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When two waves combine to make a sound, they can either reinforce a sound or cancel it out. When you play an LFO with your other oscillators, it doesn’t change the tone, but instead makes it move. When the LFO wave hits your oscillator wave, it can push up the volume or cancel it out entirely. When you speed up the rate of the LFO, the amount of times it cancels out the sound of the other oscillators is increased, creating a vibrato or tremolo effect. A very fun tool to use, this is what gives your sound a movement and rhythmic pattern.

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So there you have it. Keep in mind, this is a very basic map of some complex ideas and represent the bare basic for most (and definitely not all) synths. Today’s digital revolution has allowed musicians and engineers to completely change and remap these basic premises, though the core concepts remain intact. More tools, tricks and parameters means more avenues of experimentation, and ultimately, more fun in music making. Once you understand the foundations of how these versatile instruments work, you’ll be able to unlock the sounds you want quicker, and stumble into sounds you didn't even know existed.

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Most synths will include some onboard effects, which is often the section with the most variables. Think of this last section as your pedalboard. This is where a big difference lies in vintage and modern synths. While vintage synths typically have one, maybe two effects you can add to your sound (such as a chorus or reverb), today’s synths can pack in just about any effect you can imagine for highly customizable sounds.

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Like in our filter section, the Envelope is made of the attack, decay, sustain, and release. These are the four basic parts of any sound wave, and provide extensive control over how the notes resonate. Here’s a quick breakdown of our ADSR envelope:

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The amplifier is the end of the instrument and the start of us actually hearing any sound. The amplifier takes the signal we've shaped and turns it up. Much like a guitar amp, the amplifier on a synth is essentially the speaker or horn, and allows even more shaping through effects and controls. Like most amps, a gain knob is usually present, which pushes more power and can lead to distortion. The most important part on the amp, however, is the envelope.

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Typically, a filter comes with a few extra knobs called the resonance and the envelope. The resonance amplifies the cutoff frequency, creating a very cool harmonic effect, but proceed with caution, it can get out of hand quickly! The envelope on a filter is the shape of the cutoff curb, which has four main parts: attack, decay, sustain, and release. More about these below.

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The filter is probably the most noticeable of controls and one of the most basic. Its function is to filter out unwanted sounds, usually in four settings: low-pass, high-pass, band, and notch. The low- and high-pass filters each have a controlled cutoff frequency: the low-pass lets lower frequencies play, and the high-pass lets higher frequencies play. The band filter plays the frequencies around the cutoff, while the notch removes the frequencies around the cutoff.

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The LFO is kind of like the bass player of the synth. No one can hear it, but it makes everything move and groove. The LFO, or Low Frequency Oscillator, is exactly what it sounds like: an oscillator at such a low frequency you can’t hear it. Why would you want that? If you know a little something about phasing, it’s loosely the same idea.

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