m Jooyoung Kim, a mixing engineer and music producer.

A while back, I wrote about connecting passive speakers after I picked some up for free (though I haven’t covered that here on this English blog yet. I’ll make time to write about it soon).

Unfortunately, the ones I found picked up too much external radio interference, so I ended up throwing them away.

But, I still had my old Inkel amp sitting around unused, and I kept thinking it was a shame to waste it. So when I found these Wharfedale D310s for a bargain price, I decided to buy them.

These speakers retail for just $129 overseas, but each one weighs 2 kg, which is pretty hefty for its size.

For audio hobbyists and engineers alike, weight can tell you a lot about a speaker. A heavier build usually means the enclosure is well-designed, and you can expect decent quality woofers and tweeters.

I bought these mainly to refresh my ears when they get fatigued, so sound quality wasn’t my top priority. But the weight alone gave me a good impression.

Interestingly, these speakers have their ports placed underneath. I initially planned to flip them upside down so the tweeters would sit at ear level, but that idea fell apart once I noticed the design.

To my surprise, the sound quality was much better than I expected. At this price point, it made me question why anyone would insist on using active speakers from the pro audio world.

These are also well-shielded, so I didn’t notice any external radio interference. And since these are passive speakers without built-in amps, they have more freedom in the port design, which seems to result in better bass compared to typical 4-inch active speakers.

Even after adding in the cost of my old, cheap Inkel amp, the total was under 200,000 KRW ($150). Compared to similarly sized active speakers, these are a much better deal.

Of course, adding in cables and other extras could push the cost up a little, but you need cables for active speakers too.

I already knew Wharfedale had a reputation for making budget-friendly products, but my personal bias was shattered once again.

The build quality is a bit lacking, but if you look at active speakers in pro audio, it’s often the same. So, I don’t see it as a big issue, especially since this is clearly an entry-level model.

I strongly recommend that musicians challenge their biases and give passive speakers a try. You might be surprised at what you find.

That’s all for today. See you in the next post!