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Keyboard - Articles
Aug 80 - Jul 98
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Basic SynthesisIssuePage
A Painless Introduction to Oscillator Pitch ControlJan 8471
An Envelope By Any Other NameDec 8476
Attenuators, More or LessNov 8383
Envelopes 101: Postmen and Roller CoastersNov 8478
Esoteric Envelope FunctionsApr 8580
The Five Faces of Filter FeedbackJul 8470
Fun with FiltersMay 8471
Ins, Outs, & Modulation AttenuationOct 8371
Learning the LingoAug 8351
The Little Envelope that CouldJan 8563
Modulation & Voltage ControlSep 8364
Oscillator Waveforms & Harmonic SpectraApr 8467
Oscillators and Other Vibrating ObjectsDec 8384
Please Don't Eat the Bandpass FiltersSep 8472
Waveforms: The Untold StoryFeb 8480
Wuthering Filter Cutoff FrequenciesJun 8488
Keyboards Und Isolde- Film at 11May 8563

On Synthesizers
Advances in Pitch-BendingMar 8361
The Alpha SyntauriNov 8176
The Apple II/Rhodes Chroma InterfaceSep 8258
Ars Electronica, An Electronic Arts FestivalDec 8058
Ars Electronica, Part IIJan 8156
Ars Electronica, Part III: Two Main EventsFeb 8169
Ars Electronica, Part IV: The OrganizersMar 8154
Bach, Carlos, and the SynthesizerMar 8585
Breadboarding Interface CircuitsApr 8257
Computer-Synthesizer InterfacesJan 8270
Computer/Synthesizer Interfaces, Part VMay 8252
Digital Sampling Keyboards, Part 1: A Brief History of Tape and Optical SamplingSep 8576
Digital Synthesis, Part ISep 8368
Digital Synthesis, Part IIOct 8373
Digital Synthesis, Part III: Fourier SynthesisNov 8370
Digital Synthesis, Part IVDec 8372
Digital Synthesis, Part V: Some AlternativesJan 8472
Equally Tempered and Chromatic ScalesJul 8474
The Ideal Synthesizer Keyboard, Part II: Velocity SensitivityJan 8556
In Search of the Ideal Synthesizer KeyboardNov 8482
It's A Bird! It's A Toy! It's A Synthesizer!Oct 8060
Making the Scene at the AES ConventionFeb 8368
Microtonal Equal-Tempered ScalesAug 8464
The Minimoog EraAug 8150
More On Computer ControlJun 8264
More On Computer InterfacingOct 8266
More On Computer-Based SequencersJul 8172
Musical Uses of Personal ComputersJun 8163
My Part in the Performance of ErdenklangJan 8356
Nine Times The Color Red ExplodesAug 8050
Novel Applications for VocodersMar 8461
Pack Up Your Computer In Your 'Ol Gig Bag. . .May 8158
Pitch, Intonation, & Tone ColorSep 8474
Programmable Resistor and AttenuatorMar 8254
Random SignalsAug 8260
Real-Sounds Sampling InstrumentsMay 8466
Reshaping Harmonic Content with a VocoderFeb 8472
Sampling Instruments, Part 4: More Listening Tests for Digital SamplersFeb 8694
Secret Minutes of the Union MeetingApr 8463
Simple Circuits for Computer Control, Part 1Feb 8267
Sound Sampling Instruments, Part 2: Technical Specs & Sound Quality in Digital SamplingOct 8597
Sound Sampling Instruments, Part 3: Quick Listening Tests for Digital SamplersNov 8584
Temperament & Tuning, Part 1: Consonance & HarmonyJun 8484
The Tortuous Path of InnovationMay 8565
Unexplored Resources of the Casio CZ-101Apr 8694
Wendy Carlos On ComputersDec 8264
Why They Don'tApr 8358
Why They Don't, Part IIMay 8366
Why They Don't, Part IIIJun 8372

Practical SynthesisIssuePage
A Lead Synthesizer DimensionizerMar 8150
A Quick Tour of Digital SynthesizersJul 8259
Apple Computer Sound RoutineApr 8265
ARP: The Early YearsMay 8258
Exploring Voltage ControlDec 8167
Home Computer SequencerFeb 8167
Home Computer Sequencer, Part IIJun 8165
Home Computer Sequencer: Flow ChartSep 8150
Home Studio RecordingMar 8258
Introduction to Assembly LanguageJul 8174
Percussion SoundsApr 8151
Processed Noise EffectsNov 8171
Recording Air PocketJan 8152
Synthesizing A Bass ToneOct 8166

Synthesizer BasicsIssuePage
The Sample-And-HoldOct 8066
Why Modular?Aug 8055

Synthesizers In PerformanceIssuePage
Advanced Instrument Design Features for Enhanced Live PerformanceJul 8586
Chord Slides with Polyphonic PortamentoAug 8470
Controlling Volume in a Multi-Keyboard SetupOct 86117
Don't Let the Keyboard Mislead YouFeb 8477
Esoteric Ways of Controlling the Pitch (Spitball, Slider, Etc.)Aug 8566
Expanding Your Lead Lines with Octave TranspositionsMar 8466
Feedback EffectsFeb 8583
Frequency Modulation & VibratoMar 8589
Hand Position for Pitch-BendingNov 8475
How to Create Microtonal ScalesApr 8472
Pitch-Benders & Other ControllersOct 8486
Pitch-Bending ExercisesJan 8558
The Portamento of No ReturnMay 8468
Synthesizer Features for Performers, Part 1May 8566
The Ultimate Performance SetupApr 8570
Voice Assignment Modes on Polyphonic KeyboardsJul 8477
The Volume Dimension, Part 2: Level Settings & EnvelopesNov 8590
The Volume Dimension-Using Pedals to Add ExpressionOct 8594

Vintage SynthsIssuePage
The ARP 2600Oct 89108
The Chroma The Synth That Survived ARP's FallOct 9364
The Crumar GDS & Digital Keyboards Synergy Additive Synthesis EpitomizedJan 9454
Don Leslie: The Whirl To SuccessApr 90121
The E-mu Emulator: First Affordable Digital SamplerJan 93108
E-mu Modular Analog SynthesizerJan 90102
EML Synthesizers: Affordable Alternatives to Moogs & ARPsMar 93124
The EMS VCS3 & Synthi A/AKSNov 90104
The Fairlight CMI Trailblazing Megabuck SamplerAug 92136
The Hammond B-3, Part 1: All Hail The Vintage KingSep 91116
The Leslie Speaker, Part 2Jun 9087
The Linn LM-1 Drum ComputerSep 90112
The Mellotron: Pillar Of A Musical GenreMay 91108
The Minimoog: The Ultimate In Antique Analog?Sep 8992
The Oberheim SEM ModuleDec 89116
Paia Electronics: Synthesizer KitsSep 93114
The PPG Wave: Vintage German DigitalJan 92108
The Rhodes Piano Bass & The Vox Continental The Original Doors KeyboardsFeb 91100
Roland CR-78, TR-808, & TR-909 Classic Beat BoxesMay 9482
The Roland MC-8 MicrocomposerOct 90116
Sequential Circuits Prophet-5Feb 90122
Serge Modular Systems Maximum Analog HorsepowerSep 9454
Yamaha's CS-80: Heavyweight Champion Of The Early PolyphonicsMar 91116
The World's First Digital Sample-Playback SynthesizersMar 9538

Synthesizer Basics: Modular, Part II: Oscillator ModulationSep 8068
Synthesizer Gray MarketFeb 8421
Synthesizer Pioneer: Malcolm CecilJan 8434
Synthesizers & Sincerity: YanniApr 9156

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