We’ve all heard them.
The vintage synth sounds that made their way into the 1970s, 1980s, and early 1990s.
You might remember the sounds of Roland, Korg, and other vintage synths, or the ones that sounded like the 1980s synths that you used to own.
But what about the more modern vintage synth sounds?
We wanted to see if the vintage sounds were any more convincing than the modern ones.
The problem with the vintage synth world is that there are still a lot of analog synths on the market, which means there’s no shortage of sound files for vintage synth synths to use.
So we created a program called Vintage Synth, and the result is a collection of vintage synthesizers that sound like the ones you’d find on a vintage analog synth.
It’s a bit like playing a vintage cassette tape, except it’s digital instead of analog.
We were able to play through a lot more vintage synters than we could play through modern synths.
Here’s how it worked.
A Vintage Syncthing Sample Our first stop was a Vintage Synpthing sample, which is a MIDI file that can be played back on a classic synth like a Yamaha SR-80.
Vintage Synthes were available in a variety of audio formats.
They were available as WAV, WAVX, and AAC, and they were also available in FLAC and WAVV.
The format of vintage synts varied, so we looked at how the vintage synter samples sound when played back in a standard, digital-only format.
A standard format has three parts: the data, the waveform, and a velocity.
The data can be represented as a string of 8-bit bytes (16 bits per sample).
The waveform is a 4-byte rectangular waveform (4-bytes per channel).
And the velocity, which can be either zero or one, is a one-byte vector, which indicates how fast the sound will go (usually, it’s 0, so the waveforms will go slow).
Vintage Synts come in a range of formats.
Each format has a maximum number of channels.
The range of available vintage synthes in each format ranges from 320 to 816 samples.
Here are the audio samples we used for the first experiment: We used a sample from the WAV format.
This sample is encoded as a 16-bit value, and we used a low-pass filter (low pass filter is a filter that makes the signal louder or quieter than what would normally be audible) to eliminate any noise.
This result is recorded at 44.1 kHz, and it has an 8-channel sample rate.
The velocity in this sample is 0.
The wave form is encoded in a four-byte waveform and has a 1-byte velocity value.
This velocity is recorded as a one byte vector (0,1,0).
Finally, the audio sample is a WAV file, with no waveform or velocity.
It has the same 8-byte sample rate as the original WAV sample.
In this sample, we recorded the same waveform at 44 kHz.
The output from Vintage Synths can be stored in two different formats.
The first format is called MIDI.
This format is the format used by modern software.
It is usually a 32-bit number with 16-bits per note.
MIDI is also the format that many vintage synthy instruments can be used with.
MIDI files are usually compressed to save bandwidth, and this compressed MIDI file is the same as the uncompressed MIDI file.
MIDI can be compressed to a 16Kbps bitrate or to 32Kbps.
The other format is known as WMA.
WMA is a 16bit number, with 16 bits per note and 16 bits of data per sample.
It also has a 32 bit sample rate, which gives it a bandwidth of 192 kHz.
WAV files have the same 16-byte resolution as MIDI files.
These files can be decompressed to a 32KHz bitrate.
The MIDI and WMA formats can be loaded into a digital signal processor, and then they can be converted to audio by a digital audio workstation (DAW).
The Vintage Synapthing sample is then saved as a Wav file.
Vintage Synthes, then, are just a list of sample data, with the wave form, velocity, and velocity data all stored in a single WAVfile.
When we played this Wavfile through the Vintage Synnthes program, the output sounded like this: The waveforms are pretty clear.
The sound is good, and has nice punch and smoothness.
But the velocity is kind of muddy.
This means the wave and velocity are very low, and there’s a lot going on inside of the wave.
The result is that you can’t hear the wave, and you can hear a lot less of the sound