Synthesizers

Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.

Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.

The ball of S&S synthesis had been thrown, and most of the big names in synthesis caught it and ran with it, scoring some notable goals in the process. Paul Wiffen continues his chronicle of modern synthesis with a look at the state of play from the late '80s to the present day.

Paul White finds a few ways around the restricted breath-control facilities of the Yamaha VL70m.

At the January NAMM show in 1987, Roland launched their D50, which mixed synthesis and sampled sounds in one package, a compbination which has remained popular to the current day. Paul Wiffen examines how S&S evolved into the most widespread form of sound generation on the market.

Throughout the '80s, additive synthesis was the Holy Grail for synth purists; many machines aspired to it, but only one achieved it successfully. Paul Wiffen explains how additive works and looks at the various implementations, including the newly updated Kawai version.

Having completed his study of analogue synthesis last month, Paul Wiffen takes a look at FM and its related digital synthesis types, which rocked the synth world throughout the 1980s.

This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.

After all the political talk in recent years about a return to traditional values, Paul Wiffen kicks off a major new series on synth programming by arguing the Analogue Fundamentalist Party case — that an understanding of the basic elements of traditional analogue synths is essential to fully exploit the various types of synthesis available today.

Paul Farrer looks at ways of using Proteus 2 samples to create a convincing orchestral arrangement.

In the first of a 2-Part series, Paul Farrer offers some hints and tips for improving the sounds you can coax from Emu's popular Proteus range.

24 tracks? Pah! How about a whopping 24 notes? Steve Howell concludes his series on the modular system of yore by taking a look at the somewhat capacitorially-challenged analogue sequencer...

Set the controls for the heart of the bass: Nick Magnus reveals just how low your digital synth can go...

Nick Magnus puts on his Indiana Jones hat and treks ever deeper into the heart of your digital synth. This month's Holy Grail is analogue brass.

Paul White offers a tip for boosting gain when recording your synths.

Nick Magnus continues his quest to emulate analogue sounds on digital instruments. This month, he shows you how to recreate analogue strings.

Though sound synthesis has a relatively short history, its progress has been rapid, with the result that the basic concepts of synthesis are now becoming lost in the mists of time — yet to effectively programme current synths, it really helps to know them.

Make your digital synth put on an analogue hat. Does the current passion for analogue mean you have to put your digital synth back in its box and track down an analogue instrument? Not if Nick Magnus has anything to do with it!

Though now discontinued, the K1 and its modular cousins enjoy continuing popularity on the second hand market. Setting this synth up for multitimbral sequencer use is straightforward — when you know how.