• 

  Inside Flying Lotus’ Creative Process

  BySynth and Software Newsroom October 27, 2026October 27, 2026
• 

  Rick Wakeman’s Endless Tour

  ByMark Jenkins June 3, 2025June 4, 2025
• 

  Tangerine Dream: the Dream Continues

  ByMark Jenkins October 15, 2024October 15, 2024
• 

  ContinuuCon 2024: A View From the Inside

  ByGeary Yelton June 28, 2024July 10, 2024
• 

  Synth and Software CD Reviews: Rick Wakeman, Carl Palmer, Steve Hillage, Damo Suzuki, Dave Gate

  ByMark Jenkins May 22, 2024May 22, 2024
• 

  The Top Ten Techno-Pop Records of All Time

  ByMark Jenkins January 11, 2024January 13, 2024
• 

  What has Dom Beken Been Up To?

  ByJohn McJunkin January 5, 2024January 6, 2024
• 

  Herbie Hancock, Laurie Anderson, John McLaughlin: Pioneers In Concert

  ByMark Jenkins August 18, 2023August 19, 2023
• 

  Ralph Lundsten, 10/6/36 – 7/5/23

  ByMark Jenkins July 6, 2023July 6, 2023
• 

  Mark Jenkins Releases “The Dark Side of the Moon and Other Music by Pink Floyd for the Moog Synthesizer”

  BySynth and Software Newsroom June 15, 2023July 7, 2023
• 

  Ten Questions: Michael Whalen on his ‘Our April Tigers’ Album

  ByNick Batzdorf June 12, 2023June 12, 2023
• 

  The Return of Colosseum from the Ancient Past

  ByMark Jenkins June 6, 2023June 8, 2023
• 

  Philip Glass Shines Again in London – An Interview

  ByMark Jenkins April 4, 2023April 13, 2023
• 

  Steve Hillage: A Music Legend Tours His Classic Albums

  ByMark Jenkins January 13, 2023January 15, 2023
• 

  Five Spectacular Synth Books

  ByMark Jenkins December 16, 2022November 4, 2026