Synthesist Ian Boddy steps back in time to report on the classic British sound machine, regularly found haunting the electronic music departments of many a university, and a recent addition to the author's own sonic armoury.
In an age of ever-growing polyphony, Studio Electronics, best known for their vintage synth rebuilds, have returned to first principles — to create the first analogue monosynth for almost a decade. Minimoog owner Nick Magnus finds out how this MIDI-equipped modern classic measures up to its vintage forbears.
In an age of ever‑growing polyphony, Studio Electronics, best known for their vintage synth rebuilds, have returned to first principles — to create the first analogue monosynth for almost a decade. So how does this MIDI‑equipped modern classic measure up to its vintage forbears?
A parametric EQ might seem like a bit of a peripheral purchase, but with its flexibility and fine control, it has a host of creative and corrective applications in the studio. Tascam's 4-channel PE40 scores for value, but how does it perform? Paul White finds out.
Make your digital synth put on an analogue hat. Does the current passion for analogue mean you have to put your digital synth back in its box and track down an analogue instrument? Not if Nick Magnus has anything to do with it!
Though now discontinued, the K1 and its modular cousins enjoy continuing popularity on the second hand market. Setting this synth up for multitimbral sequencer use is straightforward — when you know how.
The oft-neglected other half of New Order bounce back into the limelight with a joint album of particular charm. Nigel Humberstone tracks down Gillian Gilbert and Stephen Morris to talk about their working methods, their home studio, and their contribution to the growing EC gear mountain.
Most major record companies are now involved in manufacturing hardware as well as signing bands and this, says producer Tony Platt, is causing a huge conflict of interest. Can these two diametrically opposed aims be reconciled?
Toyah's first pop album for several years, Leap, was recorded not in an expensive commercial studio, but in the type of home recording environment with which many SOS readers will be intimately familiar, as Paul White discovers.
Will Mowat's career to date looks like a musician's dream come true. A routine programming assignment turned into full membership of Soul II Soul; now he's working with Godfather of Soul James Brown and producing a new album for rising African star Angelique Kidjo. Richard Buskin talks to Will about his approach.