Resonance Suppressor vs. Multi-band Compressor vs. Dynamic EQ: Which Should You Use?

If you’ve been following the development of plugin design over the last few years, you’ve probably seen a new class of tools making their way into producers’ workflows.

I’m talking about dynamic resonance suppressors like Smooth Operator Pro.

These unique processors are often lumped in with other advanced frequency and dynamics tools like multiband compression and dynamic EQ.

But how exactly are they different? Can they be used interchangeably? What makes resonance suppression unique and when is it worth using over types of processing?

In this article, I’ll clear up the differences between these advanced mixing tools, point out their pros and cons, and suggest examples for where to use each one in your mix.

Let’s get started.

Fundamentals: EQ and Compression

First off, you’ll need to understand the basics of EQ and compression to get started with any of these more advanced styles of processing.

Let’s start with the simplest—EQ.

EQ is your principal tool for managing the tonal balance of the tracks in your mix.

Whether you’re clearing out boomy bass with a high-pass filter or making surgical cuts with a steep notch filter, the underlying action is the same.

All EQs, no matter how sophisticated, are made up of filters that attenuate energy in the signal based on their frequency, shape and characteristics.

Filters can trace their lineage back to the earliest analog processing devices. Think of the equalizer section on a stereo system or mixer. In these devices, the entire signal is routed through the EQ and the components in the filter circuit attenuate the signal more in some areas than others.

Even when you use an analog EQ to boost frequencies, the action often works by cutting in some areas and increasing the level of the remainder of the signal.

For this reason, you can consider EQ to be a fundamentally subtractive process. Digital EQs are slightly more complicated, but they work on the same general principle.

Compression on the other hand, is concerned with dynamics.

Dynamics in music production refers to the changes in volume over time in recorded sound.

It’s important to control a sound’s dynamic range to make sure the important elements can be heard clearly in the mix at all times.

Compressors help reduce the dynamic range so that all the sounds in the mix can interact in a pleasing way without wild swings in volume.

With those basic concepts out of the way, let's move on to the more advanced versions we’ll be talking about in comparison with dynamic resonance suppression.

Multi-band compression

Multi-band compression is like having a separate compressor for each important frequency area in the signal

Recall that regular compressors work by attenuating the signal when its level passes a set threshold.

This works well for most sources, but some sounds you’ll encounter while mixing may have varying characteristics across the frequency spectrum.

Multi-band compressors divide the frequency spectrum into distinct areas before applying compression. For each band, the compression only acts on the selected frequency areas.

In the most common configuration, this allows you to set different compression behavior for the highs, lows and middle frequencies.

Multiband compressors rely on steep filters to carve the spectrum into isolated zones. So even though compression is their main method of action, filters still play a role.

Dynamic EQ

Dynamic EQ is a related concept with similar action, but its approach starts on the equalizer side.

Think of a modern digital EQ that supports multiple bands and filter types. For each band that you add, you choose a gain value to determine the amount of cut our boost applied by the filter.

But what if that gain value could respond to the dynamics of the input signal? That’s the basic idea of dynamic EQ.

It lets you add dynamic range reduction to each EQ band with its own attack, release and threshold controls.

Like multiband compression, this allows you to process specific areas of the signal to control dynamics. But dynamic EQ is even more surgical since you’re not limited to the typical multiband compressor configuration of three bands separated by steep filters.

Why dynamic resonance suppression is different

So after all that, what makes dynamic resonance suppression unique?

Let’s start with the most fundamental difference. Resonance suppressors are not based on filters, gain reduction or any combination of the two.

Instead they act on the spectral content of the signal by manipulating the harmonic partials that make up the sound.

How do they do this? The key lies in an analysis technique called the Fast Fourier Transform.

Any sound, no matter how complex, can be expressed as the sum of simple sine waves at different frequencies, amplitudes, and phases.

These component pieces are known as harmonic partials, and their arrangement and characteristics determine the timbre of the sound you hear.

The Fast Fourier Transform, or FFT, analyzes the signal to break it down into its individual harmonic partials.

Some of these harmonics sound pleasing and contribute to positive aspects of the sound. But in some cases, frequency energy builds up in areas that give rise to harshness, muddiness or other qualities you’d prefer to reduce in your mix.

These buildups are often referred to as resonances, since you can often pinpoint their distracting harmonics if you listen closely.

Smooth Operator Pro lets you work directly with these harmonics to rebalance their intensity and solve tricky problems that can’t be fixed with traditional tools.

What about attack, release and ratio?

If you've already worked with Smooth Operator Pro, you’ve likely seen the Comp menu with its familiar attack, release and ratio controls.

While these behave similar to the ones you’d see on a compressor, their action isn’t exactly equivalent.

Since Smooth Operator Pro works entirely in the spectral domain, it’s not evening out the level of the signal like a compressor or isolating a range of frequencies like an EQ.

It’s actually controlling the magnitude of the frequency partials themselves!

This is why Smooth Operator Pro can remove large concentrations of energy without radically altering the tonal balance of the material.

Once you get used to thinking about the dynamics of the spectral components of the signal, you’ll get a unique sense of how to work with Smooth Operator Pro.

Fixing problems is just the beginning, and once you get the hang of it you’ll find plenty of creative applications for its powerful form of processing.

Where to use dynamic resonance suppression in a mix

So when should you use dynamic resonance suppression, and when are the alternatives a better fit?

At the end of the day, you can use many different types of tools to accomplish your key tasks in mixing. The workflow you choose is ultimately up to you and you may prefer working with one type of processor over the other.

Dynamic resonance suppression, Multiband compression and Dynamic EQ can often be used in place of one another, but they can also compliment each other when used together.

Here are a few situations where you might consider using, one or the other, or a combination of all three.

1. Reduce grating harshness that gives you ear fatigue

Reducing harsh resonances is one of the most popular applications of dynamic resonance suppression.

As I described above, harshness is often the result of accumulations of harmonic energy in sensitive areas of the frequency spectrum.

You may be able to zoom in on harsh frequencies with a narrow band in your multiband compressor, but it’s probably not that area’s dynamic range that’s the problem.

Similarly, grabbing a dynamic EQ band in the region will help if you attenuate the signal, but even with the gain cut responding to input dynamics, you’re essentially just cutting that frequency like a traditional EQ!

Speaking of which, regular static EQ is another weapon in your arsenal to reduce harshness. But since the static filter acts on the whole signal, you’ll be reducing the intensity of the harmonics, plus whatever else might live in the area where you made the cut.

Dynamic resonance suppression gives you deeper access to just the problematic frequency components. This can often preserve more of the important material in your sound while delivering better results on harsh frequencies.

2. Control dynamics for an entire mix

Complex material like full mixes is where advanced tools like dynamic resonance suppression, multi-band compression and dynamic EQ are most powerful.

A great mix needs to feel balanced and controlled yet punchy and lively with nothing sticking out.

If you’ve managed the dynamics well in your individual tracks, you may not need to add any processing to the master bus to get a cohesive sound.

But in many cases, a little additional dynamics control can solidify a song’s groove and glue everything together.

To do it right, you may need to compress each area of the spectrum with its own settings.

That’s where multiband compression comes in. You can easily dial in airy open top end, punchy midrange and controlled bass for an entire mix with the standard three band setup.

Dynamic resonance suppression can also be used on a full mix, but it’s much more helpful for bringing back clarity than controlling overall dynamic range.

Try using Smooth Operator Pro on a full mix to gently thin out the density in the lower midrange for additional clarity and a more ‘hifi’ feel.

3. Reducing aggressive sibilance

Sibilance is one of the most distracting problems that can occur in your vocal sound.

It happens when syllables that contain the ‘s’ sound pop out in the vocal track after recording.

To reduce it, engineers often turn to de-essers, which are a unique type of multiband compressor.

In a de-esser, the compressor’s action is limited to a narrow band where the ‘s’ sound is most prominent.

Since the harsh syllables actually do cause the signal level to spike during recording, traditional gain reduction works well enough to attenuate it.

But sometimes you need more. Too much de-essing can result in an uncanny sound that flattens the ‘s’ syllable into an ‘f’, ruining the singer’s delivery.

If you’re at the limit of your de-esser’s power, try running Smooth Operator Pro in series to focus on just the harsh frequencies of the ‘s’ sounds so your de-esser doesn’t have to work as hard.

And If you’re still getting unruly sibilance you can tack on a layer of dynamic EQ for good measure!

Ultimate frequency energy control

In the end, managing the frequency content and dynamics of the sources in your session is a fundamental task in mixing.

No matter which tools you use, you’ll have to get a handle on how the key characteristics in your mix influence each other.

With tools like multiband compression, dynamic EQ and now dynamic resonance suppression, there are more powerful ways than ever to artfully blend your tracks together.

Now that you know the basics of all three techniques, get back to your DAW and keep mixing your masterpiece.

What is a Dynamic Resonance Suppressor? How to Fix Harsh Frequencies In Your Mix

Dynamic resonance suppressors are some of the newest mixing plugins to gain popularity among producers and engineers.

It’s a unique method of controlling frequency content that’s different from traditional tools like EQ or multiband compression.

But what really is dynamic resonance suppression, and how can you use it to get better results in your mix?

In this article, I’ll break down the basics, explain why it works and give my top suggestions for where to use it in your production.

Let’s get started.

What is dynamic resonance suppression?

A dynamic resonance suppressor is an audio processor that selectively reduces unwanted resonant frequencies without altering the character or tonal balance of the original material.

It works by analyzing incoming audio, identifying resonances and attenuating them by reducing the intensity of the strongest harmonic partials.

Dynamic resonance suppression offers an alternative to EQ or other tone-shaping processes to help reduce the effect of energy buildup at problematic frequencies.

Unlike EQ or compression, it works on the sound’s spectral content rather than the audio signal, allowing much greater flexibility to control resonant peaks.

What are resonances in mixing?

Resonances are buildups of energy that can appear in your tracks and lead to negative effects in your mix.

All complex sonic timbres contain concentrations of energy at different frequencies. When you hear a cello play a rich low tone, you’ll hear the fundamental frequency of the note as well as resonant harmonics at various intervals above it.

When these overtones occur at integer multiples of each other (2:1, 3:1, 4:1, etc), they’re said to be harmonic. If you listen carefully to a sustained tone, you can usually pick out the overtones that are present in a complex sound.

But sounds in the real world always contain a balance of harmonic partials and inharmonic partials.

These are the noisy parts of the sound, such as the grating friction of the cellist’s bow on the strings.

Depending on the balance and intensity of the different partials, some overtones may stick out audibly in a signal or recording.

On top of that, any time you record a sound with a microphone, you capture the source as well as the acoustic reflections in the environment where you recorded it.

The room itself has a big influence on the resonant frequencies in a recording. Untreated acoustic spaces can contribute to bad resonances as reflections bounce off hard surfaces and combine with the direct sound.

Why do you need to control resonances in a mix?

Excess energy in some parts of the frequency spectrum can work against a sound’s role in the mix.

Think of the boomy bass of a recording made in a small room, or the grating sibilance of a mic that was a poor match for the singer.

Compounded across dozens of tracks, problematic resonances stack up and lead to negative effects like harshness, muddiness and lack of clarity.

High end recording studios spend a small fortune to minimize the effect of bad room resonance with acoustic treatment.

But for most of us, some amount of problematic frequency buildup is inevitable. Whether it’s a sample, a recording or even a synth sound, you may need to deal with bad resonances first to get the results you need in your mix.

Why use dynamic resonance suppression to fix harshness

In the analog era, engineers and producers had only a few tools to control the frequency balance of their tracks.

Parametric EQ and early de-essers were about as sophisticated as it got.

Even so, these tried and true methods can still work to decrease the effect of unwanted resonances.

Today’s digital EQ plugins come with steep notch filters that can almost completely attenuate a narrow range of frequencies.

One straightforward approach is to locate the problematic resonance by sweeping a narrow boost until the offending frequency increases in volume. You can then change the filter type to notch and remove a great deal of the signal content in the selected frequency range.

This practice is common, but it’s easy to take it too far and destroy the natural character of the sound with too many notched frequencies.

You also risk introducing other consequences of excessive EQ such as phase shift.

Similarly, de-essers or multiband compressors can sometimes help, but these approaches come with limitations of their own.

Dynamic resonance suppressors offer a third option to get even more control with less of the downsides associated with traditional methods.

Since the technology works by attenuating energy in the frequency domain, it’s not the same as a compressor’s gain reduction function that may cause changes to material you want to preserve.

And since the spectral analysis can differentiate between resonances and other components of the signal, the spectral processing can signle out problems while leaving the rest intact.

3 Ways to Use Smooth Operator for a Cleaner Mix

If you want to get access to the benefits of dynamic resonance suppression, you’ll need a plugin that can do the job right.

We built Smooth Operator Pro to make this complex form of processing easy to use and effective.

It expands on the capabilities of other resonance suppression to help you deal any form of unwanted frequency energy causing issues in your mix.

Try it free to see how this approach can unlock smooth top end and cleaner tracks.

Now, on to the tips:

1. Soften harsh vocals

Modern vocals call for heavy compression and bright, airy top end.

But multiple stages of dynamics and EQ can bring out harshness, even when they’re necessary for the vocal to sit in the mix.

In these cases, it’s not always possible to target only the harsh frequencies with EQ. If you attenuate too much in he critical zone between 2-5 kHz, you may lose presence and intelligibility.

Alternatively, if you clamp down too hard with a de-esser, you risk turning ‘s’ syllables into unnatural ‘f’ sounds, ruining the singer’s delivery.

Try using Smooth Operator Pro’s frequency display to hone in on the range where spiky resonances stick out with narrow peak node.

2. Tame distorted guitar

Distorted guitars need a lot of bite to cut through a loud mix in aggressive genres.

But it’s easy to get too much of a good thing. With multiple doubled takes, you may find resonances begin to stack up as a result of the mic and speaker combination you recorded.

While these can sometimes help define the guitar in the mix, they may also add a fatiguing edge to the overall sound.

Add Smooth Operator Pro to your guitar bus and use high focus and detail settings to tackle midrange frequencies and upper harmonics that feel grating on the ear.

3. Chill out biting hi-hats

The hi-hat groove plays a big role in the 808-style beats found across modern genres.

They need to be powerful and punchy to drive the rhythmic feel and loud in the mix to cut through.

But static samples can start to feel harsh as they repeat over and over again.

When you need to retain loudness and punch but the hits feel too brittle, try using slower attack times to keep the punchy attack but decrease the intensity of the highs overall.

Smooth it over

Dynamic resonance suppression is likely to become a new secret weapon in many producers’ toolboxes.

It’s a viable solution when other methods don’t work to manage tricky resonant frequencies.

Now that you have an idea of how they work and where to use them, get back to your DAW and try balancing your mix with Smooth Operator Pro.

Transit wins 2025 SOS Award for ‘Best Software Plug-in’

Sound on Sound has revealed the winners of the 2025 annual SOS Awards.

Chosen by readers in a wide-reaching poll, the awards recognize outstanding products in every major category each year.

This year, Transit took home the prize for Best Software Plug-in, pulling ahead of the competition in reader support.

We couldn’t be more thrilled to see Transit recognized by users for this award and our heartfelt thanks goes out to everyone who voted in the poll.

Transit was developed in collaboration with Andrew Huang to turn a painstaking process in music production into an opportunity for creative expression.

The ‘transition designer’ concept struck a chord with users looking to simplify their process and create stunning dynamic effects for important sections in their songs.

But even with the success of V1, Andrew and the team were already dreaming up new ideas to take Transit’s novel workflow even further.

With the debut of Transit 2 in October of 2024, the timing couldn’t be better to celebrate the achievements of the original Transit as users upgrade to the new and improved edition.

Thanks again to all who have supported Baby Audio and Transit. This award will continue to motivate our passion for building tools that inspire creativity and help people make music.

What is Chiptune? How to Produce Retro Game Soundtrack Music

Chiptune music draws inspiration from the first golden age of video games.

The genre is a love letter to the music and soundtracks of classic arcade games and 8-bit consoles.

But chiptune is more than just nostalgia for a bygone era. It’s an active genre of electronic music with a passionate fanbase in 2025.

So what exactly is chiptune music and how can you learn to produce it like a pro?

In this article I’ll lay out the producer’s guide to chiptune, break down the genre’s essential characteristics and suggest the best tools and techniques to create it.

Ready player one? Let’s get started.

What is chiptune music?

Chiptune is an electronic music genre that celebrates the sound, composition style and aesthetics of retro video game music.

The term refers to the chip-based sound hardware found in arcade games, computers and consoles from the 1980s.

Known as PSGs, Programmable Sound Generator chips acted as rudimentary synthesizers that could output basic waveforms and sound effects.

Despite their limited capabilities, early game composers used their unique properties to create music that inspired a generation of young gamers.

The soundtracks of games like Tetris, F-Zero and Final Fantasy came to signify the period’s creativity and the birth of the modern gaming fandom.

Today, chiptune music is a worldwide cultural phenomenon that combines nostalgia for the early gaming era with modern electronic music and production.

Chiptune basics

Chiptune music is instantly recognizable to anyone familiar with retro game soundtracks.

But if you’re new to genre, here are the common features you’ll hear in most chiptune tracks:

8-bit sound palette

The simple yet expressive quality of 8-bit sound chips is the basis of the chiptune sound.

The main melodic, harmonic and bassline elements in a chiptune track are usually composed of simple saw or pulse waves like those generated by a console PSG.

Due to the limited processing power of the time, these raw waves were rarely filtered or modulated. The result is a straightforward but endearing character with the unique quirks of early digital hardware.

FM synthesis became possible with later systems like the Sega Genesis, and the expanded sonic capabilities are common in modern chiptune in addition to the basic PSG sounds.

On top of that, early game consoles also included basic PCM samples for elements like percussion which can be heard across original soundtracks and modern chiptune songs.

Unique compositional style

Chiptune music is typically upbeat and energetic with catchy melodies and memorable chord progressions.

Since PSG hardware had limited polyphony, it was common for original chiptunes to highlight a single melodic line for the main melody.

Because polypony was also limited, composers used tricks like rapid arpeggiation to create the illusion of larger harmonic structures.

In combination with fast harmonic rhythm and active basslines, early game composers could make just three channels of audio feel immersive, engaging and complete.

The structure of chiptune tracks often includes looping sections that build in intensity like a player progressing through game levels.

Just like the retro game tracks they emulate, chiptunes also feature rudimentary PSG-style sound effects woven into the music itself.

As video games were gaining popularity around the world during this period, competing studios emerged in both Japan and the United States.

As a result, the influence of contemporary Japanese pop can be heard all over classic game soundtracks, reflecting trends such as the City Pop movement of the 70s and 80s.

Finally, the influence of today’ pop and electronic genres can be felt in modern chiptune as artists integrate recent trends into the chiptune style.

Retro gaming aesthetics

Chiptune music leans heavily on the aesthetic sense of retro gaming culture in addition to sound and composition style.

Chiptune artists often choose names associated with gaming terminology, and 8-bit graphics and visuals are common in chiptune album art and music videos.

How to get an authentic chiptune sound

With the basics out of the way, you’re probably wondering how to get vintage video game sounds to work with in your DAW.

There are a few different approaches, depending on how closely you want to mimic early game soundtracks.

For example, If you’re a purist looking for the exact sound of the original games, there are VSTs out there that emulate the sound hardware of specific systems like the NES or Sega Genesis.

If you go this route, you can also experiment with the production tools that some of the era’s game composers would have used.

DAW software didn’t exist when the first game consoles were created, so early game music was usually coded directly into the program during development.

While there’s no way to emulate this approach exactly, it’s possible to approximate later methods with programs known as trackers.

The term tracker dates back to the Ultimate Soundtracker program released for the Amiga computer in 1987.

Its unique style of sequencing caught on with early computer musicians and the format became popular for chiptune composition as technology developed into the 1990s.

But there’s no rule saying you have to use vintage-accurate PSG emulators or complicated trackers to make chiptune music.

We created the Chiptune Trilogy expansion for our BA-1 synth to give producers flexible modern tools that capture the authentic sound of the genre.

If you’re looking for a flexible softsynth with ready-to-use chiptune sounds, BA-1 and the Chiptune Trilogy will get you started right away.

How to produce chiptune

If you’re working in a regular DAW, producing Chiptune tracks is much like producing any other style of related electronic music.

Each producer has their own workflow and there’s no set method that will work for everyone to produce chiptune music.

That said, here are some general tips to help you get started

1. Start with a chord progression or a melodic hook

The best chiptune tracks recall the catchy earworm melodies and driving chord progressions of early game soundtracks

Take a basic saw or square wave preset like SYN Pulse from Professor Sakamoto’s Chiptune Legacy pack, and experiment until you find a nice hook or chord change.

If you need inspiration, listen to some chiptune compilations or original game music to get a sense of the vibe.

Plenty of common chord progressions are found in chiptune tracks, so you won’t need to learn any advanced music theory to get started.

Check out this video for an overview of common video game chord progressions.

2. Add an active melodic bassline

Basslines in chiptune music often act like an additional melodic voice that contrasts the main melody and adds rhythmic interest in the arrangement.

That might sound complicated, but all it means is a good chiptune bassline should feel active and propulsive as it supports the melody.

Pick a great bass sound like Monty’s Bass from Chiptune Futurism by LukHash and try to fill the space between chord changes with melodic lines, octave skips and stylish fills.

It might take some practice to come up with good ideas for busier bass lines, but it’s a fun way to compose once you have the hang of it.

3. Bring in sound effects, arpeggios, and percussion

Chiptune songs should feel like they could be the soundtrack to a real game from the classic era.

That means special effects and other soundtrack-style flourishes are essential for a convincing atmosphere.

As I mentioned above, the rapid arpeggio trick that was common in the 8-bit era is a great way to bring in some of that authentic flavor.

Thanks to BA-1’s onboard arpeggiator, the Chiptune Trilogy Expansion comes with plenty of readymade presets that use this technique.

Each pack in the BA-1 Chiptune Trilogy Expansion collection features a good selection SFX sounds and arps that work perfectly for retro game effects.

4. Get creative with your mix

While chiptune music relies on a palette of straightforward sounds, there’s no reason you can’t experiment when it comes to the mix.

A little extra 1980s flair can help elevate the feel of the track if you’re willing to go beyond the raw sound of the PSG chip.

Here at Baby Audio we love the sound of 80s production, with tools like Super VHS made capture the unique lo-fi flavor of retro videocassettes, TAIP for introducing analog saturation and Crystalline and Comeback Kid for vintage-style delay and reverb.

Our plugins are a great place to start if you’re looking for more tools to add convincing retro style and sound to chiptune tracks.

Chiptune forever

Chiptune music began during a brief phase in video game history, but it never stopped innovating with the raw materials that inspired it.

The genre’s popularity today points to the enduring charm and creativity that kicked off gaming culture as we know it today.

If you’re a fan of classic games and the music they contain, creating chiptune music is a great way to pay homage to the era.

If you’ve made it through this article, you’ll have a great start for creating your own chiptune tracks.

Digitally Controlled Oscillators: Why DCOs are the Key to Vintage Synth Sound

DCOs, or Digitally Controlled Oscillators, were a major milestone in synthesis technology.

They paved the way for the groundbreaking synthesizers that defined the sound of the 80s in music.

But the term might sound confusing if you haven’t heard it before. Are DCOs analog, or digital? Why are they so common in synths from the 80s and how do they contribute to the memorable sound of the era?

If you’re looking to capture authentic vintage synth sounds from the 80s and beyond, it’s important to understand what DCOs are and the role they played in the development of music technology.

In this article, I’ll break down everything you need to know about DCOs and how they contribute to the sound of your favorite synths of the analog era.

Let’s get started.

What is a DCO?

A DCO is a synthesizer oscillator that functions as a basic building block for subtractive synthesis in hardware instruments.

The term DCO stands for ‘digitally controlled oscillator,’ in reference to the earlier VCO, or ‘voltage controlled oscillator.’

Just like a traditional synth oscillator, the sound generated by a DCO remains completely analog. The only digital element is the control signal used to keep the oscillator’s frequency consistent.

Since early VCO designs had persistent issues with tuning stability, the arrival of DCO technology enabled new possibilities in synth design.

DCOs are notable for ushering in a new generation of synths in the 1980s, including classics like the Roland Juno series, the Korg Poly61, the Oberheim Matrix 6 and many others.

In addition to these beloved 80s synths, DCOs can be found in modern synths such as the Dave Smith/Sequential Prophet ‘08.

Why use digitally controlled oscillators?

With the definitions out of the way, what are the core differences between DCOs and their predecessors, and why did DCOs replace VCOs in the 1980s?

The answer lies in the progression of synth technology toward modern polyphonic analog synthesizers.

The first synthesizers were massive modular systems, far larger than today’s Eurorack setups.

These systems included the familiar elements we’d recognize today, but they weren’t patched by default in a standard configuration.

The common prepatched signal chain of an oscillator followed by a filter and envelope-controlled amplifier wouldn’t emerge until the mid-70s.

But even then after the basic signal flow became fixed, portable instruments of this era still had a problem.

Their oscillators would fluctuate in pitch depending on temperature, transport conditions and how long they had been powered on. This presented major issues for touring artists that wanted to bring synthesizers on the road.

With the advent of digital technology in the early 80s, clever engineers were able to solve the tuning issue without completely redesigning the oscillators that provided the core sound of their synths.

This meant roadworthy polyphonic instruments could finally be produced for a price gigging musicians could afford, leading to the explosion of DCO-based synths I mentioned above.

DCOs vs. VCOs

Though DCOs proved an effective solution to the tuning stability problems of the late 70s, modern components can produce pure analog VCOs that hold their tuning well.

While they’re typically more expensive than DCOs or other oscillator designs, some vintage purists prefer synths with fully analog topology.

And though the sonic differences between the two are subtle, DCOs have their own vintage pedigree that lovers of 80s-style synth sounds will recognize.

But if you’re still confused, here’s a basic breakdown of the differences between VCOs and DCOs.

VCO:

• Fully analog, including rate clocking

• Found on older vintage synths and modern boutique analog synths

• Older designs can suffer from pitch fluctuation and tuning issues

• Costlier to implement effectively

DCO:

• Analog signal, digital control

• Found on synths from the 80s to today

• Very good pitch stability

• Can be produced cheaply, so often used for feature-rich polysynths and prosumer analog gear

How do DCOs work?

So if the signal generated by the DCO is still analog, where does the digital part come in?

Analog oscillators can be a bit hard to understand if you don’t have a background in electronics.

But the basic mechanism is that a capacitor gets charged up, discharged and charged up again in a predictable pattern.

The changes in voltage over time create a periodic wave that we hear as an audio signal when it gets amplified by a VCA.

In this model, a slow increase in the capacitor’s charge creates a rising initial phase of the waveform, followed by an abrupt drop when the voltage is reset before rising again.

This creates a waveform sometimes called a ‘ramp’ but more commonly known as a sawtooth wave.

The oscillator tuning problem arises from the analog circuit that tells the capacitor when to discharge and restart the ramp.

Even minor inconsistencies in the timing of the discharge can lead to fluctuations in the frequency of the oscillator’s output signal.

DCOs work by digitizing the reset pulse used to trigger the capacitor to discharge inside the oscillator circuit.

The result is a fully analog audio signal that’s kept in tune by the unwavering digital control pulse.

How to get authentic DCO-style sound in your DAW

With so many vintage instruments that depend on DCOs, you might be wondering what it takes to get their authentic sound in your DAW.

Luckily, emulating DCOs in software can be very convincing if you choose the right plugin.

We built our BA-1 synth to give you the best of the 80s in synthesis, right at your fingertips.

From accurate vintage-modeled oscillators to a juicy resonant filter, BA-1 is a simple yet powerful synth plugin with plenty of retro character.

Watch Alex break down the key features of BA-1 and demonstrate its capability for 80s-style synth magic:

While the initial design took inspiration from a DCO-based portable synth from the 80s, we went way beyond the original’s capabilities to make it an ideal analog-style synth for the modern producer.

Digital oscillator control

Most synth enthusiasts agree that analog oscillators offer something special.

But DCOs are one of the best examples of analog and digital working together to enhance the properties of both technologies.

When it comes to subtractive synthesis, your starting waveform is like the marble from which you’ll sculpt your masterpiece.

It’s worth it to start with the right material!

Now that you know the basics of DCOs, you’ll have a solid foundation for how they affect the most important factors in synthesis and sound design.