With software synthesisers more detailed than ever, and most DAWs shipping with plethora of accurate emulations one could be forgiven for assuming there’s no longer a place for physical synthesisers in the modern studio. However, despite the perceived drawbacks (bulky, expensive, unreliable…), the real thing is more popular than ever. As John Lunn explained to us earlier in the year the imperfections of hardware synthesisers are part of the attraction for creatives in search of sounds that are unique to their studio and their sonic output. With the rest of studio technology moving on immeasurably in the 45 years since the release of the MS-20, integrating this vintage technology with modern workflows has become something of a challenge and something that we now find ourselves at YT dealing with on a weekly basis.
A Balancing Act
Many vintage synths only offer unbalanced inputs/outputs. Whilst just plugging straight into the balanced inputs of your audio interface will probably get some sound into the DAW you may well run into problems with noise/interference on longer cable runs and there’ll be a significant difference in level and sound quality from synth-to-synth. Furthermore if your studio is built around a patchbay, then that will typically be operating in the balanced domain and shouldn’t be compromised with your unbalanced synths!
So, a little like we discussed with guitar pedals, balancing signals coming from the synths and unbalancing signals being sent in the other direction is typically a key part of the solution. Level trimming at this stage is also advisable so that each of your instruments arrives at the DAW at a comparable operating level.
Converters like this Sonifex RB-LU4 facilitate smooth patching between balanced studio equipment and unbalanced synths.
That said, sometimes there’s a requirement for patching in the unbalanced domain as well! For example, you might choose to run your Juno 6 through a Space Echo and some guitar pedals before the DAW. In these circumstances, setting up a dedicated unbalanced patchbay can be a good way to go. Whilst not usually part of the solution for a studio’s main jackfield, A-Gauge TRS patches are often an appropriate and inexpensive option here.
Mission Control?
Choosing how you’d actually like to control the synths is a bigger decision than one might think…
The Purist Approach… Just play them!
We designed John Lunn’s synth den with a dedicated speaker system and a miniature display!
For some, the experience of sitting at the instrument in question and playing everything in live, real-time is the only way to go. Indeed, treating vintage synths as standalone instruments, with their own particular idiosyncrasies (and indeed yours as the player!) is probably the most fun way to work. In many studios this does mean sitting away from the regular listening/working position, which can present monitoring challenges in both the audio and video sense. Headphone ties locally to the synths can be a strong solution here, as can a separate set of loudspeakers; we’ve also previously configured loudspeaker DSP systems like Trinnov to offer a “Synths Position” optimised preset.
By contrast, we designed this production studio to allow full control of the synth wall from the main listening position.
Hybrid Vintage
For others, the ease and repeatability of MIDI is too great a temptation to resist and whilst such infrastructure often requires an expanded MIDI interface, and meticulous routeing configuration in the DAW, the result allows one to stay seated in front of the speakers at their regular controller keyboard to trigger synths. Retrofitting MIDI connections to older equipment has become common practice although MIDI-to-CV converters are a comparatively inexpensive option here also.
Power Trip
A final word of warning regarding plugging in vintage synths for the first time: Check the voltage requirements first and if in doubt, consult a maintenance engineer! Such is the demand for these original instruments there is now considerable worldwide migration… We deal with more accidents here than we’d like to!
More on our work with John Lunn’s synths in this video!