Synthesizers

In May 1983, the world of synthesizers and electronic music as we knew it would change forever with the launch of the Yamaha DX7.

Back in November 2020 Don Lewis discussed his time programming the Yamaha DX7’s factory sounds. In the wake of Don’s passing, we decided to publish this excerpt and put on record his important contribution to this iconic synth.

In a rare interview, legendary composer Vangelis shares his thoughts on the role of synthesizers in music — including his beloved Yamaha CS80.

In this final instalment of our series of XG programming tips, we take a look at how the advanced modulation parameters can bring your layered sounds to life.

Layering voices is one of the best ways to maximise the potential of your XG sound module, so here are a variety of ingenious ways you can use this technique — you can even turn your synth into a high-spec step sequencer!

There are lots of XG-format synthesizers in home studios, but their General MIDI heritage discourages many owners from using them. However, there's life in your XG module yet if you're willing to explore its hidden depths.

Gordon Reid embarks on a journey to synthesize convincing woodwind and brass. This month, he considers how these instruments make their sounds in real life.

Ever heard a synth talk? If you have, it's due to formant synthesis. Gordon Reid explores the theory of analogue formant synthesis, how it relates to the human voice and modern digital synths like Yamaha's FS1R.

Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.

As explained last month, audio-frequency modulation of the amplitude of a signal can be a powerful synthesis tool. The possibilities expand still further when we consider what happens when you use one audio-frequency signal to modulate the frequency of another...

Last time, we examined the concept of modulation at low frequencies. This month, we speed things up a bit. The result is not just faster versions of the same modulation effects, but a new type of synthesis...

In the penultimate part of his series on synthesizer technology, Paul Wiffen turns his attention to the problem of emulating acoustic instruments in which the sound is produced by a string or reed, and amplified and modified by the body of the instrument.