Synthesizers

Novation's latest synth is a more affordable 'laptop' version of their powerful Supernova, which capitalises on its user-friendly front panel while adding the ability to process external audio signals. Simon Trask discovers new life in the synth universe...

Under hypnosis, Paul Wiffen regresses to an earlier life when he was involved in the development and marketing of what is now regarded as a British classic.

Designing analogue circuitry to recreate drum sounds is nothing new, but Analogue Solutions have gone one stage further with their Concussor system — it's modular, making it probably the world's first commercially available dedicated modular percussion synth. Gordon Reid can scarcely control his voltages...

Some people rage against GM food: hi-tech musicians on the other hand, rage against GM synths. But how justified is their hostility? Nicholas Rowland takes on Korg's latest black box...

Having dealt last month with the concepts of envelopes, oscillators and LFOs, Gordon Reid moves on to the subject of filters, and the havoc they wreak on the signals that pass through them.

Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.

Jomox's Xbase 09 was a clever and eye-catching modern alternative to an expensive vintage Roland TR909 drum machine. Now the Xbase sounds, plus more, are back, in a rackmount module designed for those who prefer to program drum patterns using their own sequencer. Chris Carter airs a few opinions.

Recognising that there are millions of synth-hungry guitarists out there, manufacturers have been trying for years to develop products which would appeal to them. Norm Leete traces the history of Roland's innovative GR range of guitar synths and controllers.

Swiss synth manufacturers Spectral Audio continue their journey into retro space with a new analogue monosynth, the Neptune. Sam Inglis finds out if it's out of this world.

We move on from discussing the harmonic components of sound to explaining how they change over time, and some of the tools subtractive synths give you to emulate this process.

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...

dsTEC's eye-catching new analogue mono is bad — but in a good way. Chris Carter reaps the wages of Syn.

In Part 1 we explained how the tones of most real instruments can be reduced to patterns of harmonics, which can be generated using sine, saw, square or pulse waveforms. This month, we consider the sonic raw materials needed to imitate unpitched percussion.

Korg's Trinity workstation has, like their earlier instruments, become virtually an industry standard — but far from resting on their laurels, the company have upped the ante still further with the new Triton. Derek Johnson and Debbie Poyser provide an exclusive hands-on review.

The theremin is one of the oldest electric instruments around, and its distinctive sound is instantly recognisable. However, real ones are hard to find, and even harder to play. Sam Inglis tries to work out a way of cheating.

Even the mightiest keyboard players have to start somewhere and quite a few started with Korg's diminutive MS10 patchable monosynth.

If you were offered a Roland JV2080, complete with Session expansion card and software editor, for around half the price of a JV1080, you'd probably wonder what the catch was. OK, so the JV1010 isn't quite that, but it comes surprisingly close...

The latest addition to Alesis's DM series of drum modules has the suffix Pro — but does it have the feature‑set to match?

How to find this classic multi-part 'synthesis explained' tutorial series on the current Sound On Sound site.

In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?

Most US synthesizer manufacturers followed the now all-too-familiar corporate history of rapid growth in the 1970s followed by acrimonious dissolution in the 1980s. What happened to Octave, however, was a little different...