SYNTH MASTERCLASS

1. Oscillator sync

Dave Gale creates the perkiest of sounds on Zebra

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Let’s begin by opening our DAW and loading an instance of the Zebra CM plugin. We’ll start by initialising the patch, by clicking in the central display area, just below the Computer Music graphic. Select UH Initialize, as a starting point. 4

One of the characteristic elements of the perky synth sound is its apparent hollowness. This is created by using a square wave, or something relatively close to a square wave. Using Oscillator 1, move the Wave pot so that it reads 2.00 on the central display. This will offer us a square wave tone. 2

We need to reduce the oscillator waveform from dual to single, as this will offer a more centred sound, in line with the sort of tone we require. We’ll do this on both oscillators in turn. This step reduces the number of aliased waveforms being played, presenting a purer and more classic starting tone. 5

We’re going to switch over to Oscillator 2 now, but to help us to hear what we’re doing, reduce the volume of Oscillator 1, and increase the volume of Oscillator 2. We actually want Oscillator 2 to be a shade louder, so aim for a 1-2 o’clock position, as opposed to the usual 12 o’clock position. 3

To create some aural space, so that we can hear what we’re adjusting, let’s now reduce the volume of Oscillator 2 completely. This merely eliminates what we’re hearing via Oscillator 2, so that we can make adjustments to Oscillator 1, without further distraction. 6

The sound we are creating exploits both oscillators, but our second oscillator will be doing the heavy lifting, in terms of providing the distinctive element of our sound. We’ll start by moving the Wave pot to a readout of 2.80 on the central display. This provides a beautiful modulated square wave.

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The tuning of Oscillator 2 is going to be modulated, using Envelope 2. In order to apply this, we need to move to the tuning section associated with Oscillator 2 and apply Envelope 2 to the unassigned pot, on the bottom left of the tuning section. Do this by control/clicking or right/clicking the pot, selecting Env2 from the drop down menu.

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We’re now going to move to the envelope settings and adjust envelope 2, which is the lower envelope. By increasing the Attack and Decay phases to around the 10 o’clock position, you will hear the speed of modulation of pitch alter. This can be set to taste, but this parameter setting provides a sensible starting point.

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We only need the slightest hint of modulation, so adjust the Env2 pot so that it reads 1.00 on the central display. This will give an effect that sounds slightly ‘woozy’, but we’ll tighten this up soon.

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While we’re in the vicinity of the envelope section, let’s also alter Envelope 1. This will shore up the perky and short nature of our sound. Reduce the Sustain fully, while setting the Decay phase to around 10 o’clock, and the Release phase to a shade after 9 o’clock

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Envelope 2 is also currently being used by the filter, and we don’t want it to be. We can change this easily by visiting the filter section. Control/click or right/ click the Env 2 pot, and select Env 1 instead. Place the Cutoff control pot at around 9 o’clock and the Env1 amount pot to a minimal amount, just to the right of the 12 o’clock position.

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The final thing to do is reintroduce Oscillator 1; if you recall, we reduced the Volume earlier, so we can now increase the Volume again, to a level of around 12 o’clock. You will now hear the modulation of Oscillator 2’s pitch, against the stability of Oscillator 1, for that classic perky synth effect.