Synthesizers

Few people would deny that there's nothing like a real acoustic piano — but they're not always the most practical of instruments. Paul Ward looks at an electronic alternative that could be the answer.

Expandable and user-friendly, Ensoniq's new synth module favours preset sounds and effects over editing and programming options. Julian Colebeck asks how the Mr Rack stacks up.

Michael Anthony takes us back to the mid-eighties, when MIDI was in pre-school playgroup, and manufacturers built synths that couldn't decide if they were analogue, digital, or both...

A monosynth that doesn't cost monopoly money? Paul Nagle thinks Waldorf's new Pulse offers the most fun you can have with your presets off...

Paul White checks out the successor to his beloved D4 and ends up casting sidelong glances at his cheque book.

We try out Akai's first synth in absolutely ages — and discover a monster in sheep's clothing.

The Godfather of German electronic music, Klaus Schulze favoured an all-digital approach to recording the '80s. The last few years, however, have seen a radical revision of his former philosophy. Paul Tingen meets the man for whom old working habits die hard...

Drawing on their experience of home keyboard and MIDI data filer manufacture, Italian company Viscount have created the MF01, a combined data filer and GM module. Andy Davies gives it a spin...

Emu's Sound Engine is the first dedicated General MIDI module from the USA. Derek Johnson explores GM the American way.

Following on from last year's modular MSR2 synth, Marion Systems' new stand-alone Pro Synth seeks to capture the analogue sounds of yesteryear in module format, without recourse to sample-based synthesis techniques. Paul Nagle lends an ear.

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

Paul White bolts Roland's new range of synth expander modules into his rack, seats himself in the comfy chair, then switches it on.

It's not a new synth — it's seven! Korg's amazing new Prophecy offers analogue and FM synthesis, and physical modelling, and still costs under £1000. Unsurprisingly, SOS staff have been dying to review one ever since it was unveiled at this year's Frankfurt Musik Messe. Lucky man Gordon Reid won the toss...

Offering evolution not revolution, the feature-laden K2500R packs one heck of a sonic punch. Paul Ward remains impressed...

Long-term K2000 user Paul Ward gets to grips with the latest in Kurzweil's line of groundbreaking synths for just long enough to produce this hands-on preview...

Having nearly made it in the '80s with an awesome sound on a par with Trevor Horn's productions, UK electronic music stalwart Mark Shreeve is back, with his sights set on Hollywood. Jonathan Miller discusses vintage gear, multi-million pound albums, and Samantha Fox.

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.

Two of Yamaha's most recent products, the MU50 synth module and the CBX-K1 mini keyboard, are designed to compliment each other as the nucleus of a budget, GM-compatible music-making setup.. Paul Nagle evaluates the pair, and considers the potentially confusing role of Yamaha's XG MIDI format...

Paul Nagle takes home a version 2.0 Microwave and discovers why this extraordinary instrument continues to enjoy such a long and illustrious life.

Vintage synth collector and self-confessed Korg fanatic Alex Clarke waxes extremely lyrical about the early '80s Trident — a hybrid of polysynth and string machine.

Novation have squeezed the innards of their successful BassStation analogue bass synth into a 1U rackmount model, throwing in some handy new features along the way. Jonathan Miller gets lost in bass...