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Synthesizers

  • 7256
    Modal Cobalt 8, Cobalt 8m & Cobalt 8x

    Sound Modules

  • 8198

    Synthesis / Sound Design

  • 8106

    Synth Secrets

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    The Secret Of The Big Red Button

    Synth Secrets

    After more than five years, Synth Secrets reaches its conclusion (and conclusions!). Will we ever look at synthesis in quite the same way again?

    Techniques Jul 2004
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    More Creative Synthesis With Delays

    Synth Secrets

    In the penultimate instalment of this long-running series, we delve deeper into what can be achieved with just a few delays and some creative routing...

    Techniques Jun 2004
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    Creative Synthesis With Yamaha XG (Part 3)

    XG Masterclass

    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.

    Techniques Jun 2004
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    Creative Synthesis With Yamaha XG (Part 2)

    XG Masterclass

    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!

    Techniques May 2004
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    Creative Synthesis With Delays

    Synth Secrets

    Effects can play just as important a role in sound creation as the elements in a synth's signal path — provided you have access to their constituent parts. We take a closer look at effects synthesis using simple delays.

    Techniques May 2004
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    From Analogue To Digital Effects

    Synth Secrets

    When synthesizing sounds, the effects you place after your synth's output are often as important as the synth itself (just think of last month's Leslie). As we near the end of Synth Secrets, we consider how a digital effects processor works.

    Techniques Apr 2004
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    Creative Synthesis With Yamaha XG (Part 1)

    XG Masterclass

    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.

    Techniques Apr 2004
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    Synthesizing The Rest Of The Hammond Organ: Part 2

    Synth Secrets

    We conclude our analysis of the fabulously complex beast that is the Leslie rotary speaker.

    Techniques Mar 2004
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    Synthesizing The Rest Of The Hammond Organ: Part 1

    Synth Secrets

    As with so much surrounding the Hammond organ, there's much more to the Leslie rotary speaker than meets the eye, and synthesizing its effects involves considerably more than just adding vibrato, as we find out in this installment.

    Techniques Feb 2004
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    Roland XV & JV Power User Tips: Part 4

    Programming Masterclass

    In the final part of our series on Roland's family of sound modules, we show you how the more advanced synthesis parameters can breathe life into your patches.

    Techniques Feb 2004
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    Roland XV & JV Power User Tips: Part 3

    Programming Masterclass

    We show you how to edit and save your synth's Patches, and help you maximise the effects potential of your multitimbral setups. Plus there's advice on troubleshooting thorny panning problems, and tips on automating levels without changing your individual sounds.

    Techniques Jan 2004
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    Synthesizing Hammond Organ Effects

    Synth Secrets

    So, you can synthesize a Hammond's tonewheel generator -- but what about its all-important effects? This month, we look at recreating the Hammond's percussion, vibrato, overdrive, and reverb -- and find that it's harder than you might think...

    Techniques Jan 2004
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    Roland XV & JV Power User Tips: Part 2

    Programming Masterclass

    We untangle the intricacies of the XV file system, as well as track down some useful software utilities and web sites for Roland synth users.

    Techniques Dec 2003
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    Synthesizing Tonewheel Organs: Part 2

    Synth Secrets

    If you followed last month's advice, you'll know how to synthesize a basic Hammond tone on a Roland Juno 6. But can the same technique be applied to any other synth?

    Techniques Dec 2003
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    Roland XV & JV Power User Tips: Part 1

    Programming Masterclass

    Ubiquitous though Roland's long-lived range of sound modules appear to be, not many users get the best out of the vast synthesis and processing potential they offer. So here's how to coax circus-pony tricks out of your studio workhorse.

    Techniques Nov 2003
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    Synthesizing Tonewheel Organs: Part 1

    Synth Secrets

    Long before Bob Moog built his first synth, there was the Hammond tonewheel organ; effectively an additive synthesizer, albeit electro-mechanical rather than electronic. So emulating a Hammond with an analogue synth shouldn't be too hard, right? Well...

    Techniques Nov 2003
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    Practical Flute Synthesis

    Synth Secrets

    As we saw last month, there's much to synthesizing a convincing flute sound — and yet basic analogue monosynths have offered reasonable flute patches for 30 years. Surely the process can be simplified?

    Techniques Oct 2003
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    Synthesizing Simple Flutes

    Synth Secrets

    The Monty Python team once famously claimed that being able to play the flute was a simple matter of 'blowing here, and moving your hands up and down here'. But there's a lot more to it than that...

    Techniques Sep 2003
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    Synthesizing Pan Pipes

    Synth Secrets

    The characteristic sound of flute-like instruments is complex — but fortunately not so complex that it can't be emulated fairly successfully with a synthesizer...

    Techniques Aug 2003
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    Articulation & Bowed-string Synthesis

    Synth Secrets

    The skilful articulation of a synthesized string patch can improve it no end, even one created using very basic building blocks, as we saw at the end of last month. But we can take this approach much further...

    Techniques Jul 2003
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    Practical Bowed-string Synthesis (continued)

    Synth Secrets

    After putting all our bowed-string synthesis theory into practice on a Korg 700 last month, we found that the result was only acceptable as a string sound with a lot of wishful thinking. Can we improve on it?

    Techniques Jun 2003

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