Software synthesizer

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Template:Short description Template:Use dmy dates A software synthesizer or virtual instrument is a software app<ref name="AttackiOS">Template:Cite web</ref> or plug-in that generates digital audio, usually for music. Virtual instruments can be played in real time via a MIDI controller, or may be readily interfaced with other music software such as music sequencers typically in the context of digital audio workstation (DAW) software. Virtual instruments exist for essentially every musical instrument type, emulating various types of synthesis, orchestral instruments, drums, guitars, pianos, and even recreations of specific models of hardware synthesizers and classic keyboards.<ref name="MixSep2014">Template:Cite web</ref>

Mainstream virtual instruments were first introduced in the late 1990s, and popularized by Steinberg's introduction of VST instruments in 1999. As computer processing power increased into the early 2000s, virtual instruments could produce what previously required the dedicated hardware of a conventional synthesizer or sampler.<ref name="SOSNov2000">Template:Cite web</ref> By 2014, virtual instruments had become the second-largest music software product category in terms of revenue, with the first being DAW software.<ref name=MixSep2014/>

Background

In 1957, while working at Bell Labs, Max Mathews wrote MUSIC, the first widely accepted program for making music (in actuality, sound) on a digital computer.<ref>Template:Cite book</ref><ref name="MusicRadarOct2008">Template:Cite web</ref> Barry Vercoe followed Mathews' work with Music 11, and went on to develop the audio programming language Csound at the MIT Media Lab in 1985.<ref>Template:Cite book</ref>Template:Sfn

In 1986, Aegis released Sonix for the Commodore Amiga. Alongside a graphical score editor, Sonix leveraged the Amiga's Paula sound chip for a 4-voice software synthesizer. It featured MIDI input, a recognizable user interface, waveform drawing, an envelope, LFO, and non-resonant filter - calculating the synthesized result in real-time and sending it out, polyphonically, to the Amiga's 4 PCM-based channels.<ref>Template:Cite web</ref> In 1988, Digidesign Turbosynth software enabled users to patch together digital signal processing modules with functionality ranging from various forms of synthesis, to filters and a variety of modifiers. The sound produced by the software modules could be exported as samples to be played on a hardware sampler.<ref name="MTSep1988">Template:Cite magazine</ref>Template:Sfn

History

In 1994, Seer Systems, under the direction of Sequential founder Dave Smith, demonstrated the first software-based synthesizer running on PC. The second generation of this software synthesizer was licensed to Creative Labs in 1996 for use in their AWE 64 line of soundcards. The third generation, renamed Reality, was released in 1997, and was one of the first commercial software synthesizers. Reality combined various forms of synthesis, including subtractive, additive, PCM, wavetable, FM, and physical modeling, with multi-mode filters, LFOs, and envelopes.Template:Sfn<ref name="SOSNov1997">Template:Cite web</ref>

In 1997, Propellerhead Software released ReBirth RB-338, which emulated classic Roland instruments commonly associated with techno: two TB-303 Bass Line synthesizers and a TR-808. A TR-909 drum machine was added in version 2.0.Template:Sfn<ref name="SOSJan2003">Template:Cite web</ref> Also in 1997, NemeSys introduced GigaSampler, the first software sample player that could stream samples in real time directly from a hard drive.<ref name="SOSAug2008">Template:Cite web</ref> The same year, Native Instruments (whose name itself referred to software-based instruments) was founded with the Generator modular synthesizer software.<ref name="SOSOct2006">Template:Cite web</ref> Two years later, Generator would be superceded by Reaktor.Template:Sfn

In 1999, when Steinberg released Cubase VST 3.7, they updated the VST standard introduced in 1996 to support VST instruments (VSTi), allowing users to run software instruments (including synthesizers) as plug-ins, and releasing the first VSTi, Neon.<ref name="MusicRadarOct2008"/><ref name="Attack10Key">Template:Cite web</ref> This helped integrate software synthesizers into DAW software, streamlining usage and triggering a wave of new software instruments. As computers became more powerful, software synthesizers did as well. This led to developments in new forms of synthesis such as granular synthesis.<ref>Template:Cite web</ref> By the early 2000s, several software samplers, such as Emagic's EXS24, Steinberg's HALion, and Native Instruments' Kontakt were available, and shortly thereafter emerged a trend of companies that specialized in sample libraries developing their own sample-based virtual instruments,<ref name="SOSJan2005">Template:Cite web</ref> Software synthesizers utilized sample playback and even physical modelling to imitate instruments ranging from acoustic pianos, drums and percussion, stringed and wind instruments, to electromechanical instruments such as tonewheel organs and electric pianos.

Types

Steinberg HALion Sonic SE sample player (top left), Groove Agent ONE drum sample player (top center), and Software effect processors (bottom) in Cubase 6

Virtual instruments exist for essentially every musical instrument type, emulating various types of synthesis, orchestral instruments, drums, guitars, pianos, and even recreations of specific models of hardware synthesizers and classic keyboards.<ref name="MixSep2014"/> Alternately, many virtual instruments are unique.<ref>Template:Cite book</ref>

Software synthesizers represent the full range of synthesis methods, including subtractive synthesis (including analog modeling, a subtype), FM synthesis (including the similar phase distortion synthesis), physical modelling synthesis, additive synthesis (including the related resynthesis), and sample-based synthesis.<ref name=":0">Template:Cite book</ref>

Bristol Mini emulation of the Moog Minimoog

Many popular hardware synthesizers are no longer manufactured but have been emulated in software,<ref name="MixSep2014"/> with the emulation often having a GUI that models the appearance of the original hardware and even the exact placements of the original hardware controls. Some emulations (sometimes referred to as software clones) can even import sound patches for the original hardware synthesizer and produce sounds nearly indistinguishable from the original. Many of these emulations have additional functionality not available on the original hardware versions.<ref name="Attack10emulations">Template:Cite web</ref> Popular synthesizers such as the Moog Minimoog, Yamaha CS-80 and DX7, ARP 2600 and Odyssey, Sequential Circuits Prophet-5, Oberheim OB-X, Roland Jupiter and Juno Series, Korg M1, and dozens of other classics have been recreated in software, with some versions officially endorsed by or even released by the original manufacturer.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Native Instruments Massive wavetable synth

There is also a variety of popular software synthesizers that are exclusively software and not emulations of hardware synthesizers. Examples include Spectrasonics' Omnisphere,<ref name="SOSDec2008">Template:Cite web</ref> Native Instruments Massive, Xfer's Serum, Vital Audio's Vital,<ref name="Attack10wavetable">Template:Cite web</ref> Arturia's Pigments,<ref name="SOSJun2025">Template:Cite web</ref> u-he's Zebra,<ref name="AttackUH">Template:Cite web</ref> and even the Alchemy synth integrated in Logic Pro, which developed from the original Camel Audio version after that developer was acquired by Apple.<ref>Template:Cite web</ref>

Specific models of classic keyboards, such as the Hammond B-3 organ,<ref>Template:Cite web</ref> Rhodes and Wurlitzer electronic pianos,<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref> Mellotron,<ref>Template:Cite web</ref> and others have been recreated as virtual instruments. These software recreations recreate the sounds and functionality of the original instruments, while being more readily available, less expensive to acquire and maintain, and often having additional features the originals did not.<ref>Template:Cite book</ref>Template:Sfn

Applied Acoustics Pianoteq physical modeled grand piano

Sampled pianos and piano emulations are also a popular virtual instrument category, with several examples sampling specific models by Steinway, Yamaha, Bösendorfer, Fazioli, C. Bechstein, Blüthner, and others.<ref name="SOSJan2008">Template:Cite web</ref><ref name="SOSOct2008">Template:Cite web</ref> Some piano VIs even sample a specific piano, such as Abbey Road Studios' "Mrs Mills Piano,"<ref name="SOSMar2021">Template:Cite web</ref><ref name="MMpiano">Template:Cite web</ref> the piano at Château d'Hérouville studio,<ref name="SDSilva">Template:Cite web</ref> and even the pianos personally owned by Alicia Keys and Hans Zimmer.<ref name="SOSNov2016">Template:Cite web</ref>

Another popular virtual instrument category is drums, with many drum VIs available.<ref name="SOSJul2024">Template:Cite web</ref> Some of these companies offer numerous expansion libraries for their drum VIs that allow users to add additional drum kits and drum patterns, often times played by such notable drummers as Roger Taylor, Chad Smith, Clyde Stubblefield, and John Tempesta, and recorded by such notable engineers as Hugh Padgham,<ref name="SOSDec2022">Template:Cite web</ref> Al Schmitt,<ref name="SOSDec2019">Template:Cite web</ref> Steve Albini,<ref name="SOSMay2017">Template:Cite web</ref> and Eddie Kramer,<ref name="SOSSep2020">Template:Cite web</ref> in such recording studios as Capitol,<ref name="SOSDec2019"/> AIR,<ref name="SOSSep2020"/> Sunset Sound,<ref name="SOSMay2023">Template:Cite web</ref> Real World,<ref name="SOSNov2025">Template:Cite web</ref> Rockfield Studios,<ref name="SOSJan2022">Template:Cite web</ref> and others.

Companies including EastWest, Vienna Symphonic Library, Spitfire Audio have released extensive and detailed VIs focused on orchestral instrumentation, partnering with composers like Hans Zimmer,<ref name="SOSSep2024">Template:Cite web</ref> orchestras such as the BBC Symphony Orchestra, and utilizing recording spaces such as Abbey Road Studios, EastWest Studios and Maida Vale Studios.<ref name="SOSNov2019">Template:Cite web</ref><ref name="SOSOct2020">Template:Cite web</ref><ref name="MixJan2012">Template:Cite web</ref>

Also of note is software like Csound, Nyquist, and Max (software), which can be used to program software instruments.Template:Sfn<ref name="SOSJan2016">Template:Cite web</ref>

Comparison to hardware synthesizers

Softsynths suffer their own issues compared to traditional hardware. Softsynths tend to have more latency than hardware; hardware synths also offer more stability.<ref>Template:Cite book</ref> This is why oftentimes a composer or virtual conductor will want a "draft mode" for initial score editing and then use the "production mode" to generate high-quality sound as one gets closer to the final version. Hardware synths also have dedicated controls and audio outputs, where softsynths rely on a separate MIDI controller and audio interface, as well as the computer itself required to run the VI software application.Template:Sfn

Softsynths have the advantage of lower manufacturing and shipping costs, making them less expensive than hardware synths. They can also benefit from the processing power of the computer they're running on. Computer memory capacity allows for much larger sample libraries, offering enhanced velocity layering, and "round robin" sampling (a random, different sample per struck note), among other techniques. Software GUIs benefit from more space and flexibility for complex synthesis and complex routing techniques. Finally, software integrates very well with DAWs, for easier parameter automation and instant patch recall that saves sound settings and automations with a project.<ref name="MRApr2023">Template:Cite web</ref>Template:Sfn

Notable virtual instrument companies

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See also

References

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