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| Moog Voyager Old School |
Reviews : Keyboard |
December 2008 |
Analogue Synthesizer The Voyager Old School sees Moog returning to their roots, but is there a place for an all-analogue, 1970s-style synth in the 21st century?
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| SYNTH SCHOOL |
Technique |
October 1998 |
| Synth School: Part 12: The Way Ahead Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.
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| SYNTH SCHOOL |
Technique |
September 1998 |
| Synth School: Part 11: Modelling Strings & Wind Instruments In the penultimate part of his series on synthesizer technology, Paul Wiffen turns his attention to the problem of emulating acoustic instruments in which the sound is produced by a string or reed, and amplified and modified by the body of the instrument.
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| SYNTH SCHOOL |
Technique |
August 1998 |
| Synth School: Part 10: Modelling Electric Instruments Part 10: Last month, Paul Wiffen looked at how virtual synthesis can emulate analogue synths whilst going beyond their hardware-based limitation. Now he looks at its applications for imitating and exceeding older instruments such as electric piano and organ.
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| SYNTH SCHOOL |
Technique |
July 1998 |
| Synth School: Part 9: The Imitation Of Analogue Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.
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| SYNTH SCHOOL |
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June 1998 |
| Synth School: Part 8: Wave Sequencing To Z-Plane Synthesis Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.
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| SYNTH SCHOOL |
Technique |
April 1998 |
| Part 7: Transitional Synthesis Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.
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| SYNTH SCHOOL |
Technique |
February 1998 |
| Synth School: Part 6: Building On PCM - The Next Generations Part 6: The ball of S&S synthesis had been thrown, and most of the big names in synthesis caught it and ran with it, scoring some notable goals in the process. Paul Wiffen continues his chronicle of modern synthesis with a look at the state of play from the late '80s to the present day.
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| SYNTH SCHOOL |
Technique |
December 1997 |
| Synth School: Part 5: The Origins Of S&S At the January NAMM show in 1987, Roland launched their D50, which mixed synthesis and sampled sounds in one package, a compbination which has remained popular to the current day. Paul Wiffen examines how S&S evolved into the most widespread form of sound generation on the market.
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| SYNTH SCHOOL |
Technique |
October 1997 |
| Synth School: Part 4: Additive Synthesis Throughout the '80s, additive synthesis was the Holy Grail for synth purists; many machines aspired to it, but only one achieved it successfully. Paul Wiffen explains how additive works and looks at the various implementations, including the newly updated Kawai version.
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| SYNTH SCHOOL: Part 3 |
Technique |
September 1997 |
| Synth School: Part 3: Digital Synthesis - FM, PD & VPM Having completed his study of analogue synthesis last month, Paul Wiffen takes a look at FM and its related digital synthesis types, which rocked the synth world throughout the 1980s.
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| SYNTH SCHOOL: Part 2 |
Technique |
August 1997 |
| Synth School: Part 2: Resonance, Envelopes & Routing This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.
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| SYNTH SCHOOL: Part 1 |
Technique |
June 1997 |
| Synth School: Part 1: Analogue Oscillators, Filters And LFOs After all the political talk in recent years about a return to traditional values, Paul Wiffen kicks off a major new series on synth programming by arguing the Analogue Fundamentalist Party case - that an understanding of the basic elements of traditional analogue synths is essential to fully exploit the various types of synthesis available today.
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| HIGH-BRED HYBRID |
Reviews : Keyboard |
February 1996 |
| Roland JX3P Polysynth (Retro) Michael Anthony takes us back to the mid-eighties, when MIDI was in pre-school playgroup, and manufacturers built synths that couldn't decide if they were analogue, digital, or both...
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| GATEWAY'S SOUND ADVICE COLUMN » Not On Site |
Technique : Theory + Technical |
February 1987 |
| GATEWAY'S SOUND ADVICE COLUMN: Creative Gating; Synthetic Algebra The start of a regular column where members of the teaching staff of the Gateway School Of Recording & Music Technology answer readers' questions: Creative Gating; Synthetic Algebra
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| RECORDING ROUTES » Not On Site |
People + Opinion : Industry / Music Biz |
January 1986 |
| Gateway School Of Recording & Music Technology Aside from reading magazines and gaining hands-on experience, how else can you expand your skills and knowledge of modern recording/sound equipment? The answer is to attend a suitable course such as those taught at London's Gateway School of Recording & Music Technology. Ralph Denyer recently spent an enjoyable day with the staff of Gateway, during which the school's founder Dave Ward and their synthesis specialist Steve Howell outlines their teaching methods and the structure of the various courses they operate.
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