SOUND ON SOUND
When synthesizing sounds, the effects you place after your synth's output are often as important as the synth itself (just think of last month's Leslie). As we near the end of Synth Secrets, we consider how a digital effects processor works.
We conclude our analysis of the fabulously complex beast that is the Leslie rotary speaker.
As with so much surrounding the Hammond organ, there's much more to the Leslie rotary speaker than meets the eye, and synthesizing its effects involves considerably more than just adding vibrato, as we find out in this installment.
So, you can synthesize a Hammond's tonewheel generator -- but what about its all-important effects? This month, we look at recreating the Hammond's percussion, vibrato, overdrive, and reverb -- and find that it's harder than you might think...
If you followed last month's advice, you'll know how to synthesize a basic Hammond tone on a Roland Juno 6. But can the same technique be applied to any other synth?
Long before Bob Moog built his first synth, there was the Hammond tonewheel organ; effectively an additive synthesizer, albeit electro-mechanical rather than electronic. So emulating a Hammond with an analogue synth shouldn't be too hard, right? Well...
As we saw last month, there's much to synthesizing a convincing flute sound — and yet basic analogue monosynths have offered reasonable flute patches for 30 years. Surely the process can be simplified?
The Monty Python team once famously claimed that being able to play the flute was a simple matter of 'blowing here, and moving your hands up and down here'. But there's a lot more to it than that...
What if an instrument could combine the realism of a sampler with the complete control over its sounds that only a true synth can offer? That's what the long-awaited Hartmann Neuron claims to do. We put it to the test...
Korg's CX3 digitally modelled combo organ went down a storm when we reviewed it some two years ago. Now it's time to find out if the dual-manual BX3 is twice as good.