Synthesizers

A new shape? A large LCD? Martin Russ finds out what Yamaha are up to with their latest expander, which aims to give GM compatibility ans a whole lot more...

Nick Magnus puts on his Indiana Jones hat and treks ever deeper into the heart of your digital synth. This month's Holy Grail is analogue brass.

GEM have upgraded, expanded and enhanced their S2 keyboard synth and crammed it into a 3U module. Devoted S2 owner Mike Simmons discovers what he might be missing out on...

Paul White offers a tip for boosting gain when recording your synths.

Nick Magnus continues his quest to emulate analogue sounds on digital instruments. This month, he shows you how to recreate analogue strings.

Though sound synthesis has a relatively short history, its progress has been rapid, with the result that the basic concepts of synthesis are now becoming lost in the mists of time — yet to effectively programme current synths, it really helps to know them.

Julian Colbeck sizes up the new offering from the prolific Korg camp, the latest to use the company's long-running A12 synthesis system. Is it just the same old stuff in the new box, or does the X3R have enough Unique Selling Points to justify its existence?

Derek Johnson waxes lyrical about a synth he wouldn't part with but is the cheapest he owns — Roland's last monosynth, the 1982-vintage SH101.

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?

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.

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.

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.

Greater reliance on hi-tech instruments in the studio means there's more demand for people able to programme them. Paul Gilby spoke first to Karin Clayton about her recently formed agency that supplies programmers for studio sessions, and then to Fairlight programmer Simon Lloyd about his work.