Asoftware synthesizer orvirtual instrument is asoftware app[1] orplug-in that generatesdigital audio, usually for music. Virtual instruments can be played in real time via aMIDI controller, or may be readily interfaced with other music software such asmusic sequencers typically in the context ofdigital 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.[2]
Mainstream virtual instruments were first introduced in the late 1990s, and popularized bySteinberg's introduction ofVST instruments in 1999. As computer processing power increased into the early 2000s, virtual instruments could produce what previously required the dedicated hardware of a conventionalsynthesizer orsampler.[3] By 2014, virtual instruments had become the second-largestmusic software product category in terms of revenue, with the first being DAW software.[2]
In 1957, while working atBell Labs,Max Mathews wroteMUSIC, the first widely accepted program for makingmusic (in actuality,sound) on a digital computer.[4][5]Barry Vercoe followed Mathews' work with Music 11, and went on to develop theaudio programming languageCsound at theMIT Media Lab in 1985.[6][7]
In 1986, Aegis released Sonix for theAmiga. Alongside agraphical score editor, Sonix leveraged the Amiga's Paula sound chip for a 4-voice software synthesizer. It featuredMIDI input, a recognizable user interface, waveform drawing, anenvelope,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.[8] In 1988,Digidesign Turbosynth software enabled users to patch together digitalsignal 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 assamples to be played on ahardware sampler.[9][10]
In 1994,Seer Systems, under the direction ofSequential founderDave Smith, demonstrated the first software-based synthesizer running onPC. The second generation of this software synthesizer was licensed toCreative Labs in 1996 for use in their AWE 64 line ofsoundcards. The third generation, renamed Reality, was released in 1997, and was one of the first commercial software synthesizers. Reality combined various forms ofsynthesis, includingsubtractive,additive,PCM,wavetable,FM, andphysical modeling, with multi-modefilters,LFOs, andenvelopes.[11][12]
In 1997,Propellerhead Software releasedReBirth RB-338, which emulated classicRoland instruments commonly associated with techno: twoTB-303 Bass Line synthesizers and aTR-808. ATR-909 drum machine was added in version 2.0.[13][14] Also in 1997, NemeSys introduced GigaSampler, the first software sample player that could stream samples in real time directly from ahard drive.[15] The same year,Native Instruments (whose name itself referred to software-based instruments) was founded with the Generatormodular synthesizer software.[16] Two years later, Generator would be superseded byReaktor.[17]
In 1999, whenSteinberg releasedCubase VST 3.7, they updated theVST standard introduced in 1996 to support VST instruments (VSTi), allowing users to run software instruments (including synthesizers) asplug-ins, and releasing the first VSTi, Neon.[5][18] This helped integrate software synthesizers intoDAW 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 asgranular synthesis.[19] By the early 2000s, several software samplers, such asEmagic's EXS24, Steinberg'sHALion, and Native Instruments'Kontakt were available, and shortly thereafter emerged a trend of companies that specialized insample libraries developing their ownsample-based virtual instruments,[20] Software synthesizers utilizedsample playback and evenphysical modelling to imitate instruments ranging from acoustic pianos, drums and percussion, stringed and wind instruments, to electromechanical instruments such astonewheel organs andelectric pianos.
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.[2] Alternately, many virtual instruments are unique.[21]
Software synthesizers represent the full range ofsynthesis methods, includingsubtractive synthesis (includinganalog modeling, a subtype),FM synthesis (including the similarphase distortion synthesis),physical modelling synthesis,additive synthesis (including the relatedresynthesis), andsample-based synthesis.[22]
Many popular hardware synthesizers are no longer manufactured but have been emulated in software,[2] with the emulation often having aGUI that models the appearance of the original hardware and even the exact placements of the original hardware controls. Some emulations (sometimes referred to assoftware 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.[23] Popular synthesizers such as theMoog Minimoog,Yamaha CS-80 andDX7,ARP 2600 andOdyssey,Sequential Circuits Prophet-5,Oberheim OB-X,Roland Jupiter andJuno 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.[24][25][26]
There is also a variety of popular software synthesizers that are exclusively software and not emulations of hardware synthesizers. Examples includeSpectrasonics' Omnisphere,[27]Native Instruments Massive, Future Audio Workshop's Circle,[28]Xfer's Serum, Vital Audio's Vital,[29]Arturia's Pigments,[30] u-he's Zebra,[31] and even the Alchemy synth integrated inLogic Pro, which developed from the original Camel Audio version after that developer was acquired byApple.[32]
Specific models of classickeyboards, such as theHammond B-3 organ,[33]Rhodes andWurlitzer electronic pianos,[34][35][36]Mellotron,[37] 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.[38][39]
Sampledpianos and piano emulations are also a popular virtual instrument category, with several examples sampling specific models bySteinway,Yamaha,Bösendorfer,Fazioli,C. Bechstein,Blüthner, and others.[40][41] Some piano VIs even sample a specific piano, such asAbbey Road Studios' "Mrs Mills Piano,"[42][43] the piano atChâteau d'Hérouville studio,[44] and even the pianos personally owned byAlicia Keys andHans Zimmer.[45]
Another popular virtual instrument category is drums, with many drum VIs available.[46] 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 asRoger Taylor,Chad Smith,Clyde Stubblefield, andJohn Tempesta, and recorded by such notableengineers asHugh Padgham,[47]Al Schmitt,[48]Steve Albini,[49] andEddie Kramer,[50] in such recording studios asCapitol,[48]AIR,[50]Sunset Sound,[51]Real World,[52]Rockfield Studios,[53] and others.
Companies includingEastWest,Vienna Symphonic Library,Spitfire Audio have released extensive and detailed VIs focused onorchestral instrumentation, partnering with composers like Hans Zimmer,[54] orchestras such as theBBC Symphony Orchestra, and utilizing recording spaces such asAbbey Road Studios,EastWest Studios andMaida Vale Studios.[55][56][57]
Also of note is software likeCsound,Nyquist, andMax (software), which can be used to program software instruments.[58][59]
Softsynths suffer their own issues compared to traditional hardware. Softsynths tend to have more latency than hardware; hardware synths also offer more stability.[60] 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 andaudio interface, as well as the computer itself required to run the VI software application.[61]
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.[62][61]
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