Beyond the limits: Plasmonic

>While physical modelling synthesis started out as a way to realistically simulate acoustic instruments, there’s no reason why the same principles can’t be used to make wholly unrealistic, out-of-this-world noises.

Combining physical modelling with other methods of synthesis, like subtractive, vocal, and granular, means that even when it sounds impossible, it still sounds physical and tangible in a way that many other digital instruments don’t.

Forward-thinking synth designers tend to use innovative input sources like noise, granulated samples, or digital waveforms in combination with customisable resonators and extensive modulation options. Not only can these instruments produce sounds which are impossible to make on a real instrument, they can make sounds that couldn’t be created using any other type of synthesis – don’t even try.

An example of this is Rhizomatic’s Plasmonic.

Dreamed up by the developer who brought us the excellent Absynth, it combines physical modelling with subtractive synthesis to bypass cliché synth sounds and instead offer hybrid instrumental textures that excite and delight.

Sure, you can produce accurate-sounding acoustic basses or keys, but really this is just the starting point. The synth takes a proudly digital approach and offers tons of synthetic waveforms and impulses that can be used to excite the resonator. Coupled with a decidedly idiosyncratic user interface that eschews most physical modelling conventions, it’s easy to see why this synth has become such a favourite.

“SURE, YOU CAN PRODUCE ACCURATE ACOUSTIC BASSES OR KEYS, BUT REALLY THIS IS JUST THE START”