SOPHIE often talked about synthesis in physical terms.
Rather than asking how to imitate a conventional instrument, the producer thought about materials: bubbles, latex, metal, liquid, plastic. Sounds could behave as though they possessed weight, elasticity, friction or surface.
That approach is part of why tracks such as “BIPP,” “LEMONADE” and “HARD” still sound so distinctive. Much of the percussion does not convincingly resemble acoustic percussion at all. It suggests imaginary objects being squeezed, struck, stretched or shattered.
SOPHIE’s brother and studio engineer Ben Long later described the same way of working: sounds would be discussed in terms such as needing more fizz or more bubbles. He also noted that SOPHIE preferred working deeply with a relatively small set of tools rather than endlessly collecting plug-ins.
That seems important.
Synthesis is often taught as reconstruction.
Here is how to synthesise a kick.
Here is how to synthesise brass.
Here is how to reproduce a bass guitar.
SOPHIE’s work points toward a more interesting question.
What if the object producing the sound has never existed?
Then synthesis becomes almost sculptural.
You are not reproducing reality.
You are deciding what an impossible material would sound like if somebody hit it.
