I'm going to teach an intro Synth course at my community centre

[shredsickgnar]

So I'm going to teach a course with the working title "Intro to Synthesizers and Electronic Music" at my local community centre. I live in Ucluelet, BC Canada, a small tourist town hours away from larger cities and music stores. My goal is to create an opportunity for local youth and community members to experience Synthesizers and music in a way they wouldn't have the ability to otherwise. I'm going to be starting from the very very basics of patching with an Oscilloscope and moving all the way to the basics of using a DAW and software instruments to record music. The course will be 6-8 weeks with two hour classes once a week. 6-10 students based on interest and two students will share a work station. I have a 5u DOTCOM system, serge panel, and 2 small euro rack systems that the students can use to learn to patch with hands on as well as a few digital synths. I'll also probably be using an iPad with the Moog Model 10 app. I want to use the modular synths to create a foundation of understanding for Synthesis and build on that throughout the course and apply it to software, digital, fm and poly synths.

I'm hoping to get some feedback on my course outline from you guys. Also, if anyone has experience with cheap or free DAWs, soft synths or phone apps that would be good for the course.

Class 1: intro and basic sounds
Introduce students and learn their experience and expectations
Brief history of Synthesizers and examples in musical genres
Analog vs digital
Define some basic terminology
VCO - wave shapes on Oscilloscope
VCF - LPF and resonance
VCA -
Define and demonstrate CV and Gate
Introduce Control Voltage over these 3 modules using Envelope Generator
Let students patch systems and explore sounds.
I'd like to think of 3 basic patches for them to try out. Like VCO->LPF->VCA. Then add a second VCO tuned to a 5th above first VCO. Still thinking of a 3rd patch, maybe a kick drum?

Class 2: Basic patches 2 (Modulation and importance of VCAs)
mixers
offset/attenuate/invert
LFOs
Slew
PWM
Noise
HPF/BPF/NOTCH
Do 3 patches to highlight these. PWM bass patch w/ portamento. Lead patch with vibrato or tremolo. still need a 3rd. Bouncing Ball Patch?

Class 3: Midi and software
Midi history, overview, and basics
analog modelling
patch memory, saving and presets. <- maybe show 1 or 2 famous presets in songs and break down how they are patched.
mono vs poly
Software synths <- maybe start with something like a Juno, but would also like to use some free synths if possible
Introduce DAWs. How to setup a session and record a sound. - I'm an Ableton user but would like a free or cheap alternative to use with everyone.

Class 4: Advanced Synth Technics
Audio Rate modulation - FM/AM/RingMod
DX7 I can't not mention it.
Sync
Subharmonics
Sample&Hold <-- only two of my synths have S&H though.
Random
Waveshaping
Patch programming
Filter pings?
Feedback? <- not sure if I'll include this.
Effects - Reverb/delay/phaser etc
Patch exercise for this class would be to make a Krell patch

Class 5: Sequencing, Recording and Composing
DAW I/O
Midi Channels
Midi sequencing and recording
Quantizing
Working with a DAW to record a loop or phrase, with multiple tracks of midi and audio.

Class 6: Sampling
History of sampling with overview and examples (Amen break, use in hip hop, house and techno and now pop music)
Break down a song into its samples example <- I'll probably reference a youtube video for this because there are a few good ones I've seen.
Get hands on with a sampler either in Ableton or another DAW, and use Morphogene.
Create samples, and load sample libraries.
Have a microphone in class with objects to sample. Pans, a bell, sand paper, a guitar and of course synths!
Drum Machines?

Class 7 & 8:
I was going to leave these open for what people want to learn. If they want to dive deeper in to complex patches or sampling I'd do that. Or if people wanted to work on creating and refining there recordings I could help them with it. I think the goal would for these last two classes would be to be able to create and record something that would become a some what finished project. Weather that is an ambient drone, a hip hop loop, a melodic phrase, some bit of sound design, a recorded krell patch, or a pop jingle we would work to make that happen. I'd probably be more hands and taking time with each student or group as apposed to lecturing in front of the class.

So for those of you that have taught a course like this before I'd love some feedback. Even just things like should everyone use headphones or speakers? Practical ways of showcasing Soft Synths and DAWs? This to leave out or things to include? Is there a good free soft synth that has all the function? Any other resources?

Thanks!

[KSS]

I'm hoping to get some feedback on my course outline from you guys.

Class 1: intro and basic sounds
Introduce students and learn their experience and expectations
Brief history of Synthesizers and examples in musical genres
Analog vs digital
Define some basic terminology
VCO - wave shapes on Oscilloscope
VCF - LPF and resonance
VCA -
Define and demonstrate CV and Gate
Introduce Control Voltage over these 3 modules using Envelope Generator
Let students patch systems and explore sounds.
I'd like to think of 3 basic patches for them to try out. Like VCO->LPF->VCA. Then add a second VCO tuned to a 5th above first VCO. Still thinking of a 3rd patch, maybe a kick drum?

Here's my take on setting the stage with the 1st session. An Overture of the subject.

Class 1: intro and basic sounds
Introduce students and learn their experience and expectations
Skip the history lesson as a first step! So and so did thing. Then so and so did other thing, Yada-yada-yada B.O.R.I.N.G.
Save it for the *end* of class -or later class- wrap-up when you can use it to let them *experience* these steps and genre's using audio examples. Letting that devolve into a discussion and mixer of and for your students. <--What is the expected age range?

Define some basic terminology
Start with the basics of sound itself.
Amplitude, Pitch, Tone-Timbre
Demonstrate these using your synth. That's going to be *far* more interesting that the history lesson.
It also sets up the next section, where you introduce the three devices which create or affect these three.

VCO Focus is *not* on the VCO at this point, that comes next. Get into Oscillator wave shapes on Oscilloscope Use a VCO -but just call it an osc!- at LFO rate*** -if you have a wide range LFO, ok to use it- but do *not* change devices going from low freq to higher freq!- It's *key* that they connect the voltage shapes evolving into something difference on the same device
Use that LFO or VCO you only call an oscillator to start and let them HEAR the shape of the waves![/b] Starting slow so they can easily hear the smoothness of a sine. Slow enough that you can explain how it is *oscillating* up and down.

EDIT: Reading this I'm seeing it read differently than I meant it to read. I'm talking about using a slow LFO-VCO patched into another VCO's Voct or FM so the subaudio shapes of the standard WFs are translated into audio. Using the FM'd VCO as an audible scope! AKA VAAS.

The intent is to let them hear the shapes as slow moving voltage through this modulated VCO as audible scope.
Before hearing them from a single VCO going from subaudio silence to different kinds of increastingly rapid clicks and then 'breaking' into tone. The further intent is to do this for each WF in turn. Both stages for each WF before moving to the two stages for the following WF. /edit


Optional aid I've found effective. Use a light rope tied to a doorknob table or chair-with someone sitting in it! to make the connection between the person -named voltage- moving their arm up and down at different speeds and amounts-amplitude. The popularity of the heavy ropw workout in gyms may spark a rememberance or even further vback when as a child they plyed with ropes this way.
This is a great help to kinesthetic learners in your class who will be only too glad to be able to get up and move a little!
Once the example is made that the waves are created by the movement of voltage-arm move on. The takeaway is that the voltage just goes up and down, in different amounts each way and does this faster or slower. And that this movement of voltage alone accounts for everything you can possible hear electronically.

Have them notice the sine's smoothness at LFO rate through the VAAS and make reference to cresting hills and valleys in cars or bicycles. <--most people have ridden a bike and will have memories of the undulations. When you can tap into these long held memories and connect them to what you're teaching now, your own instruction takes better hold. They will remember how they slowed as they pedaled up the hills and how their speed picked up going down. Roller coasters another potentially useful memory.

Move on to the triangle, and have them hear on the VAAS how it differs from the sine. Slow it's easy to hear the change in direction compared to the sine and as it transitions into tone -on the single VCO- it's a little louder and sounds a little busier too.

Then use a ramp, followed by a saw. In all these you start low freq to hear the shape oooon the VAAS. Then as you raise the pitch, first a smooth rise. Then a smooth fall. from shape to tone and back to shape. <--This on the single VCO.
You're making the connection between voltage, shape and tone. Don't use the saw first! Use the ramp first with the VAAS.

With the saw and ramp this lets them *experience* how the thing that sounded so different -opposite at the low freq on the VAAS- no longer sounds different as it speeds up -on the single VCO. Rising-fall! rising-fall! vs up!-descend, up!-descend morphs into sameness. As the frequency goes up these two completely different shapes disappear into essentially identical tone. Have them experience that and let them -depending on class size and your teaching style- be the ones holding and turning the frequency knob. This lets you interact with the rest and you're not looking like the expert who's playing with his thingie up front.
Because someone in the class -more like them!- is following your instruction and the rest of the class is listening <--Key thing here is YOU are doing it too! You're modeling yourself what you're asking them to do! That's got a *much* better buy-in than do as I say while I do somethin' else. Let your own joy show through at the pure simple act of hearing raw shapes and tones!
Which means you do *not* choose the guy or gal who already knows how to use a synth as your assistant or demonstrator.. You -surely!- learned who these were in the introductions- . This also gives the class something and someone to look at besides you.

Keep an oscilloscpe OUT of this first listening experience of the raw and basic sounds of WFs! It short circuits their ears and inhibits what matters most. It's a physiological fact that when eyes are engaged, listening is deprecated.
It's also much easier for everyone in a large or even small room to *hear* than it is for everyone to see a small screen. And even with a big projected scope trace you're still not getting the same kind of visceral commitment that good listening requires. Mention how we tend to close out eyes to hear better. This allows those who feel comfortable to do so and not feel weird about it. At the same time it's not a direct ask of someone who might feel worried about closing their eyes among strangers in a public space. Win, win.

Switch to square waves. Again slow at first using the VAAS. clickclickclick
Make additional note of how the sound changes from 'shape' to tone*. tat-tat-tat- becomes hollow reed sound as freq goes up with the single VCO. Square is good for this. It's an interesting phenomenon we don;t tend to notice. In your class different peopel will hear the change at different points. This can be useful discussion.

Then finish with pulse -first with VAAS- to again let them hear how the width of the pulse changes. and here again is an opportunity to show that we can't always tell the difference between two completely different PWs.10 and 90 or 30 and 70% sound the same as tones -using the single VCO. But we *do* hear the difference at low rates when their shape is evident with the VAAS.
It's also an opportunity to cover how big jumps in the voltage make for clicks. <--That they'll inevitibly be hearing later.

This first session should be set up like an overture of the rest of the class sessions..

Now refer back to how ]all of these are just moving voltages. They change from moving voltage where you can hear the shape to tones where the shape no longer is heard as shape and becomes tone. <--Use this to introduce the difference between control and generation. Briefly.

Now that they've heard -and experienced- with their EARs, the various WFs at low and higher freqs, you can summarize how they've heard all three aspects of sound. One thing I didn't include above -but you should- is the relative loudness differences too. Don't get into the *reasons* for this -harmonic makeup- yet. That will come later. This is the Overture.

In addition to now knowing on a gut level how voltage shapes become sounds and how shapes become -different- tones and how different shapes have different loudness, your students are set up to learn how these three are broken into different operations electronically.

Generators, Modifiers, and Controllers.<--You can use the example of the student or students- who were actuating the VCO Freq knob and patching the different WFs to introduce the concept of voltage control. Along with its reason for being and its powerful reality.

This might be the place to get into octaves and steps vs gliss or portamento or glide.. Show how patching a KBD sends voltage to the CV that does the same thing as the person was doing with the knob. But more precisely and more repeatably. Do *not* use an EG yet! Again it's best if you can have someone in the class do these simple actions. The last thing students want to see is the 'expert' doing the thing that they came to learn how to do!

Hands on early and often! As much as possible!

Now when you introduce an LFO as a modulator to create tremolo, vibrato and trills, they will all be remembering the shape of the WFs being used -during the VAAS segments- and how they have instead become controls of the pitch or amplitude of the generator called oscillator.

With this solid foundation in *many* of the things beginning synthesists misunderstand and stumble on, you are finally ready to introduce the VCO, VCF and VCA. <--You've been using them of course, but they have *not* been the stars or focus! The active involvement of your students' ears has been the highlight so far. It's not been about the how or the why. It's been about the 'whats' of A,P,T.

It's a literal 'APT' start to the discussion on synth tools or devices used to create, modify and control the three aspects of sound that your students now know empirically and viscerally. Easily remembered too!

VCO- You've been using this all along and how you give it its full name and introduction. Its primacy in the section of synthesis called Generators. We'll get to another generator -noise- when the VCF section comes in a few minutes. They've already had a deep, yet crash course in VCO operation so this can be a short part of the session.

VCF - LPF and resonance. Use noise -don't get into colors now, just call it crazy voltage movement- and let them hear someone manually sweep it using the VCF cutoff knob. LP-BP-HP can come later. This is the overture. What matters most now is the concept that the basic tones derived from the voltage shapes are now being modified by this thing called a filter. It's removing parts of the sound. Stay conceptual! This is the overture!
Their ears have already heard the pure VCO tones from the four basic WFs so they are in good position to notice the A,P,T of VCF use.
Using noise here sets up for the VCA perfectly too. The other point is to bring out the pitch aspect of sound again by showing how the noise gets more tone and regains a pitch quality as you filter it more completely. Which leads to
Explaining how resonance is recycling the crazy voltage-noise to be filtered again. Like washing really dirty clothes twice to get them 'clean'. Have them notice how the sound volume goes down as parts of it are filtered out.
This is a foreshadowing of the LPG lesson in a later session that deals with West coast-additive. Becuse it shows how tonight's theme of A,T are both available to be modifed with a filter.

VCA- Keeping the noise patched to the filter, add the VCA and have someone manually adjust the loudness. Reference amplitude as primary elemental aspect of sound again. How the VCA is another modifier. That it changes the voltage level of things passed through it. DO NOT TALK OF THE VCA AS AMPLIFIER. OR BEING FOR SIGNALS. Say from the start that it's been labeled amplifier but that a better name is VC Attenuator. Even better is to just think of it as a voltage controlled voltage reducer.

Next have them move both the filter cutoff and VCA initial gain knobs by hand and hear how they can make wind and ocean type noises. Have them try to move the knobs really fast. <--The point here is to show the limits of manual control in prep to again get into voltage control. Patch an LFO and let them adjust its rate. Start with sine -or triangle- and then get to a square for all it can teach. Showing how wind and ocean swells can turn into percussion, gunshots and claps.

Then add the filter cutoff CV to the LFO output shared with the VCA. Next use separate LFOs. By using the different shapes they've learned you can show how these voltage shapes used as controls affect the A,P,T. The important one to focus on is the square and pulse. That's getting them ready to understand gates and triggers. That these are again just voltage that moves up and down in specific ways -really fast!- and at differing lengths of time between the hi-speed vertical voltage changes they heard in the VAAS for the square waves earlier in the session.
And that's in turn setting up the difference between recurring controls they're using now. The LFOs. And the one-shot version of that. The EGs they'll learn next.

This teaching keeps 'back-stitching' to recycle introduced concepts over and over, adding a little more context each time.

Define and demonstrate CV and Gate No need yet to define, and you've already been showing CV.

Step back and revisit the shapes thing again. But this time using the EG into the VAAS. Let them again hear the shape of its voltage output. Many beginners fail to connect voltage, shape and results. They create a false distinction about 'signals' and CV. This path I've been describing aims to deal with that from the beginning and nip it in the bid.

Once they have heard various envelope shapes -their ears and minds are already slightly trained for this exercise!- then you can introduce the classic VCO-VCF-VCA-EG patch. Add in the 2nd EG soon enough but not so soon that it's felt to be a requirement.

At *this* point you could briefly mention moog and whoever else you might want to include and his-their connection with this subtractive style of synthesis. Assert your expertise by demonstrating -briefly- some classic moog sounds. Ask for recognition of the sounds to see if they've got personal reference to the ones you're showing them. Keep gpoing until you hit on a couple that are known generally. Then leave your synth patched and get out of the way.
Becoming a less formal -but still in charge- chooser, encourager and limiter of class members so that *each* has a little time to make some noises *they* want to make or re-explore from the night's lessons.

Look for the ones who are looking for you to help them get involved and don't let the already experienced and A-types squish the gentler souls tendency to be observer instead of actor. <--That is probably the single most important thing about this 1st session overture. Get everyone who wants to be involved, involved. And begin encouraging the ones who still aren't sure that this is a place where you don't have to be the expert, experienced or A type to be noticed and given time and attention.

Introduce Control Voltage over these 3 modules using Envelope Generator
Let students patch systems and explore sounds
I'd like to think of 3 basic patches for them to try out. Like VCO->LPF->VCA. Then add a second VCO tuned to a 5th above first VCO. Still thinking of a 3rd patch, maybe a kick drum?

Yes!!
Let your students teach *you* that 3rd patch. Less you, more them is the key to an engaging synth class.

Now that you've laid out what's coming and gotten buy-in with the overture; you can get into the more detailed movements of your class synthonic presentation with the upcoming sessions!

Brief history of Synthesizers and examples in musical genres
Analog vs digital

-----------------------------------------------------------------------------------------------------
Class 2: Basic patches 2 (Modulation and importance of VCAs)
mixers
offset/attenuate/invert
LFOs
Slew
PWM
Noise
HPF/BPF/NOTCH
Do 3 patches to highlight these. PWM bass patch w/ portamento. Lead patch with vibrato or tremolo. still need a 3rd.

Class 3: Midi and software
Midi history, overview, and basics
analog modelling
patch memory, saving and presets. <- maybe show 1 or 2 famous presets in songs and break down how they are patched.
mono vs poly
Software synths <- maybe start with something like a Juno, but would also like to use some free synths if possible
Introduce DAWs. How to setup a session and record a sound. - I'm an Ableton user but would like a free or cheap alternative to use with everyone.

Class 4: Advanced Synth Technics
Audio Rate modulation - FM/AM/RingMod
DX7 I can't not mention it.
Sync
Subharmonics
Sample&Hold <-- only two of my synths have S&H though.
Random
Patch programming
Filter pings?
Feedback? <- not sure if I'll include this.
Effects - Reverb/delay/phaser etc
Patch exercise for this class would be to make a Krell patch

Class 5: Sequencing, Recording and Composing
DAW I/O
Midi Channels
Midi sequencing and recording
Quantizing
Working with a DAW to record a loop or phrase, with multiple tracks of midi and audio.

Class 6: Sampling
History of sampling with overview and examples (Amen break, use in hip hop, house and techno and now pop music)
Break down a song into its samples example <- I'll probably reference a youtube video for this because there are a few good ones I've seen.
Get hands on with a sampler either in Ableton or another DAW, and use Morphogene.
Create samples, and load sample libraries.
Have a microphone in class with objects to sample. Pans, a bell, sand paper, a guitar and of course synths!
Drum Machines?

Class 7 & 8:
I was going to leave these open for what people want to learn. If they want to dive deeper in to complex patches or sampling I'd do that. Or if people wanted to work on creating and refining there recordings I could help them with it. I think the goal would for these last two classes would be to be able to create and record something that would become a some what finished project. Weather that is an ambient drone, a hip hop loop, a melodic phrase, some bit of sound design, a recorded krell patch, or a pop jingle we would work to make that happen. I'd probably be more hands and taking time with each student or group as apposed to lecturing in front of the class.

So for those of you that have taught a course like this before I'd love some feedback. Even just things like should everyone use headphones or speakers? Practical ways of showcasing Soft Synths and DAWs? This to leave out or things to include? Is there a good free soft synth that has all the function? Any other resources?

Thanks!

[commodorejohn]

Class 9: Filter Topologies and Which Ones Are Divinely Ordained
Class 10: Euro, Buchla, Serge - Your Guide to Holy Wars

[JES]

The first thing I do with newcomers to synthesis is set up a drone patch, show them which knobs make the most differences and let them play. Then we can talk.

[ATW]

VCV Rack is a free software modular option worth considering—it has most of the classic modular functions well covered.

[shredsickgnar]

KSS, Thank you very much for that response. There's a lot of really really good information in there. I very much agree with defining sound terms and letting them listen as much as possible. APT! I like it! I also agree with using the terms Oscillator, Filter, and Amplifier, but as with the amplifier describing it as a voltage reducer or attenuator. Bring in the Voltage Control aspect after they the wiggle the knobs a little bit.

I've owned a surf school and taught surf lessons taught surf lessons for the last 10 years. In that area I've found a nice balance of presenting information and allowing student participation while keeping everything fun and engaging. While I'm excited to share my knowledge on a new subject I know I'll have my difficulties in the flow of the class. I'm hoping I can figure it out in the first class or two. I'm sure I'll re read your post many times before my first class, our teaching styles are different but that was a really nice break down. THANK YOU!

[Jiffybox]

This is the most delightful thing I’ve read in a while.

[fac]

Another vote for VCV Rack. It's really good for teaching and everyone with a computer can use it.

[HenryCpr]

It sounds very interesting. Personally, I"m inspired by people who want to do something useful for others. I also once dreamed of learning to play a musical instrument, but I lived in a tiny town, so I didn't have that opportunity. Now I can take private lessons instead.

[radiokoala]

Thanks for the opportunity to talk about spherical perfect introduction to synthesis and the most important points I feel need be made, this is something that I got quite interested in lately (as in: How, in the shortest time, you can set someone on a right track with patching a modular synth, that they get all “WHOA!”, completely astonished by the limitless possibilities there are, known, unknown, hidden and waiting to see be discovered or known since dawn of times like ringmods for r2d2s and that stuff? )

#1 The most important point about using a synthesizer, in my opinion, is that it is a living organism-like creature whose (sonic, in this case) appearance is subject to change and evolution and morphing towards some crazy looks and outfits, it is a very chameleon-like thing.

What do I mean by this evolution is not just the fact that as more and more synths come out and have previously not available or unheard of altogether functional blocks like resonators, granular...izers, FPGA comb filter arrays, waveguide delays and you name it – all those things that add up to the total palette of sounds (even if you can do a gazillion with just 2VCOs, EG+LFO, 2 VCFs and VCA like in a classic subtractive chain still, for example) and make possible even more convincing and realistic timbres et al. Primarily, by this evolution and morphing & mimicry I mean that a synth is like a good actor who can switch between utmostly euphoric and devastated in a second, so has a million faces.

Put most simply, I believe that it is of utmost importance to emphasize how not only a synthesizer can create a pan flute or a kazoo, or metallic triangle (instrument ), tambourine or kick drum–and million other sounds!–but how it can almost seamlessly MORPH from one sound to the other. From simple examples like altering decay or sending staircase CVs to pitch to turn a lo-tom into mid-tom and then hi-tom and rim, or turning bassline into a kick and vice versa. In just this one example, with just two parameters modulated, we can have, as we see, kick drum, “bass guitar” (or bassoon or alto sax if we get lucky), few toms and rim or woodblock/claves.

Likewise, we see how much is possible even with a very simple and world's most straightforward monophonic synthesizer. We got us, like, eight sounds by simply operating within the most bread'n'butter settings like pitch and decay.

Up next, of course, we can introduce noise through a VCA opened with an EG gated by an auxillary sequence (GATE track #2) working in conjunction with CV #2 to turn our bass drum into snare and then hi-hat. (For hats we can either sum inverted GATE #2 with primary volume envelope unmuting VCO(s) to VCF, or just use some crazy high CV like +8V with, optionally, high-depth envelope or fast audiorate LFO [through VCA modulated by that ENV] to sort of turn that VCO into kind of “noise” all by itself by heavy FM.

In fact, this is another technique that I have often used while synthesizing high hats, cymbals and stuff – because I wanted to make some unique sounds, I always was looking for alternate noise sources than plain white: for example, LSFR or Two Drunks random output from Tides (with Parasites: alternate firmware) set to highest frequency and FM'd real fast at that.

This is another showcase of how interesting, inspiring, and surprises-full of the synthesizer is. Somebody who is a modular beginner may look at their rack or standalone synth and think “hey I got no white noise, I can't make those whooshes or synth claps”, but someone like us, experienced synth pundits will right away tell you could often make those with even most basic 1 VCO mono-synth in history (like monotribe), if it has audio-rat [SIC ] LFO that can fm e.g. VCO+VCF.

Another example: you have an LFO but not ENVELOPE (AD or ADSR). Easy to think you can't make snappy percussive sounds or amplitude modulate succesfully, but use the saw out and there is a short decay |\ env for ya!..

Therefore, again, you are only limited by your knowledge and/or imagination (or lackthereof), and, like in two previous examples, you can think you do not have something (like noise), but someone like Todd Barton comes and shows you you can make all the noise and more with world's simplest setup, maybe even without VCAs, nevermind those EGs!

Why I am making such a big point of that morphing chameleon-like fluidity? Simple. You can say: look, this arp can make you a flute or hardsync sound or corn-popping sound, and someone will go: yeah, like my preset machine ROMpler! Same thing!

But no, you can program such an incredible patch where you can have an entire cabaret big band attacked by hornets while monkeys screech and hoot and helicopter explodes with doppler effect, that no workstation or sample bank would allow for.

It is also a very interesting proof of TRANSCENDENTAL quality of a synth: linking its 1 voice (or oscillator) to the amount of sounds it can make is unjust – you can program a sequence with what seems like an 8-voice polyphony – of course, without having all those sounds play simultaneously, but if you are quick with the parameter changes (and then add some DELAY! ), you can almost create an illusion of a few.

What is very important to say, is how much the possibility of suchlike tricks depends on the arsenal of available modulation. KORG monologue, for example, has all these lanes of motion recording and therefore is able to make some crazy “multi-sound” idm beats you wouldn't get with a similar 2VCO standalone monosynth in the 70s (but would easily with a Moog wall).

So, summing it all up:

1 SYNTHS ARE CAPABLE OF SO MUCH MORE THAN YOU (OR I, OR ANYONE) CAN THINK, and
2 MODULATION IS KING.

[aolney]

Sounds like a neat project

I'd put in a mention for Cardinal ( https://cardinal.kx.studio/ ) which is a port of VCVRack to the web.

The advantage is that no software needs to be installed - it runs in your browser and ~1000 modules are preinstalled (no VCV account needed).

It's a 100MB download, but it should cache, so it will be fast the next time you visit.

Some free book resources that might be of interest are:

1. Introduction to Computer Music: https://cmtext.indiana.edu/index.php

2. Computational Thinking through Modular Sound Synthesis: https://olney.ai/ct-modular-book/

The first is more oriented towards musicians and gets into MIDI and related topics. The second (my book, shameless plug) is more STEM oriented but may have useful bits.

[HenryCpr]

So I'm going to teach a course with the working title "Intro to Synthesizers and Electronic Music" at my local community centre. I live in Ucluelet, BC Canada, a small tourist town hours away from larger cities and music stores. My goal is to create an opportunity for local youth and community members to experience Synthesizers and music in a way they wouldn't have the ability to otherwise. I'm going to be starting from the very very basics of patching with an Oscilloscope and moving all the way to the basics of using a DAW and software instruments to record music. The course will be 6-8 weeks with two hour classes once a week. 6-10 students based on interest and two students will share a work station. I have a 5u DOTCOM system, serge panel, and 2 small euro rack systems that the students can use to learn to patch with hands on as well as a few digital synths. I'll also probably be using an iPad with the Moog Model 10 app. I want to use the modular synths to create a foundation of understanding for Synthesis and build on that throughout the course and apply it to software, digital, fm and poly synths.

I'm hoping to get some feedback on my course outline from you guys. Also, if anyone has experience with cheap or free DAWs, soft synths or phone apps that would be good for the course.

Class 1: intro and basic sounds
Introduce students and learn their experience and expectations
Brief history of Synthesizers and examples in musical genres
Analog vs digital
Define some basic terminology
VCO - wave shapes on Oscilloscope
VCF - LPF and resonance
VCA -
Define and demonstrate CV and Gate
Introduce Control Voltage over these 3 modules using Envelope Generator
Let students patch systems and explore sounds.
I'd like to think of 3 basic patches for them to try out. Like VCO->LPF->VCA. Then add a second VCO tuned to a 5th above first VCO. Still thinking of a 3rd patch, maybe a kick drum?

Class 2: Basic patches 2 (Modulation and importance of VCAs)
mixers
offset/attenuate/invert
LFOs
Slew
PWM
Noise
HPF/BPF/NOTCH
Do 3 patches to highlight these. PWM bass patch w/ portamento. Lead patch with vibrato or tremolo. still need a 3rd. Bouncing Ball Patch?

Class 3: Midi and software
Midi history, overview, and basics
analog modelling
patch memory, saving and presets. <- maybe show 1 or 2 famous presets in songs and break down how they are patched.
mono vs poly
Software synths <- maybe start with something like a Juno, but would also like to use some free synths if possible
Introduce DAWs. How to setup a session and record a sound. - I'm an Ableton user but would like a free or cheap alternative to use with everyone.

Class 4: Advanced Synth Technics
Audio Rate modulation - FM/AM/RingMod
DX7 I can't not mention it.
Sync
Subharmonics
Sample&Hold <-- only two of my synths have S&H though.
Random
Waveshaping
Patch programming
Filter pings?
Feedback? <- not sure if I'll include this.
Effects - Reverb/delay/phaser etc
Patch exercise for this class would be to make a Krell patch

Class 5: Sequencing, Recording and Composing
DAW I/O
Midi Channels
Midi sequencing and recording
Quantizing
Working with a DAW to record a loop or phrase, with multiple tracks of midi and audio.

Class 6: Sampling
History of sampling with overview and examples (Amen break, use in hip hop, house and techno and now pop music)
Break down a song into its samples example <- I'll probably reference a youtube video for this because there are a few good ones I've seen.
Get hands on with a sampler either in Ableton or another DAW, and use Morphogene.
Create samples, and load sample libraries.
Have a microphone in class with objects to sample. Pans, a bell, sand paper, a guitar and of course synths!
Drum Machines?

Class 7 & 8:
I was going to leave these open for what people want to learn. If they want to dive deeper in to complex patches or sampling I'd do that. Or if people wanted to work on creating and refining there recordings I could help them with it. I think the goal would for these last two classes would be to be able to create and record something that would become a some what finished project. Weather that is an ambient drone, a hip hop loop, a melodic phrase, some bit of sound design, a recorded krell patch, or a pop jingle we would work to make that happen. I'd probably be more hands and taking time with each student or group as apposed to lecturing in front of the class.

So for those of you that have taught a course like this before I'd love some feedback. Even just things like should everyone use headphones or speakers? Practical ways of showcasing Soft Synths and DAWs? This to leave out or things to include? Is there a good free soft synth that has all the function? Any other resources?

Thanks!

I forget to say that it looks interesting, but it's better to have more practical lessons than theory. It's from the point of view of the student.

[DonaldCrunk]

Thanks for doing this for your local community! However your class shapes up, folks will no doubt appreciate you taking the time to do it.

By brief introduction, I'm teaching a recurring series here in Seattle with Patchwerks. I'm responsible for the Intro to Synthesis and Intro to Modular portions - it's 4 weeks total, 3hrs/week. We'll begin our third cycle thru the series in April. It's currently based around the Moog Mavis, and each student uses one. I've done a fair bit of this in the past as well. This is a class that folks are paying for, so we put work into it.

You've received lots of good advice thus far... I would say I have gotten consistently good feedback from the use of an oscilloscope. Folks are very excited to see the visual component of what they're hearing. I will say that if you're using a scope, make sure you have the setup figured out beforehand - you're presenting, you're patching YOUR synth, and you also have to run the oscilloscope. So it can be a lot to do, and there is no shame in using the 'autoscale' button if your scope has one.

We have the students use headphones. Everyone gets a chance to try things out as we go, and usually end up with them sort of 'dj style' around the neck. Teacher system is plugged into PA.

Definitely having folks get comfortable with each other and you will help you keep the class moving organically. Breaks, patching before/after, etc. Synth jokes. Remember everyone's name if you can - I need to get better at that.

We began with 2 hours per week, but switched to 3 hours per week and found that fit the presentation better. I talk a lot. But that will vary with how you set it up of course!

Best of luck! Make sure to let us know how it went

[shredsickgnar]

Thanks for doing this for your local community! However your class shapes up, folks will no doubt appreciate you taking the time to do it.

By brief introduction, I'm teaching a recurring series here in Seattle with Patchwerks. I'm responsible for the Intro to Synthesis and Intro to Modular portions - it's 4 weeks total, 3hrs/week. We'll begin our third cycle thru the series in April. It's currently based around the Moog Mavis, and each student uses one. I've done a fair bit of this in the past as well. This is a class that folks are paying for, so we put work into it.

You've received lots of good advice thus far... I would say I have gotten consistently good feedback from the use of an oscilloscope. Folks are very excited to see the visual component of what they're hearing. I will say that if you're using a scope, make sure you have the setup figured out beforehand - you're presenting, you're patching YOUR synth, and you also have to run the oscilloscope. So it can be a lot to do, and there is no shame in using the 'autoscale' button if your scope has one.

We have the students use headphones. Everyone gets a chance to try things out as we go, and usually end up with them sort of 'dj style' around the neck. Teacher system is plugged into PA.

Definitely having folks get comfortable with each other and you will help you keep the class moving organically. Breaks, patching before/after, etc. Synth jokes. Remember everyone's name if you can - I need to get better at that.

We began with 2 hours per week, but switched to 3 hours per week and found that fit the presentation better. I talk a lot. But that will vary with how you set it up of course!

Best of luck! Make sure to let us know how it went

Patchwerks is a gem! That’s awesome that you’ve been doing that.

[DannyMcO]

Some free book resources that might be of interest are:

1. Introduction to Computer Music: https://cmtext.indiana.edu/index.php

2. Computational Thinking through Modular Sound Synthesis: https://olney.ai/ct-modular-book/

The first is more oriented towards musicians and gets into MIDI and related topics. The second (my book, shameless plug) is more STEM oriented but may have useful bits.

Great resources here. Thanks for sharing them.

[DannyMcO]

So I'm going to teach a course with the working title "Intro to Synthesizers and Electronic Music" at my local community centre.

If you haven't already done so, please consider professionally recording video & audio of the course. Easy way for you to monetize the content, which, from the sound of it, is going to be eaten up by n00bs like me, and further, it sounds like the kind of thing you can easily have a paywall for, say, via Patreon.

Depending on your angles and audio capture, you may need to obtain releases by attendees - but if the course is free, it can be considered to have an in-kind value that would constitute 'payment' for attendee broadcast rights.