Recording - January 2012 - 60
Analog Synthesis
on the iPad
Reviews by Mike Metlay
The iMS-20 starts with an accurate reproduction of the original synth’s front panel, complete with two mixable VCOs, highpass and lowpass filters (famous in and of themselves), a Modulation Generator (read LFO), two envelope generators, and a patch panel that lets you draw in virtual patch cords to mess with the signal path in various ways, including the MS-20’s original External Signal Processor. This synth alone is worth the purchase price, because it’s both a great-sounding piece of history and a fantastic tutorial device for learning basic modular synthesis. But the synth is only the centerpiece of a large and well-integrated song creation system. If you swipe upward from the synth front panel, you’ll find an old-school analog sequencer with three rows of knobs and 16 steps... but the sequencer has multiple pages, with the ability to sequence notes, octave shifts, gate times, and three selectable voice parameters, as well as three “output voltages” that can be applied to parameters in the patch panel. In addition to the sequencer playing the main synth voice, there are six Drum voices, each a slightly simplified version of the main synth and each with its own sequencer, programmable from a matrix-style button display. All seven channels can be run into a mixer with a global effect (delays, reverbs, modulation, filters, and more)
iOS devices have a fair bit of computing power, and it’s not surprising that some of the earliest apps for them were analog synth emulations. Some manufacturers have gone old-school, offering precise emulations of vintage hardware in a modern format with added performance tweaks that become possible on a multitouch device like the iPad; others have designed entirely new ways to play “keyboards”, with sound engines inspired by the analog synths of old but with a modern twist; many add extra features to turn your playing experience from a solo keyboard outing to more of a full-arrangement approach. Here’s a selection of some of my favorites.—MM
Korg iMS-20
$32.99; www.korg.com
When Korg branched out from making synth hardware into the world of software synth emulations, one of the more remarkable products they released was an emulation of the famous and much-loved MS-20 monophonic analog synthesizer. You could get the software on its own, or combined with a USB hardware controller that precisely emulated the controls and patch points on the original semipatchable synth, complete with patch cords to complete circuits and change how the software worked. Now that emulation has been brought to the iOS, with a whole mess of added performance features.
60
RECORDING JANUARY 2012
http://www.korg.com
Recording - January 2012
Table of Contents for the Digital Edition of Recording - January 2012
Recording - January 2012
Fade In
Contents
Talkback
Fast Forward
2011 AES Convention Report
“How I Like To Record My Drums”
Neumann KH 120 A Monitors
Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording Drums—Then and Now
Recording Fundamentals. Chapter 1: What Is Good?
Drumming and Drummers and Mics—Oh My!
Mixing Live Drum Tracks
Arturia Analog Experience: The Laboratory 49
Readers’ Tapes
Advertiser Index
iOS Music Tools: Analog Synthesis on iOS
2011 Annual Index
Fade Out
Recording - January 2012 - intro
Recording - January 2012 - Recording - January 2012
Recording - January 2012 - Cover2
Recording - January 2012 - 1
Recording - January 2012 - Fade In
Recording - January 2012 - 3
Recording - January 2012 - Contents
Recording - January 2012 - 5
Recording - January 2012 - Talkback
Recording - January 2012 - 7
Recording - January 2012 - Fast Forward
Recording - January 2012 - 9
Recording - January 2012 - 2011 AES Convention Report
Recording - January 2012 - 11
Recording - January 2012 - 12
Recording - January 2012 - 13
Recording - January 2012 - 14
Recording - January 2012 - 15
Recording - January 2012 - 16
Recording - January 2012 - 17
Recording - January 2012 - “How I Like To Record My Drums”
Recording - January 2012 - 19
Recording - January 2012 - 20
Recording - January 2012 - 21
Recording - January 2012 - 22
Recording - January 2012 - 23
Recording - January 2012 - Neumann KH 120 A Monitors
Recording - January 2012 - 25
Recording - January 2012 - Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording - January 2012 - 27
Recording - January 2012 - Recording Drums—Then and Now
Recording - January 2012 - 29
Recording - January 2012 - 30
Recording - January 2012 - 31
Recording - January 2012 - 32
Recording - January 2012 - 33
Recording - January 2012 - 34
Recording - January 2012 - 35
Recording - January 2012 - 36
Recording - January 2012 - 37
Recording - January 2012 - Recording Fundamentals. Chapter 1: What Is Good?
Recording - January 2012 - 39
Recording - January 2012 - Drumming and Drummers and Mics—Oh My!
Recording - January 2012 - 41
Recording - January 2012 - 42
Recording - January 2012 - 43
Recording - January 2012 - 44
Recording - January 2012 - 45
Recording - January 2012 - 46
Recording - January 2012 - 47
Recording - January 2012 - Mixing Live Drum Tracks
Recording - January 2012 - 49
Recording - January 2012 - 50
Recording - January 2012 - 51
Recording - January 2012 - 52
Recording - January 2012 - 53
Recording - January 2012 - 54
Recording - January 2012 - 55
Recording - January 2012 - Arturia Analog Experience: The Laboratory 49
Recording - January 2012 - 57
Recording - January 2012 - Readers’ Tapes
Recording - January 2012 - Advertiser Index
Recording - January 2012 - iOS Music Tools: Analog Synthesis on iOS
Recording - January 2012 - 61
Recording - January 2012 - 62
Recording - January 2012 - 63
Recording - January 2012 - 64
Recording - January 2012 - 65
Recording - January 2012 - 66
Recording - January 2012 - 67
Recording - January 2012 - 68
Recording - January 2012 - 69
Recording - January 2012 - 2011 Annual Index
Recording - January 2012 - 71
Recording - January 2012 - Fade Out
Recording - January 2012 - Cover3
Recording - January 2012 - Cover4
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