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To make matters worse, the latest version of Vienna (2.40.60) removes access to the instrument and sample pools, making it very difficult to properly manage a SoundFont bank. Not to be confused with another SoundFont editor, Viena (one “n”), Creative Labs’ Vienna SoundFont Studio requires a supported sound card (specific cards by Creative Labs and E-MU) to run. I am aware of only two SoundFont editors that allow both A) editing modulators, and B) being able to hear the effect of the modulators. Alas, many SoundFonts today are nothing more than samples mapped to keys, with scant little in the way of actual sound programming. Most software SoundFont synths are not compatible with the 2.01 spec, and many aren’t compatible with any version of the spec! This has lead many SoundFont designers to code for the lowest common denominator. In addition, people haven’t really been using hardware SoundFont synths for a while now.

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Only the Sound Blaster Audigy, Audigy 2, X-Fi, and E-MU APS sound cards featured full SoundFont 2.01 functionality (to my knowledge). There are a number of reasons for this:Įarlier Sound Blaster sound cards (AWE32/64 and Live!) did not support SoundFont 2.01 modulators, so any SoundFont banks created using those sound cards do not make use of modulators. These modulators are actually very powerful, but few SoundFonts today make use of them.

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Using these modulators, a sound designer can determine exactly how note-on velocity affects note loudness or filter cutoff, map the mod wheel to control filter cutoff, crossfade samples, and much, much more.

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Supported at the time on Creative’s new Audigy series sound cards as well as pro audio hardware by E-MU, SoundFont version 2.01 added support for “modulators”, allowing different types of MIDI input (key velocity, key number, continuous controllers, etc.) to control any number of synth parameters. The SoundFont spec went through a few revisions at the hand of the format’s creator, Creative Labs, the most significant being version 2.01, introduced in 1998. A great many DAWs and audio plugins support the format, as well as programs such as DOS game emulators, notation software, and media players. The format has long been surpassed in features by the likes of SFZ and Kontakt, but yet, SoundFonts still persist. Over the years, SoundFonts have remained a pretty universal way of distributing sample-based instrument sounds. SoundFont technology was my introduction to virtual instrument design, and over the next several years, I continued working in this format, honing the skills that would eventually lead to my current job with Acoustica. I used to bring boxes of floppy disks to my piano lesson so that my teacher could let me use the university computer lab for downloading SoundFonts we didn’t yet have Internet at home. At that time, it was a brand-new technology only available on the Sound Blaster AWE32 PC sound card. I made my first SoundFont instrument in 1995.

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