As the synthesiser has grown in popularity over the past decade or so (where did that decade go, anyway?), some unenlightened types have continued to sneer at the instrument, calling it a fad or gimmick. Well, the number of such ungenerous nay sayers has been decreasing regularly, and it might be worth asking why.

One reason, I think, is simply the fact that, by and large, synthesisers are being built with more care and craftsmanship these days (in the US, at least). Smaller companies are turning out synthesisers that look and feel like real, "legitimate" musical instruments — with good keyboard action and touch, solid reliability and classic appearance.

The industry may not have come up with its equivalent to the Stradivarius yet, but some companies are trying their best. Kinetic Music Systems Corp., for instance, has come up with The Prism, a digital polyphonic programmable synthesiser that seems both innovative and classic.

The basic instrument is equipped with 24 voices, expandable to 40. The unit's live performance centre gives immediate access to all pre-programmed and user created ensembles. Each time an ensemble is recalled, all eight instrument sounds come in with their own waveforms and a device configuration as well. Instruments within an ensemble can be switched on or off individually by the performer as he plays. The instrument features six synthesis modes — two modes each of wave shaping, wave blending and frequency modulation. Mono, stereo or full quad sound can be altered during performance. Optional five-octave keyboards and one-octave pedal boards are available.

Craftsmanship is also obvious in a new mixing board from a smaller New England manufacturer: Audy Instruments, Inc. The Audy Monitor Mixing Console is a 16-channel unit for on-stage monitor mixing, sound reinforcement and recording applications. It has 16 inputs (stackable to 32) with separate output mixes that permit control of up to six independent monitor sends. Using high speed, low noise IC op-amp technology, it minimises transient and slewing-induced intermodulation distortion. A dual LED system assures proper adjustments of input attenuation switches and maintains 25dB of headroom throughout for clean sound.

Standard features include: Penny and Giles faders and sealed conductive plastic rotaries; input and output channel patching; EQ in/out switch for each input mix control; individual channel muting; talkback; six auxiliary inputs; headphone monitoring with solo priority system; high resolution, 20-segment LED bargraph meters; phantom power; work lamp socket; and flight case. Its suggested retail price is $6995.

Also new on the New England sound reinforcement front is the EAW Model FR-100 from Eastern Acoustic Works, Inc. This speaker is intended to meet the demand for a portable full-range round reinforcement system. It's useful for bands, clubs etc.

It includes a 52mm phenolic dome high/mid driver that delivers essentially solid angle response. Off-axis response dips less than 3dB at 45 degrees and less than 6dB at 90 degrees. A true constant-impedance L-pad high/mid level control allows adjustment from "off" to +4dB.

The woofer has a rugged cast aluminium frame and vented pole piece magnetic design with a 70mm voice coil driving a 300mm cone to provide flat frequency response to below 50Hz. In the 2,500Hz crossover region, a third-order network with 18dB/octave slope is used. Two precision air core inductors team with five per cent tolerance resistors and capacitors to assure freedom from response anomalies at the crossover frequency.

The unit is conservatively rated at 100 watts power handling on sine wave signals and 200 watts on music programmes. Its high efficiency of 95dB per watt at one meter allows a practical output of 118 SPL without overstressing the drivers.

Moving on to New York City, we note that Electro-Harmonix, a firm whose marketing talent is undeniable, has come out with another new fuzzbox. This one's called the Graphic Fuzz, and it features a built-in six-band graphic equaliser. It also has special low-noise/low-hum circuitry, status indicator light and a Dynamic Response Control.

The equaliser, which can be used with or without fuzz, features a full ±15dB cut or boost, providing a wide range of tonal colours. A silent electronic footswitch eliminates switching "pops".

On the other coast — Campbell, California, to be exact — a company called Gallien-Krueger has some new amplifiers on the market: the 210LC, 112LC and 212LC. All three are "limiting" amplifiers, allowing the musician to emphasise some singularly warm sounding harmonics.

All three feature channel switching from a clean to an overdriven channel that has three volume controls in series for smooth sustain. Four bands of active EQ plus tone controls allow variations in tone through an easy-to-use format. The amps also include an effects loop, direct out, and headphone jack. All three are rated at 85 watts into eight ohms. Suggested retail prices are: $699 for the 112LC (one 12-inch speaker), $729 for the 210LC (2 10-inch speakers) and $899 for the 212LC (2 12-inch speakers).

Also from California come new pick-ups for stringed instruments. They're made by Barcus-Berry, a company that pioneered the amplification of strings, bringing many traditional instruments into the 20th Century.

Barcus-Berry's new models are the #1420 (for violin/viola) and #1424 (for cello/bass). Both are designed for quick and easy attachment to the instrument bridge. According to the company, the units won't damp or mute the normal acoustic sound of the instruments, and they can be used with any type of gut, metal or nylon core strings.

Because the pickups' output signal is of relatively high amplitude, they can be connected directly to practically any musical instrument amplifier or PA system without pre-amplification. They can also be correctly matched to the mic input of any professional audio console by means of a Barcus-Berry "Studio Preamp" or any suitable direct box which can provide the requisite minimum load impedance.

Also new from Barcus-Berry is "The Insider", a flat-top acoustic guitar transducer with a wide dynamic range and transient response. According to Barcus-Berry, the transducer's output level is comparable to that of magnetic pickups, thus eliminating the need for preamping for signal gain. The transducer itself is mounted beneath the bridge of the guitar, while the output jack can either be located in the end pin hole or, as an option, clamped to the rim of the soundhole. The latter method makes modification of the instrument totally unnecessary.

And finally, from the innovative dbx, Inc., we have two additions to the company's 900 Series. These latest entries are noise reduction modules: the Model 941 (2-channel encode module) and 942 (2-channel decode module) will provide up to 16 channels of Type II noise reduction for broadcast applications in a rackmount unit measuring 5¼ inches high. Both modules feature active balanced inputs and +24dBm output drive capability. In addition, the 942 provides switch selectable dbx disc decoding.

Manufacturers and companies mentioned:

Kinetic Music Systems Corp., (Contact Details)
Audy Instruments, Inc., (Contact Details)
Eastern Acoustic Works, (Contact Details)
Electro-Harmonix, (Contact Details)
Gallien-Krueger, Inc., (Contact Details)
Barcus-Berry, Inc., (Contact Details)
dbx., (Contact Details)