Synthesizers And Design:A Musical Perspective On User Interfaces.

On September 29th of the year 1920 the Joseph Horne department store in Pittsburg released to the public what would later become one of the first major consumer products: the radio receiver. These new gadgets–which could pick up radio signals transmitted by local broadcasting stations–forever changed the world as we know it. It was a simple box with a few wires and earpieces, but the radio receiver allowed consumers to pick up and reproduce these signals in the comfort of their own homes. Simply put, the radio receiver became one of the first widely consumed and most notorious interfaces.

An Interface is defined as a point where two systems, subjects, organizations, etc. meet and interact. In the case of the radio receiver, it was the point in which radio signals that were being broadcasted and those who wanted to listen to them met. Nowadays we are used to hearing the term user interface (UI) in relation to most of our digital products like websites or mobile applications, to mention a few. However, UI includes “any method or means by which the end-user of a product interacts with, or controls, a product, software or hardware device.”

Most of the products we use daily, from a microwave to our mobile phones, have an interface. As technology advances and products become increasingly complex, the purpose of the interface is to make our interactions with said products easier and straightforward. A good example of a constantly evolving technological field in which interfaces are fundamental is music.

Back in the day you needed to go to a music studio to make an album. Nowadays a computer equipped with music production software and an audio interface is enough. An audio interface, as the name suggests, allows audio sources to communicate and interact with a digital platform. In other words, if I want to record my electric guitar I need an interface that will allow me to plug it into the computer and that will also convert its audio signal into an audio wave that my preferred platform can accept.

Now, the audio interface itself has a user interface as well! The knobs and buttons in the front panel of the audio interface are labeled with clear and simple fonts, and in the case of the Focusrite Scarlett 2i2, different colors give you specific information. When I play my guitar, a healthy signal will light up in green around the gain knob, and a signal that is too strong, clipping or distorted will light up in red. The spacing and size of the buttons is adequate and organized. For example, the monitor knob is used all the time and it’s the easiest to see and grab when in a recording session. I love the simplicity of it. It allows me to get to work quickly without thinking too much about the tool that I am using.

Another tool that I use extensively is synthesizers. A synthesizer or synth, as we usually call them in the music world, is an electronic musical instrument that generates audio signals. In subtractive synthesis we sculpt those audio waves using filters, low frequency oscillators, and other resources. We sculpt these audio signals through switching, pressing, and turning knobs and buttons on the user interface of each instrument.

One of my all-time favorite synths is the Roland Juno 106. Since its release to the public in 1984, it’s been used by many iconic artists such as Depeche Mode, Pet Shop Boys, Cabaret Voltaire, The Human League, The Chemical Brothers, Daft Punk, Tame Impala and many more. Its impact and influence has made it a prized possession in the vintage market and a still-very-relevant instrument if you manage to get your hands on one of them, that is.

The front panel is vibrant and colorful with a mix of reds, blues, and yellows that is characteristic of its time. A sans-serif typeface makes everything on the panel crisp and clear allowing the musician to find what they need quickly. The components, such as the LFO, DCO, VCF, and the rest have their own space which, at least for me, makes it very easy to know what you are working on at a specific time. Another striking feature of the Juno 106 is the horizontal lines that mark the range of the slider knobs that are almost reminiscent–or even a distant dream–of Dieter Rams’ radio designs for Braun. Nowadays, all of these design features, and how the synth actually sounds of course, evoke and capture the nostalgic feeling for an era of wonder and magic in music. And c’mon, it looks incredible. However, as one of my colleagues at Raxo’s design department points out, the design choices made for the user interface of this synth are intended to prioritize the functionality of the instrument.

Subtractive synthesis can be very complicated but the Juno 106’s simple and accessible layout provides immediate access into this fascinating world. When I was finally able to get a Juno 106 I was impressed with its simplicity. Everything you need to create memorable sounds is available and ready right in front of you. No menu diving or complicated routings. It doesn’t have more or less than what it needs and the sounds it produces are incredible.

There are many debates about these instruments in the music community. They are expensive, old, difficult to maintain, temperamental, scarce, and many even say they are overrated and limiting. All of these things might be true. However, beyond the obvious hype that these synths still have, I like what it inspires in me when I use it. The user interface draws me in while it also stays out of the way. The typography is clear and the use of color helps me stay organized. White buttons are for regular functions such as selecting, or on/off of features; orange buttons deal with special functions such as transposing or choosing a chorus option; and blue buttons control patches and presets. I always feel comfortable when in front of a Juno 106 and it undoubtedly influences the music I make with it.

Another synth that I am familiar with is the more modern Prophet Rev 2 by Dave Smith Instruments released in 2017. It is actually the synthesizer I learned on. The learning curve is pretty steep so it took a while but once I knew what was what, the once-complicated user interface started making sense. This instrument has many options in terms of modulation and sound sculpting. It is indeed, a beast of a synth. And even when we can call it more advanced than the Juno, they both share many of the same elements.

The Rev 2 also uses a sans-serif typeface. These fonts are characterized by their clarity and readability. In the case of the Rev 2, where you have so much typography of different sizes and close together, a sans-serif is a good choice because of the clarity it maintains even at small sizes. There is no color like in the Juno 106, but the white on black design retains some sort of simplicity within the chaos that works for me. Another thing that I like about the user interface is the use of boxes to isolate components or modules of the synth such as the Low-Frequency-Oscillators, Arpeggiator, Amplifier, and more. Without those boxes, it would be overwhelming to keep track of my workflow when designing sounds. There are many more functions that involve a little bit of menu diving, which is not great, but I rarely find myself doing that when using it in the studio or performing. As with the Juno 106, what’s in front of me is what I almost always need.

These are both great instruments and they excel in different ways. I love how the Rev 2 is a modern synth but still retains some vintage vibes. I like using it because it allows me to achieve most of the things I can in the Juno 106, but it is 100% reliable in any performance or recording situation. The Juno 106, not that much. However, I use both because I connect differently to each one. The Juno 106’s design and sound always takes me on a nostalgic journey, and that feeling informs my playing. The Rev 2’s design and sound affect me in a different way. It is a workhorse of a machine that is reliable, multifunctional and almost serious and in those terms it informs my thought process. I find myself playing lush, retro and vibrant ‘Flashdance’ style chord changes in the Juno 106, while when using the Rev 2 I go for arpeggiated sequences or harsh and brass-like tones.

As a musical artist devoted to creating music I engage better with instruments that (1) I can adjust and manipulate with my hands, (2) that allow me to do this in a clear and simple way, and (3) that are visually appealing. When those elements are right, the instrument is at the service of my creative intent, not an obstacle in my way. As a result, creative flow, and thinking-in-action ensue. And that is possible because of design.