SOS's guide to the world of surround sound comes right up to date with the first of two looks at the modern 5.1 standard, and its use with DVD Video and DVD Audio discs.
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Synth Secrets turns its attention to the synthesis of percussion instruments, beginning with pitched drums.
Though a commercial failure in the 1970s, the Ambisonics surround sound system was technically flawless, and survives to...
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.
Hugh Robjohns continues SOS's series on surround sound with a detailed look at Dolby Pro Logic, the widely used surround system originally developed for use in the cinema, and considers how you might adapt your home recording setup to allow mixing in this format.
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...
Surround sound in one form or another has been a part of the film industry for many years, but the emergence of affordable digital technology has now pushed it into the domestic mainstream. Hugh Robjohns begins SOS's definitive guide to surround and its implications for the hi-tech musician.
We explain how to get the best practical results from equalisation by understanding the true frequency ranges of most instruments and voices.
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.
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.
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.
Gates are far more than just problem-solvers for reducing spill and noise. They can be used to add punch to drum sounds, put rhythmic interest into sustained parts or even as mixing automation.
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.
Paul White reveals that there's much more to gating than you might think.
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.
Onboard effects may seem like a relatively recent synth innovation, but even old modular synths offered analogue effects. Although they were basic, the freely patchable nature of modular synths allowed them to be used to create convincing acoustic instrument sounds — thus effectively physical modelling. Gordon Reid explains how.
This time, Gordon Reid explains how various analogue synth manufacturers attempted to create workable polyphonic synths by employing digital technology.
Having explored the way monophonic and duophonic analogue keyboards work, Gordon Reid puts away his Minimoog and Odyssey and descends into the complex world of polyphonic synths to a flourish of complex jazz chords.