Synthesizers

The task of synthesizing convincing metallic percussion defeated many synth giants — you only need to listen to Kraftwerk's weedy cymbals on 'The Model' to be persuaded of that. So why is it so difficult? We find out...

The M3X is the first product from Macbeth Systems, the Scottish company founded by former DIY analogue synth enthusiast Ken McBeth. Will all turn out well, or is the M3X destined for a tragic end?

Novation seem to be on a roll. Scarcely had the monotimbral A-Station made the cover of our December 2001 issue, when news broke of a £500 keyboard version. We look at one of the first UK production models.

The Oberheim/Viscount OB•12 was already a well-specified virtual analogue synth when it was launched in 2000, but it failed to gain much of a following. Now, after an OS upgrade and a cut in price, it's seriously good value for money...

Combining strings, a monosynth, a bass synth and a polyphonic synthesizer, did ARP create the keyboard equivalent of 'Wash and Go', or a jack of all trades and master of none?

Last month, we revealed just how hideously complex the sound-producing mechanism of the snare drum can be. Nevertheless, synthesizing the sound is not as hard as it seems, as we find out with the aid of a Roland SH101...

If you thought synthesizing realistic bass drums was complex, that's nothing compared to snares. So how is it that the analogue snare sound is so well known? And how do you go about creating it? We find out...

Emu's synths may have broken no new ground since the 1999 launch of the Proteus 2000, but the new 2500 plays to their strengths, offering the best of their sound library, plus excellent sequencing and real-time control capabilities, at a very attractive price.

The pioneering Sonic 6 has a complex and intriguing background, featuring not only the synth industry's most famous name, Bob Moog, but also that of an unsung hero called Gene Zumcheck - a shadowy figure now, but one whose contribution to synthesis deserves acknowledgement.

Moving from last month's theoretical bass drum synth patch to its practical application on affordable analogue synths, we also take a look at how the world's most famous drum machines produce this fundamental rhythm sound.

One of the original pioneers of electronic music in Britain, David Vorhaus has remained at the cutting edge of the genre for over 30 years.

Korg's Triton has dominated the workstation synth market for several years, but the past 12 months have seen challenges to this position firstly from Yamaha, with their Motif, and now from Roland. Does this Fantom have what it takes?

The all-time best-selling synthesizer, Korg's M1 laid the groundwork for synths that followed. We go behind the scenes to reveal the secrets of its success.

Ever wanted to synthesize unpitched membranophones? No? Well, you might if you knew that bass and snare drums are of this percussion type. We show you how...

Building on the theory of what makes up the sound of timpani, this month's Synth Secrets reveals how to synthesize realistic kettle drums using a Korg MS20 and a Yamaha DX7.

Novation's new A-Station seeks to combine the compact styling of their BassStation Rack synths with some of the spec of the prestigious Supernova and Nova - and all for £399! Is it an inspired bit of cross-breeding, or a misbegotten mongrel?

Released last year as a web-only download from Rhizomatic, the ground-breaking Absynth is now part of Native Instruments' product line, and can be used as a VST instrument plug-in.

Synth Secrets turns its attention to the synthesis of percussion instruments, beginning with pitched drums.

Boasting one of the most intuitive methods of sound creation ever devised, 1986's Prophet VS was meant to be US synth giant Sequential's commercial saviour. Sadly, it didn't succeed - but it did earn itself the status of American Classic...

Emu's eye-catching new Command Stations repackage the sounds of their MP1 and XL1 sound modules, adding hands-on sequencing and real-time controls. Can the company win fans with these late entries to the groovebox market?

Having proved that subtractive synthesis of an acoustic guitar is completely impractical, Gordon Reid tries his hand at the electric variety, and deconstructs some past attempts to emulate the sound via analogue means.