Synth Design Podcast is back! Special edition with This is Not Rocket Science in Amsterdam. I actually went to visit them and see where the Fenix IV was designed and manufactured. It's by far, one of the most insightful episode I've released to date! We cover the design process, engineering, manufacturing and custom toolchain that had to be built for the Fenix. In the video we show the workshop, so if you can, it's worth your time to watch. Available on YouTube as well.

The Fenix IV is the fourth edition in the Fenix family of synthesizers. Unlike other synthesizers, the Fenix does not conform to the usual divide of tonal versus experimental or additive versus subtractive synthesis. Instead, it offers a wide range of options for the user to create their unique sound.

One of the key features of the Fenix IV is its multiple types of oscillators, filters, LFOs, envelopes, and effects to use in patching. This allows for a great deal of flexibility in sound design.

Another unique aspect of the Fenix IV is that it bridges the analog versus digital divide. There is no longer a need to choose between the two, as the Fenix IV offers the best of both worlds. This "yes, and" mentality allows for even more creative possibilities and sonic exploration.

Overall, the Fenix IV is a powerful and versatile synthesizer that offers a unique approach to sound design. With its multitude of options and features, the Fenix IV is a must-have for any musician or sound designer looking to push the boundaries of their creativity.

Sam Battle AKA Look Mum No Computer is one of the most active synth makers/hackers online. Last January I had the opportunity to invite him to chat with my students during the International Synth Design Hackathon, and a few weeks ago we had the opportunity to chat one on one. As a teacher I can really appreciate Sam's delivery of educational content, so in this conversation we talk about teaching, learning and failing. We also talk about perfectionism, and the challenges of being a professional (productive) creative.

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What is the right amount of controls? Knobs? Switches? When designing an instrument this question can get many answers. There is no right or wrong, and that's what makes it complicated.

Pluto, from Modern Sounds, is an interesting instrument to study on that front. it combines various sound engines, two sequencers, effects and a generative composer into a little (yet quite spacious) package.

The process of making it was full of iterations. Paper prototypes, various controls and testing - striving for a balanced instrument that's simple, yet full of surprises. Bringing generative composition and modularity into a small standalone instrument.

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When architect Louis Sullivan coined the phrase Form Follows Function he set the foundation for good design in just three words. In the world of musical instruments, especially electronic ones, designers and engineers who follow the principle stand out of the crowd.

In this episode of the Synth Design Podcast, I talk to Ciro Caputo from Unknown Devices - a synth designer and engineer from Italy. Ciro's approach appeals to me in particular because he starts formulating his concepts directly in Adobe Illustrator. Giving his ideas a clear visual representation helps cut down to the core functionality, which is then being realized in various techniques, both digital and analog depending on the need.

Moreover, there's an evident love for detail in Ciro's work. Not only in sound and function, but also in motion graphics and brand identity. Altogether making it quite an interesting company to learn from, especially considering it is not only 2 years old.

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Endless possibilities can lead to a horrible user experience, and when it comes to musical instruments in particular it can be hard to find the balance between functionality and how cumbersome is the interface is. What might have been a nightmare in synths like the DX7 can be avoided today, thanks to touch screens and large screen interfaces.

In this episode, I'm discussing the topic with Loki Davison from @polyeffects. We cover a lot of ground, from his creative process, failed experiments, and a brief dive into convolutional reverb all the way to the screens of Beebo and Hector.

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It's the 20th episode! And I was waiting for this one since my first post on Instagram (it's been almost a year!).

Instruo is in its own league when it comes to innovation. And I'm not talking only about the design, the interface, and aesthetics. From the naming of modules to how the company operates, they seem to be doing things in their own unique way.

I talked to Jason Lim, who founded the company from a spare bedroom in Glasgow around 2016. They are currently 22 designers and engineers, and the company operates more like a music label than a conventional synth manufacturer.

This is a deep dive conversation with lots of insight into design. Jason shares his techniques for interface design and goes through the various iterations for different modules.

We also talk about future products (3 more VCOs!), module naming in Scottish Gaelic, MosCoW (a feature prioritization technique), and a pretty unconventional business model (to say the least!).

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Should you open-source your work? Giving away your IP and all the hard work you put into a project might seem unreasonable to many of us, and yet for some makers, it's a no-brainer.

In this conversation, I'm learning how Thea Flowers of @winterbloom designs and engineers her modules. She talks about her learning process of analog electronics, which is not a very straightforward path at all, even for a seasoned software engineer. She shares her creative vision and why making knowledge accessible is such a core element in it.

Check out the full conversation below and scroll for some images of prototypes and notebook sketches.

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Designing a complete stand-alone synthesizer is no joke. It can take years to research, experiment, design and build your grand vision. But can you start smaller? Build just the oscillator, or the filter, test them out with musicians and performers, and slowly acquire all the knowledge and experience you need to realize your master plan [insert Pinky and the Brain gif animation here].

Emmanuel Galvan from Bocuma Synths came to the synth industry from a sound engineering background. He quickly started building open-source instruments as a way to learn and fund his research into electronics and interaction. His goal is to create his own semi-modular synth, and he realizes it incrementally. Instead of investing years in research and building, not knowing if the instrument is of any interest, he releases sections of his grand vision as modules and small synths.

Bocuma Synths are played by his friends in test parties where he can learn from musicians and producers what works, and what doesn't, so he could improve his work.

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Simon The Magpie has been circuit bending instruments and effects for many years. In the last few months, he started designing his own effects together with his business partner, Horseman.

Their latest effect is a sequenced delay based on the PT2399 chip. It's an interesting take on pitch shifting that creates the wackiest tape-like sounds using a built in sequencer.

In this conversation, we discuss the reasoning behind making effects in the first place. We then dive into the creative process and challenges in producing and manufacturing professional effect pedals.

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The concept of noodling on a guitar is one we are all familiar with, but how do you noodle on a synth? Conductive Labs took the notion of noodling (or freestyle playing) on synths as the starting point for their NDRL sequencer.

Rather than playing with notes, with the NDLR you play high-level concepts - chord progressions, arpeggiators and how they interact with one another. It's like conducting a little quartet rather than playing an individual instrument. And this might sound like playing Ableton, but it's very different than that. With the NDLR you don't mix between pre-recorded samples, but rather mix musical concepts.

This way of playing informs the interface directly. There is no way to add individual notes precisely. Instead, you sequence ideas and progressions with a set of pre-defined rules.

Putting design aside for a moment, in this conversation we go well beyond design and engineering. We discuss the challenges of fabrication and DFM (design for manufacturing). Producing instruments in China, or from home, and what it actually means to turn a prototype into a product that's produced by the thousands.

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