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Gear

21 Today

Review | Electronic Soundmaker & Computer Music, Sep 1985
Yamaha DX21 synthesiser

The latest in the DX synth series

A New Angle On FM?

Review | Sound On Sound, May 1989
Yamaha TQ5 Expander

Stylish or ugly, don't let the TQ5’s unconventional casing distract you from the fact that with its 8-track integral sequencer and digital effects, this 4-operator FM expander packs a pretty powerful punch for the money. David Hughes reports from his ring-side seat.

Big Brother

Review | Sound On Sound, Oct 1986
Casio CZ-1

Since the release of their diminutive yet ground-breaking CZ-101 synth, Casio have been steadily improving the facilities of their Phase Distortion keyboards with each subsequent CZ product. The culmination of those efforts is now manifest in their best-ever synthesizer, the CZ-1, a truly professional performance instrument. Chris Jenkins says 'welcome'.

Boss Dr Synth DS-330

Review | Music Technology, Nov 1992
Sound Module

Carry On Doctor...

Casio CZ1 Polyphonic Synthesiser

Review | Electronics & Music Maker, Oct 1986

Following in the footsteps of their successful budget CZ models, Casio add touch-sensitivity for the professional user. Simon Trask evaluates the results.

Casio CZ101

Review | International Musician & Recording World, Feb 1985
Synthcheck

Small, digital and reviewed by Curtis Schwartz

Casio CZ230S Keyboard

Review | Electronics & Music Maker, May 1986

What the ghetto blaster is to hi-fi, the CZ230S is to synthesisers. Annabel Scott takes a spin in Casio's streetwise preset synth.

Casio CZ3000 - The Obvious Solution?

Review | Sound On Sound, Apr 1986

Mark Jenkins reports on this recent addition to the popular CZ range of polysynths and suggests that the Phase Distortion synthesis it employs could well be the answer for those of you caught in the 'analogue versus digital' dilemma.

Casio HZ-600 synthesizer

Review | Sound On Sound, Oct 1987

Looking for a low-cost introduction to synthesis? With its simplified programming method and variant on the Phase Distortion sound, Casio's latest 8-voice, splittable, polysynth could well prove the ideal first choice. Mark Badger explores...

Casio HZ600

Review | Music Technology, Nov 1987
Portable Keyboard

Budget polysynth or home organ accessory? Casio attempt to find another gap in the market with Spectrum Distortion synthesis. Nicholas Rowland finds it's not too far from old-fashioned analogue.

Casio VZ1

Review | Music Technology, Sep 1988
iPD Digital Synthesiser

Casio's latest synthesiser employs the successor to the company's own PD synthesis system - interactive Phase Distortion. Bob O'Donnell investigates a new phase in synthesis.

Casio VZ8M

Review | Music Technology, Oct 1989
iPD Synth Expander

The VZ8M is the latest application of the synthesis system behind Casio's popular VZ synths. Simon Trask evaluates iPD synthesis in this age of digital development and analogue reincarnation.

Casio VZ8M

Review | Sound On Sound, Feb 1990

If you're tired of sampled sounds and are searching for a source of non-imitative synthetic voices to balance your repertoire, these low-cost instruments could well deliver the goods. Martin Russ finds out.

Cheetah MS800 Synth Module

Review | Music Technology, Jul 1992
Digital Wave Synthesiser

Cheetah's latest synth had already been axed and revived before the public got a glimpse of it. Simon Trask gets his hands on one of the cheapest, oddest and most intriguing modules on the market.

CZ Top

Review | Electronic Soundmaker & Computer Music, Jul 1985
Casio CZ5000

Casio's latest portable synth

Delirious Xcitement

Review | Sound On Sound, Mar 1988
Yamaha DX7S

A story in which our hero, David Mellor, deserts the path of enlightenment and sells his DX7 Mk1 for a rival keyboard. Can the DX7S tempt him back to the true faith? Read on...

Digital Dynamite

Review | Electronic Soundmaker & Computer Music, Jan 1985

The CZ101 is the spearhead of Casio's first serious onslaught on the pro-synth market. We check out this contender for the DX's digital synthesis crown.

Double Take

Review | Electronic Soundmaker & Computer Music, Apr 1985
Yamaha DX5

Yamaha's follow-up machine to the DX7 is essentially a budget DX1, offering two '7s in one neat package. We take a look at the DX5.

E-Mu Proteus MPS

Review | Music Technology, Mar 1992
Sample Playback Keyboard

With the popular Proteus series of sample playback modules as its inspiration, E-mu's new synth sounds as good as it looks. Simon Trask explores the Master Performance System.

E-Mu Systems Proteus

Review | Music Technology, Nov 1989

E-mu's Proteus sample player has been one of the stars of recent trade shows, yet it's been in desperately short supply in the UK. Vic Lennard finds it's been worth the wait.

E-Mu Vintage Keys

Review | Music Technology, Apr 1993
Sound Module

Take 20 classic keyboards into the shower? Now you can just trigger and go with E-mu's Vintage Keys sound module, provider of sampled keyboard sounds from the Minimoog to the Mellotron. But who would you have in goal?, asks Peter Forrest

Elka EK22/EK44 Synthesizers

Review | Sound On Sound, Nov 1986

Italian-designed keyboards have received mixed success over the years. Elka's old Rhapsody string synth was a popular instrument in the seventies but their main polysynth, the Synthex, failed to set the world alight. That may well be about to change with the release of their impressive 9-voice, multi-timbral, DX7-soundalike, the EK44, and the 6-voice analogue EK22. Or is it? Mark Jenkins offers his views.

Elka EK44 & EK22 Synths

Review | Electronics & Music Maker, Oct 1986

Which is better, analogue or digital? Elka back the horse both ways by providing synths of both persuasions, with modular versions of both, too. Paul Wiffen thinks they're onto a winner, whichever way you look.

Elka ER33

Review | Sound On Sound, Aug 1987
The 'Alternative' FM Expander

Ian Gilby looks around for an 'alternative' multitimbral FM expander and uncovers a wealth of features hidden inside Elka's versatile 19" rack-mounting companion to the underrated EK44 polysynth - the ER33.

Emu Systems Proteus

Review | Sound On Sound, Nov 1989

The prospect of a high-spec sample player bearing the Emu name, but costing 'under £1000', had musician's waiting with baited breath for its appearance. Now Proteus is here, and Paul Ireson breathes a sigh of relief as he finds that it was worth the wait.

 

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