Having explained last month the reasons why analogue synthesis of guitar sounds should be well-nigh impossible, Gordon Reid puts the theory to the test...
Having dealt exhaustively with the mechanics of brass instruments and how to go about synthesizing them, we turn to instruments that use plucked strings to generate their sound, taking the complexities of the acoustic guitar as an example.
Although FM synthesis has its roots in the sixties, the instruments that popularised it were to dominate the synth scene of the eighties. Gordon Reid uncovers the origins of FM and charts its rise to fame from its unlikely beginings in academic research in the USA.
Gordon Reid concludes his attempts to adapt an idealised analogue brass patch so that it can be programmed on real synths. This month, he looks at the Roland SH101 and ARP Axxe.
Originally planned as a limited edition, the 37-note Virus Indigo virtual analogue keyboard synth surprised even its makers - demand ran so high that it became a separate product. Gordon Reid considers the newest strain of this retro Virus, and the latest v4 OS software revision.
Last month we looked at how analogue modules can reproduce the sound of a real trumpet. All very well if you own a wall-sized modular system — but what if your means are more limited? Gordon Reid adapts theory to practice with a Minimoog.
Gordon Reid builds on the acoustic theory of wind and brass instruments he introduced last month, and explains how to produce a convincing analogue trumpet sound.
Gordon Reid embarks on a journey to synthesize convincing woodwind and brass. This month, he considers how these instruments make their sounds in real life.
Looking like a star cruiser, or something from the film 2001 (rather than just the year), Alesis' Andromeda is the first analogue polysynth that approaches the complexity of a digital workstation. But does analogue necessarily equate to quality?