Synthesizers

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.

Rather than rack up their recent flagship Virus Indigo, Access have made the Virus Rack a lower-spec version at a keen price. Gordon Reid considers whether this Virus is still infectious...

Not every old analogue synth can be a classic. Gordon Reid reflects on one that is not desirable, probably won't appreciate and, in many analogue enthusiasts' opinions, does not deserve to be hunted down - except, perhaps, to be put out of its misery!

Having explained last month the reasons why analogue synthesis of guitar sounds should be well-nigh impossible, Gordon Reid puts the theory to the test...

In the second instalment of this two-part retro, Gordon Reid recalls FM's finest hour, and describes the heyday of what was perhaps the most successful family of synthesizers ever developed.

In these days of virtual instruments and fully featured software sequencers, why should you even consider spending £2000 on a cumbersome hardware synth workstation? If the workstation is as well thought-out as Yamaha's new Motif, perhaps you should.

Having dealt exhaustively with the mechanics of brass instruments and how to go about synthesizing them, we turn to instruments that use plucked strings to generate their sound, taking the complexities of the acoustic guitar as an example.

In these days of flash-upgradeable operating systems, it's easy to forget that a free OS tweak can give your synth completely new features.

Gordon Reid concludes his attempts to adapt an idealised analogue brass patch so that it can be programmed on real synths. This month, he looks at the Roland SH101 and ARP Axxe.

If the Crumar Spirit is one of the best analogue monosynths the world has ever known, how come you've never heard of it? Gordon Reid explains...

Last month we looked at how analogue modules can reproduce the sound of a real trumpet. All very well if you own a wall-sized modular system — but what if your means are more limited? Gordon Reid adapts theory to practice with a Minimoog.

Originally planned as a limited edition, the 37-note Virus Indigo virtual analogue keyboard synth surprised even its makers - demand ran so high that it became a separate product. Gordon Reid considers the newest strain of this retro Virus, and the latest v4 OS software revision.

Roland followed their first MC303 Groovebox with the well-specified MC505. Now there's the MC307, with a spec more like the 505, a price closer to that of the 303, and more DJ-friendly features.

Gordon Reid builds on the acoustic theory of wind and brass instruments he introduced last month, and explains how to produce a convincing analogue trumpet sound.

The SPV355, launched in the late '70s, was intended to allow the pitch of instruments such as guitars and saxophones to control analogue synth sounds — which it does with varying degrees of success. Fortunately, it has other tricks up its sleeve, as Chris Carter explains.