SOUND ON SOUND
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Modern synths are undeniably powerful, but for many users that power remains locked in by non-intuitive digital parameter access editing. Paul White and Paul Nagle check out a pair of knob-equipped hardware programmers that could reveal hidden depths for Microwave and Matrix 1000 owners.
When Channel 5 decided to re-do the music for their daily magazine show, Exclusive, Big George was asked to pitch for the job, and went about it in his usual idiosyncratic way...
Always eager to expand their experiences, Mainframe duo Murray Munro and John Malloy talk to Ian Gilby about the processes involved in the shooting of the promo video that accompanied their recent Polydor single release.
In all the fuss about last month's launch of the Triton keyboard, you'd be excused for having overlooked Korg's other new products — the diminutive Electribe EA1 synth and ER1 beatbox. As Chris Carter discovers, you won't be able to ignore them for long...
Terratec's EWS64 XL caused a stir in the world of soundcards last your by offering a built-in 64-note polyphonic sampler. The new XXL now adds the internal organs of Waldorf's classic Microwave XT synth. Martin Walker decides whether these impressive parts make a convincing whole.
With new sounds, a new operating system and a lower price, the QS6 looks set to attract its fair share of admirers. Rob Brady tickles the ivories...
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.
Yamaha's former sampling flagship, the A3000, represented a novel but very powerful approach to sampler design. The new A4000 and A5000, as Derek Johnson & Debbie Poyser report, maintain the distinctive design ethos, but should provide even stronger competition to the established names.
Analogue modular synths in the late '90s are something like the old bus joke — none for ages, then loads all at once. Chris Carter catches the latest arrival.
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.
It's not only the distinctive looks of the legendary Oberheim synth that the designers of OBMx have borrowed; they've also incorporated its legendary sound quality into a '90s MIDI synth made in the true analogue mould. Dave Crombie wonders if it's too good to be true...
Waldorf's dream machine is finally off the drawing board and in the real world, and looks sure to set synth players' hearts beating a little faster.
Paul Nagle concludes his look at Clavia's groundbreaking new Nord Modular.
As SOS enters its second century, we look back over the past 100 great issues and chart the changing face of hi-tech music.
Headlining the biggest electronic music festival in Europe was a US composer almost unknown in the UK. A contemporary of synth pioneer Don Buchla, Suzanne Ciani enjoys enourmous success in America, yet such recognition has eluded her so far this side of the Atlantic.
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.