LAB:1 Synthesizer by Artificial Noise

LAB:1 Synthesizer x4

Published on May 6, 2016 Artificial Noise

Press Release:
May 06, 2016

The first batch of LAB:1 Synthesizer's was such a success, we're doing a second run! To mark the occasion, I've also made a new video with FOUR LAB:1 synthesizer's playing live!

PRESALE for Batch 2: May 06, 2016 - June 17, 2016

Price is $335 + Shipping & Handling



The LAB:1 Synthesizer is a 100% analog, 6 oscillator experimental synthesizer. It features 3 audio oscillators (with Triangle, Sawtooth and Square waveforms), 3 low frequency oscillators (with Triangle and Square waveforms) and 1 voltage controlled low pass filter. The 6 oscillators can be routed in various ways by switches on the front panel. The 3 audio oscillators can also be triggered individually by three buttons on the top of the case or allowed to run freely. Artificial Noise is taking preorders for the second batch of LAB:1's now.

For more info see:
www.artificialnoise.ca

Introducing the LAB:1 Synthesizer by Artificial Noise

Published on Feb 2, 2016 Artificial Noise
"The first Demo video of the Artificial Noise LAB:1 Synthesizer."

Artificial Noise has introduced the LAB:1 Synthesizer. What might initially appear to be a drone synthesizer, is actually capable of a bit more. Be sure to listen to the SoundCloud demos above. Note this is the first Artificial Noise post on the site.

The following are the details on the LAB:1 Synthesizer (you'll find a link further below):

"100% Analog 6 Oscillator Experimental Synthesizer

3 Audio Frequency Oscillators with Triangle, Sawtooth and Square waveforms

3 Low Frequency Oscillators with Triangle and Square waveforms

Switches to X-Mod Oscillator One with Oscillator Two, and X-Mod Oscillator Two with Oscillator Three

Switches to Modulate LFO One with LFO Two, and Modulate LFO Two with LFO Three

Audio Oscillators can be free running or can be triggered via Buttons on the front of the unit.

Level/Depth and Frequency Pots for each Oscillator

Solid Oak End caps and metal case.

Designed to sound thick and raw with little regard for stability and "clean" waveforms, expect to explore strange audio territories with the LAB:1.

Powerful modulating drones to melodic rhythm sequences to spacey sound effects to total audio chaos.

Easy to use with with all controls available at hand but hard to restrain by nature, the LAB:1 is for those who welcome the unexpected.

Works great as a stand alone composition tool or used to generate new sounds for a sampler.

List price $300 (plus shipping).

Available for presale at www.artificialnoise.ca

Artificial Noise is a maker of strange sound makers. A small company based in Winnipeg Canada, it exists to design weird gear for synth-heads and experimenters."

Immortal Beings - LAB:1 Sessions

"A short EP made entirely with the LAB:1 Synthesizer by artist Immortal Beings. The LAB:1 was used as the sole sound source, with Valhalla Vintage Verb & Freq Echo along with a Korg KP3 used for effects.
LAB:1 Sessions by Immortal Beings is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

The LAB:1 Synthesizer is a 100% Analog 6 Oscillator Experimental Synthesizer. If features; 3 Audio Oscillators (with Triangle, Sawtooth and Square waveforms), 3 Low Frequency Oscillators (with Triangle and Square waveforms), a Voltage Controlled Low Pass Filter, Switches to X-Mod Oscillator One with Oscillator Two, and X-Mod Oscillator Two with Oscillator Three, Switches to Modulate LFO One with LFO Two, and Modulate LFO Two with LFO Three. Audio Oscillators can be free running or can be triggered via Buttons on the front of the unit. Level/Depth and Frequency Pots for each Oscillator. Solid Oak End caps and metal case.

Designed to sound thick and raw with little regard for stability and "clean" waveforms, expect to explore strange audio territories with the LAB:1.

Powerful modulating drones to melodic rhythm sequences to spacey sound effects to total audio chaos.

Easy to use with with all controls available at once but hard to restrain by nature, the LAB:1 is for those who welcome the unexpected.

The low pass filter is an interesting one. When the resonance is cranked to max, it’s designed to drive the filter hard, causing a nice fuzzy saturation, it can also be used as a sort of high pass filter to create some unique formant like sounds.

www.artificialnoise.ca"

Texture Lab in the Effects Processor Mode with an Electric Guitar

video upload by SONICWARE

"Daniel Rose demonstrates an electric guitar connected to LIVEN Texture Lab.
The Texture Lab is a Granular synthesizer and effector with a majestic Shimmer Reverb. https://sonicware.jp/pages/liven-text...

Check out his instruction video:"

How to Use the Sonicware Texture Lab as a Live Granular Effects Processor

video upload by SONICWARE

"Timestamps / Table of Contents:

Section 1: basic principles

Part 1: the non-granular side of the blend
1:35 - intro
1:57 - first synth sound and default effects mode sound
2:32 - notes on blend, reverb, and filter
5:56 - tip #1

Part 2: the granular side of the blend
6:44 - intro
7:51 - notes on playback direction (❗important❗)

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LAB:1 Synthesizer by Artificial Noise - New Case, Now with VCF!

Published on Feb 29, 2016 Artificial Noise

"New Video featuring the updated case design for the LAB:1 Synthesizer. Since the new case is larger I was able to add a Voltage Controlled Low Pass Filter!

The filter is interesting, in that when the resonance is cranked to max, it drives the filter hard causing a nice fuzzy saturation. You can hear the saturation here and there in the video as I turn the knobs.

The LAB:1 Synthesizer is a 6 oscillator experimental analog synthesizer. It features 3 audio oscillators (with Triangle, Sawtooth and Square waveforms), 3 low frequency oscillators (with Triangle and Square waveforms) and 1 voltage controlled low pass filter. The 6 oscillators can be routed in various ways by switches on the front panel. The 3 audio oscillators can also be triggered individually by three buttons on the front of the case or allowed to run freely. The LAB:1 is 100% analog.

A little delay and reverb have been added to the video.

For more info, see:
www.artificialnoise.ca"

Roland Museum Germany Massive Synthesizer Selloff - Most Gear for Sale in a Single Auction

Note: Auction links are affiliate links for which the site may be compensated.

This one in via Marko of Retrosound.de.

26.000,00 Euro gets it all.

via this auction

Someone needs to contact the Guiness Book of World Records. Longest list of gear for sale ever:

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DK SYNERGY II+ SYNTHESIZER, KAYPRO II & SYNHCS SOFTWARE

synergyII timbres Uploaded on Sep 5, 2010 xenmaster0


s 2 demo 1 441 final 320x240stream Uploaded on Sep 5, 2010 xenmaster0

Warning: this is a long post and can't be paged with the "click for more" link otherwise the videos will not load. Also, no time to parse the entire listing, so everything captured below for the archives.

via this auction

"DIGITAL KEYBOARDS SYNERGY II+

WITH KAYPRO II & SYNHCS 3.182 PROGRAMMING SOFTWARE, 14 FLOPPY DISCS OF SYNERGY TIMBRES, and 3 SYNERGY ROM CARTRIDGES

This is the legendary Synergy synthesizer. It comes with the Kaypro II CP/M computer I bought with the Synergy and the SYNHCS software used to program the Synergy. Three Synergy ROM cartridges are included, WC-1 and WC-2, the Wendy Carlos Voice cartridges 1 and 2, and the VCART 4 cartrdige, along with a null modem cable that you use to connect the Synergy synthesizer with the Kaypro II computer.

Using the Kaypro II computer running the Synergy Host Control System software (SYNHCS), you gain access to the full capabilities of the Synergy synthesizer. With the Kaypro II computer + SYNHCS software, you can program the Synergy synthesizer to generate any kind of sound you can imagine. Then you can save the timbres you create on floppy disk and organize those timbres into banks of sounds, and send them to the Synergy synthesizer. (Originally the Synergy was sold with ROM cartridges but with the Kaypro you don't need 'em because you can send new timbres to the Synergy from the Kaypro. I am, however, also including one original Synergy ROM cartridge.)

You will also get the complete set of 13 Synergy voice library banks on floppy disk, L1 through L13 (on 7 floppy discs) as well as the 6 Synergy VCart voices banks 1 through 6 (6 floppy discs). You also get the WC-1 and WC-2 voice banks on floppy disc. Each synergy ROM cartridge or CRT file holds 24 timbres. So you get the complete set of 20 x 24 voices, or 480 Synergy voice library timbres. This is the complete set of timbres that were offered for the Synergy II+. You also get the Wendy Carlos WC-1 and WC-2 voice cartridges (these are duplicates of the WC-1 and WC-1 voice banks on floppy disc) plus the VCART4 cartridge. The VCART4 cartridge has been disassembled so that you can resolder the socket to use a ZIF (zero insertion force) socket if you prefer, and burn your own ROMs and swap them out in the ZIF socket. I'll include information on how to do that. As a practical matter, the Kaypro II computer can transfer voice files to the Synergy II as fast as swapping out EPROMS, but it's nice to have the ability.

The SYNHCS control program included with this Kaypro is the latest version, from October 11 1985, version 3.182. You can see the version number in one of the photographs of the Kaypro II screen. It's later than the version 3.15 SYNHCS that sold with most Synergy/Kaupro II combos. SYNHCS V 3.182 fromOctober 1985 is the final version of SYNHCS, and includes menu options the earlier SYNHCS didn't have -- the earlier version 3.15 dates from September 1983. This later version October 1985 version 3.182 of SYNHCS has features the earlier SYNHCS didn't have, and it's not generally available. I got it from Stony Stockell. I'm pretty sure that only a handful of other people have this latest final version of SYNHCS from 10/11/85.

There are 18 floppy discs all told: 7 discs containing Synergy voice banks 1 through 13 (2 banks per disc, so 7 discs there total) and Vcarts 1 through 6 (6 discs there) and the Wendy Carlos 1 and 2 Vcarts on a single floppy disc. along with the Kaypro CP/M 2.2 boot disk to boot up the Kaypro II computer and a disc of CP/M utilities, like UNERASE and some other very useful utilities. That makes 16 floppy discs. I've also included a CP/M 2.2G boot disc in case you want to use another model of Kaypro II. The boot discs differed depending on whether your Kaypro II had ROM 81-149C, ROM 81-232, or ROM 81-292. All that is spelled out in detail in one of the information sheets I'm including with this Synergy II+. I'm also including SYNHCS V 3.12, the earliest versionof SYNHCS, in case you pick up another Synergy II with older ROMS.

Some of these Synergy voice banks were designed by Wendy Carlos, and all of 'em sound gorgeous.

The Synergy synthesizer boasts a unique sound, unlike that of any other synthesizer. It can caress your ears with silken delicacy or hammer you with brutal rancor. The Synergy can sound raucous or subtle, and it can change from one to the other as you hit the keyboard harder. There's a reason for this: it has arguably the most complex and sophisticated synthesizer architecture ever created, unparallelled evern today. The Synergy's amplitude envelopes are more complex, its oscillators are arranged in a more sophisticated way, and its advanced features like digital noise source, quasiperiodic vibrato and digital formant filter still have not been fully duplicated by any other digital synthesizer -- even today."

"THE BELL LABS DIGITAL SYNTHESIZER AND THE SYNERGY II+

The Synergy is based on the Bell Labs Digital Synthesizer designed by Hall Alles. The Bell Labs Digital Synthesizer used a remote computer to program the synth, with access by a different kind of port (RS-488 serial port, then common for programming lab equipment over a serial link). The remote computer at Bell Labs had to use software written by the composer (Laurie Spiegel, for example, whowrote programs on a DEC minicomputer in the then-new C programming language to control the Bell Labs Digital Synthesizer) to program the synth. When Digital Keyboards licensed the design of the Bell Labs Digital Synthesizer, they also built an 8-bit microcomputer that could program a version of the Synergy called the GDS.

About 700 Synergy I synths were sold all told, but less than 100 are still working today. A small handful of (I believe no more than 6) GDS systems were built in addition to the originl non-programmable Synergy I synths: GDS stands for "General Development System." These were versions of the Synergy with 16 front-panel digital sliders to control parameters of the synthesizers that hooked up to an associated CP/M computer thta used 8-inch floppy discs. With the GDS, you could program the Synergy and store voices on 8" disk via an S-100 buss CP/M computer based on the Ohio Scientific Challenger. Wendy Carlos bought a Synergy General Development System, Stockell kept one in his basement, Klaus Schulz had one, and someone else reportedly bought one (I don't know who).

When Kaypro started producing the Kaypro II CP/M computer in the early 1980s, Stony Stockell, the lead engineer on the Synergy synthesizer, saw an opportunity to replace the cumbersome General Development System with a cheaper setup for programming timbres on the Synergy, so he hired someone to write the Synergy Host Control Program in Z80 assembly language to program the Synergy using the Kaypro II instead of the S-100 buss IEEE 696 CP/M computer used with the GDS.

The new SYNHCS software was much more straightforward and didn't require any programming on the user's part. The Kaypro II was a standalone computer running CP/M, once again easy to use (unlike the Bell Labs minicomputers, which the user had to program to get anything out of 'em, even to send a note to the synthesizer!) and the Kaypro used a simple null modem cable linked to the RS-232 serial port in the back of the Synergy to program timbres, download and upload voice banks, and control the synthesizer's many subtle functions from the Kaypro.

The general method of programming involves pressing a specific button on the front of the Synergy to access a given function, then typing in a value in the Kaypro II to adjust the synthesizer parameter. Once you get the sound you want, you save it on the Kaypro floppy disk as a single .VCE file. Then you can load the VCE file off the Kaypro floppy disk and send it to the Synergy to recreate that timbre whenever you want. The SYNHCS program lets you arrange timbres defined by VCE files into banks which get saved as a single large files called a .CRT files, so SYNHCS combines the functions of synth programming and a synth librarian (and remember that this was back in 1981-1982!).

There was no such thing as the MIDI protocol when Hal Alles designed the Bell Labs Digital Synthesizer in 1974-1975, and no such thing as a finalized MIDI spec when Stoney Stockell adapted Alles' design into the Synergy in 1978-1980 for Crumar's Digital Keyboards subsidiary.

MIDI became a big deal between 1981 and 1984, so Stockell retrofitted the Synergy synthesizer with an add-on circuit board that added full MIDI in and out capabilities. This was the Serial I/O board, which Crumar sold for owners of the original Synergy I synth to upgrade to a fully programmable Synergy II+ along with the SYNHCS software and the voice library discs and the Kaypro II. These new modified versions of the Synergy were called the Synergy II+. This Synergy II+ of course includes a MIDI IN and OUT port, along with the RS-232 serial port for programming the timbres via the Kaypro computer.

The last and most sophisticated version of the SYNHCS software was version 3.182, which is the version I'm including with this Synergy II+ synthesizer. To quote from the manual PRELIMINARY OPERATION OF THE SYNERGY II WITH COMPUTER, "The SYNHCS version 3.xx significantly extends the capabilities of the Synergy II+ synthesizer even beyond the original General Development System." Yes, this combination of the Kaypro II plus null modem cable plus Synergy II+ plus the final SYNHCS version from 1985 gives you more abilities than Wendy Carlos had when she programmed the Synergy voices for her albums Digital Moonscapes and Beauty In the Beast.

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XILS-lab Introduces KaoX Virtual FM Instrument

video by xilslab

"XILS-lab creates KaoX as virtual instrument inspired by legendary FM synthesizer bolstered by virtual analogue and chaotic algorithms


GRENOBLE, FRANCE: virtual instrument- and effect plug-in-specialising software company XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather — as of April 12…

To appreciate its iconic inspiration is to truly appreciate the power of KaoX, XILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!

Put it this way: with KaoX, XILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNE, DRIFT, GLIDE, VIBRATO, FREQ (vibrato frequency), DEPTH (vibrato), W (wheel), TREMOLO, FREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUS, DELAY, PHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.

Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source.

Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoX, XILS- lab’s latest virtual instrument par excellence — from France with love... and all without the need for very-large-scale integration chip mass manufacture!"

Friend-Chip MrLab RhythmLab Modular Synthesizer-System

via this auction

details in Googlish:

"Music computer system. Historically, to document the development of the former German Synthi-scene, this is a very important and unique exhibit. It probably dates from the time of the Berlin School synth in the 70s.

Here was a complete music system in a professional Flightcase to a transportation unit, consisting of

1. Level:
modular synthesizer unit
The special synthesizer module in the upper part of the set:
This elaborate special Anferigung duo consists of a digital generator
with exact half-way voice and several envelope-formers such as filters.
These are the underlying Mr.LAB-linking system.

2. Level:
MR.LAB
computer sequencer unit.

3. Level:
RHYTHM LAB
Trans Poser
a drum sequencer trigger unit.
Right there is a button for immediate octave transpositions of
top generator unit, linked with the MR.LAB.

4. Level:
FC350 (RhythmLab extension of the individual outputs)
Cassette interface
In the bottom row left the digital DRUM module FRIENDSHIP.
It is with the RHYTHM LAB-driven and has individual outputs,
and a stereo-OUT with mixed field.
Right there is a cassette recorder for the UP / DOWN-LOAD the Trig / Tone data.

The Rhythm Lab Friend Chip first came to one device on the market, on the one hand the functions of traditional rhythm and other devices offered the old desire fulfilled, even rhythms freely invent them.

You could also still usual 32 programs and select any combination. There are Drumpart and percussion (both 12 cycles) separate presets, so that here a variety of combinations available. Over a foot switch or through a break-probe 1 may also 8 bars breaks are retrieved.

The computer now allows 32 bars free program. For rapid work to copy a preset to the "Bar On Program" to him after his own tastes change.

With another break switch 2 may break sequences are retrieved, breaks with as many bars in the sequence as they occur in music pieces, strung together.

Modern technology offers not only an imitation of the toms, bass drum, etc. but also shares the metallic sound of snare drum and cymbals.

In addition to the stereo out, there is a clock-out for synchronization with sequencers.

As an optional modification, a cassette interface offered to prepared programs on tape to store and quickly retrieve, and an extension with individual outputs for each instrument and the possibility of the amplitudes separately regulated. This is here with us.

Mr.Lab was a computer sequence of the new generation, in which one up to 2048 tones could save (in the 16th represents udn Triplets The 64 bars), and at a range of 4 octaves and individual design for each tone (filter, loudness, Sustain). A novel computer-linked keyboard melody and rhythm input. With only musical instruments (any programmer working with numerical codes deleted) Mr.Lab offers a previously unheard clarity and flexibility. This new approach then, and the extensive Composer software Mr.Lab recommended not only for quick, creative work in the studio and trouble-free use in life performances, but also as a composition, arrangement and notation help.
Rhythm: 2048 Steps, with three voltages, program, and four Gate Trigger! Input clock for clock the chip by Friend developed rhythm keyboard, any Tonlängen, triplets, all types of stroke, continuously variable, optical acoustic monitor

melody: four octaves, input directly playable on Melody keyboard, a visual indicator in the keys assigned to the rhythm is displayed, fast, smooth Correct LOUDNESS, filter, sustain: to be assigned to the displayed tone, dynamics, accents, accurate Tonlängen, optical monitor, continuously variable multi-trigger: four from the melody tracks are independent trigger for controlling an electronic drum, etc. available, 64 free programmable cycles

tempo: digitally adjustable, four-digit display, seconds to milliseconds

At the Trans Poser, I can actually say very little, except that a button is missing a button. He has a 20-key keyboard (quasi 1 1 / 2 octaves), as well as octave up / down. Interesting find here the Porta Mentor Egler, possibly to Transpose to perform smoothly.

The cassette device appears at first glance a little suspect, so far it seems from a hi-fi unit seems to come, but if it's because its purpose ...

About modular synthesizer unit I could find no information, whether by friend-chip comes from. The push-button recall. It is a modular system consisting of 2 VCOs, PWM, VCF, VCA, Trigger, ADSR and LFO that has a separate bar with standard jacks patched."

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XILS-lab Releases Syn’X 2 Polytimbral Virtual Analogue Synthesizer Plug-In

Tutorial videos previously posted here. Press release follows:

"XILS-lab relaunches revolutionary virtual analogue soft synth with modern-day makeover

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of Syn’X 2 — a multi- format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and Windows 7/8) that not only continues to pay perfect homage to the legendary Elka Synthex Eighties-vintage Italian instrument from an original-sounding sonic standpoint, but balances that musicality against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers, such as Oberheim’s mighty Matrix 12, to create one of the most powerful and complex virtual analogue synthesizers of the modern era — as of June 22...

At the time of its 1982 launch the eight-voice polyphonic Elka Synthex sounded like no other synthesizer around — analogue or otherwise, and brought with it high hopes of being instrumental in ending the dominance of oversized (and overpriced) Japanese and American analogue programmable polysynths, thanks to the eight monophonic synthesizer circuits central to its innovative 16-DCO (Digitally Controlled Oscillator) driven design by independent Italian synth-master Mario Maggi. Many — meaning 1,000! — ICs (Integrated Circuits) were used in that design, however, meaning that it was not necessarily the most reliable around and did not come cheap. Consequently, not that many — not much more than the number of ICs in each instrument, in fact — were sold before being discontinued in 1985 (with one last production unit being made especially for legendary American singer-songwriter Stevie Wonder) as a ‘new wave’ of considerably cheaper and more reliable digital synthesizers boasting better MIDI (Musical Instrument Interface) implementation brought about its untimely demise. Not that this mattered much to French electronic music pioneer Jean-Michel Jarre, who has three to his not insignificant name to this day, with well-known Laser Harp performances still emanating exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/programmer Paul Wiffen (and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s super-selling Rendez-Vouz album of 1986).

Today the Elka Synthex is one of the most sought-after synthesizers around. As a result of its superlative sound design and avant-garde architecture, it’s a true musical instrument that’s truly stood the test of time. Today it sounds as fresh as it did back in 1982. Just ask Jean-Michel Jarre, who is on record as saying, “The Synthex allowed me to also develop something I had in mind with electronic music — epic, symphonic type of sounds that you probably had with the modular Moog before, such as those that Walter/Wendy Carlos used for Switched On Bach or A Clockwork Orange — a deep, mad, classical approach to a polyphonic synthesizer.” Truly, madly, deeply, indeed.

Indeed, given that finding an Elka Synthex in fine working order has become such a pricey (and patient) proposition, is it any wonder that in 2011 XILS-lab decided to effectively emulate it in software, even going so far as to enlist the eager ears of Paul Wiffen himself. “The sonic results are uncannily close to the original,” he promptly pronounced. Surprisingly, Syn’X has already been available to purchase and download from the XILS-lab web store for longer than the production lifespan of the original hardware synthesizer from which it drew so much musical inspiration. It’s time, therefore, for a serious update, and with it some fanciful features that look beyond merely modelling the Elka Synthex...

So what, exactly, is it, then, that makes Syn’X 2 so different and so much better than its predecessor? Well, wouldn’t it be wonderful if you could create a synthesizer with the sophisticated multilayer architecture of Oberheim’s mighty Matrix 12 analogue polysynth, say, with an abundance of modulation matrixes per layer — effectively enabling flexible routing to rival the monstrous modular systems that preceded it in decades gone by, but then musically married that to the expansive Elka Synthex sound? Well, with Syn’X 2 that’s no longer a dream synth, but rather reality! Roll up your sleeves and delve deeper into sound design than was previously dreamed possible, thanks to the talented teamwork of XILS-lab.

Lest we forget, Syn’X 2 offers a unique combination of clear and punchy DCOs with cutting-edge analogue-modelled multimode filters to faithfully reproduce the superlative sound that so clearly defined the Eighties era, but, because it’s polytimbral, users can access up to eight individual synthesizers simultaneously with 16 oscillators, eight 0DF (Zero-Delay Feedback) analogue-modelled filters, 32 D-ADSR (Delay, Attack, Decay, Sustain, Release) envelopes, and modulation matrixes addressing any of 132 possible destinations when creating their own patches — truly a sound designer’s dream come true!

This being a XILS-lab product, predictably, perhaps, there are many more features to make a serious song and dance about. All-important additions to Syn’X 2 include: oscillators with (up to 40) cumulative waveforms (per patch); new 0DF PWM (Pulse Width Modulation)/hard sync oscillator algorithms; unique CHAO (2D space movement) and (five rhythmic effects) RTHM LFOs (Low Frequency Oscillators) with (up to 50) cumulative waveforms (per patch); two arpeggiators; two keyboard zones — Upper and Lower, suitable for split and layered instruments; guitar multitimbral mode — whereby all layers can be assigned to independent MIDI channels, so playing different sounds with each guitar string, for instance, is possible; polyphonic SEQUENCER (that also acts as a modulation source); vintage-sounding CHORUS, DELAY, PHASER, and EQ effects (with proprietary True Stereo Technology); and 300 phenomenal presets programmed by professional sound designers, to name but few.

Fortunately for some, a helpful Easy mode provides programmers with an intuitive and powerful yet streamlined environment, similar to XILS-lab’s recently released miniSyn’X polyphonic, duo-timbral virtual analogue synthesizer plug-in, but with additional envelopes and LFOs, etc, easily accessible. Alternatively, the Advanced mode makes all aspects of Syn’X 2 available, allowing users to create complex, thick, and never-heard-before patches with a radically reworked workflow, which, it turn, makes it one of the most powerful and complex virtual analogue synthesizers of the modern era!


Syn’X 2 is available to purchase as a USB eLicenser or iLok (1 and 2) protected plug-in for an introductory discounted price of €127.00 EUR until July 21, 2015 (rising to €169.00 EUR thereafter) on the XILS-lab web store here: https://www.xils-lab.com/products/Syn'X-%3A-iLok-or-eLicenser-protected.html

Syn’X 2 can also be purchased as a bundle together with the miniWork’X sound library — featuring 268 miniSyn’X sounds for Syn’X 2 programmed by Lotuzia — for an introductory discounted price of €148.00 EUR until July 21, 2015 (rising to €198.00 EUR thereafter).

Note that owners of the original Syn’X can upgrade to Syn’X 2 for free while owners of miniSyn’X can upgrade to ‘full-blown’ Syn’X 2 status for an introductory discounted price of €93.00 EUR until July 21, 2015 (rising to €124.00 EUR thereafter).

Syn’X 2 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/Syn%27X_Download.html

Several superb audio demos showcasing Syn’X 2 can be heard here: https://www.xils-lab.com/pages/Syn%27X_Audio.html"

5 Eurorack patch ideas with the Wavefonix W100 Modular Synthesizer

video upload by DivKid

"Here we have 5 patches for Eurorack Modular Synth systems that I’m exploring with the Wavefonix W100 6U system. These patches are applicable to many modules, systems and multiple formats so try them out with what you have.

Join us for an exploration of modulating filters with oscillators, using free running LFOs to shift wavetables and bit crush FX, layering ring modulation tones, chaining FM and AM “operator” style, percussion synthesis tips and using multiple envelopes for layer more complex modulation.

This video is also an exploration and somewhat casual demo of the Wavefonix W100 system. We overview the modules included and get a feel for the sound and patch potential throughout."

TIMING INDEX // CHAPTERS
00:00 Hello & patch previews
00:36 What are we doing here?
01:06 Checking out the Wavefonix W100 system
02:05 PATCH 1 // VCO and noise based filter modulation
04:43 PATCH 2 // Free running LFOs for wavetables, bit crush and beyond
07:04 PATCH 3 // Layering Ring Modulation tones
08:52 PATCH 4 // Chaining FM & AM plus percussion synthesis
12:01 PATCH 5 // Dual Envelope filter modulation

via Wavefonix

W100 Modular Synthesizer (6U/104HP)
Our 6U, 104HP W100 Modular Synthesizer is an excellent, compact system for the studio; offering a good balance between versatility and portability. It features the essential modules that you would expect from a small studio setup, but with a broader range of modulation and sonic possibilities over the smaller W314, along with sequencing capabilities from our 8-Step Sequencer.

The system is housed in an elegant, solid walnut 6U, 104HP case. Also included is a premium integrated PSU from Konstant Lab.

Included in the system are the following modules:

1 x MIDI Interface (MIDI)
2 x 3340 Dual Voltage-Controlled Oscillator (VCO)
1 x 1847 Wavetable VCDO
1 x 6-Channel Linear Mixer or 6-Channel Audio Mixer
1 x 2140 Low-Pass Filter (LPF), 2144 Low-Pass Filter (LPF) or 3320 Low-Pass Filter (LPF)
1 x 3310 Envelope Generator (EG)
1 x 3310 VC Envelope Generator (VCEG)
1 x Noise Generator (NG)
1 x 3360 Quad Linear VCA
1 x 2710 Envelope Follower (EF)
1 x Ring Modulator (RM)
1 x Dual Sample & Hold (S&H)
1 x Clock Divider (CD)
1 x 8-Step Sequencer
1 x Linear Attenuator (AT)
1 x Dual Switch (SW)
1 x 4x4 Passive Multiple (PM)
2 x Dual Low-Frequency Oscillator (LFO)
1 x VCD Low-Frequency Oscillator (VCDLFO)
1 x 3-Channel Stereo Panning Mixer
1 x Audio Out (AO)

Please note that we can also offer custom module configurations to suit your requirements.

Rare SYNERGY II+ SYNTH w/Kaypro Computer + Software

synergy_demo_divx.avi

YouTube Uploaded by jeanielotsacats on Sep 9, 2011

"This is a demo of the Synergy II+ synthesizer. Based on the Bell Labs Digital Synthesizer created by Hall Alles in 1975, the Synergy II+ remains one of the rarest and most sophisticated digital synthesizers in music history. There are only a few dozen of these left in working condition today."


via this auction

Additional video at the auction and below.

"DKI SYNERGY II+ SYNTHESIZER WITH KAYPRO 2X

VOICE PROGRAMMER, SYNHCS 3.22 SOFTWARE,

COMPLETE SYNERGY VOICE LIBRARY AND MANUALS

In 1975 an engineer at Bell Labs, Hal Alles, created the world's most sophisticated digital synthesizer. A set of cards in a IEEE-696 computer chassis, it used an RS-422 digital instrumentation interface to talk to a minicomputer. There was no preset voice program, no predetermined synthesizer architecture. Each researcher at Bell Labs had to write a custom program on a DEC PDP minicomputer just to produce sounds from the Alles digital synthesizer.

The Alles synthesizer (eventually known as the Bell Labs digital synthesizer) offered the user a pool of digital oscillators with variable waveforms. It had no fixed synthesis architecture. Unlike other synthesizers -- for example, a typical analog Moog synthesizer with 3 oscillators in parallel -- the Bell Labs digital synthesizer let the user arrange the oscillators in any architecture desired. The Bell Labs digital synthesizer could use 2 oscillators per voice or 32 oscillators per voice, or anything in between.

But Alles went further. He designed the Bell Labs digital synthesizer with immensely flexible envelopes and filters. It had two types of digital filters, A filters and B filters. It had 16-point amplitude and frequency envelopes, far more complex than the simple-minded ADSR envelopes used even today, and it used two different 16-point envelopes for each oscillator. The user defined a maximum envelope and a minimum envelope for both frequency and amplitude. Then the Bell Labs digital synthesizer automatically interpolated the shape of the final envelope between those two radically different 16-point envelopes depending on how hard the keys on the synthesizer keyboard were struck.

The Bell Labs digital synthesizer was complex and unwieldy. But it could produce an amazing range of timbres. Most digital synthesizers have a distinctive overall "sound" -- metallic and sharp (the Casio FZ series), or cold and sterile (the K5 additive synthesizer), or fuzzy and hummy (the Emu Morpheus). But the Bell Labs digital synthesizer had no typical "sound" -- it could caress your ears with timbres as organic and velvety as an analog synthesizer, or whack you upside the head with sounds as brash and sharp as a phase distortion digital synthesizer.

The Bell Labs digital synthesizer could produce anything from raunchy timbres as harshly brutal as a Mack truck smashing through a brick wall to delicate evocations as diaphonous and ethereal as a butterfly's wing. It could sound hi-tech and futuristic and digital, or retro and touchy-feelie and analog.

Laurie Spiegel programmed the Bell Labs digital synthesizer using the C programming language, then brand-new, on a DEC PDP-8 minicomputer, to generate many notes from single keys on the synthesizer keyboard. You can hear the Bell Labs digital synthesizer on Laurie's CD Obsolete Syetems on the track called "Improvisations on a Concerto Generator." Don Slepian used the Bell Labs digital synthesizer to general digital soundscapes with arpeggios synchronized to the player's tempo. (You can hear it on Slepian's CD Ocean of Bliss, tracks 1 and 2.) Max Mathews and Larry Fast used the Bell Labs digital synthesizer to make breathtaking music. Fast used it on several tracks on his CD Games.

In 1978, the synthesizer manufacture Crumar licensed the design of the Bell Labs digital synthesizer. They hired another engineer, Stoney Stockell, to turn Alles' collection of IEEE-696 circuit boards in a minicomputer chassis into a commercial digital synthesizer with a built-in keyboard and front knobs. (The original Bell Labs digital synthesizer had 4 joysticks, 10 buttons and 16 sliders, but no other controls. It didn't even have a synthesizer keyboard. Researchers had to wire up an external organ keyboard to the RS-422 lab interface to communicate with it.)

With 32 digital oscillators and 2 sixteen-point frequency and amplitude envelopes for each oscillator, the Synergy digital synthesizer had 128 envelopes total, with 16 points each. No other synthesizer had ever used such a complex architecture. There were too many oscillators and envelope points even to be controlled by the dozens of buttons and knobs on the Synergy's front panel, so an external computer was used. To voice the synthesizer, a Kaypro 2 computer got connected to the Synergy via RS232 serial interface, and Crumar programmers wrote a Z80 assembly language program for the Kaypro 2.

When Crumar licensed the Bell Labs digital synthesizer, they changed their name to DKI (Digital Keyboards Incorporated). The DKI Synergy synthesizer originally sold for $3500, not including the Kaypro 2 computer -- that added another $1795. Attached to the Synergy by an RS232 serial port, the optional Kaypro 2 came with SYNHCS: the Synergy Host Control System. This was the program that let the user program the Synergy's staggeringly sophisticated digital synthesis architecture and create and store user-defined synthesis architectures on Kaypro floppy disk. The SYNHCS program has many different pages that let the user define the number of oscillators and the shape of the max and min envelopes, set the oscillator architecture, set up aperiodic vibrato and envelope loop points, define the A and B digital filters, edit voice banks, set up real-time perofrmance presets for the Synergy II+ synthesizer and store Synergy timbres and real-time performance banks on Kaypro floppy discs.

The Synergy came in two models: the Synergy I, with 24 sounds in ROM and no MIDI and no user programmability, and the Synergy II+, which added a modification board inside the synthesizer to allow MIDI in and out and full programmability and user storage of new timbres by means of the Kaypro 2 computer.

DKI originally hoped that users would buy the Synergy and then keep on buying Synergy ROM cartridges, like customers buying one razor and many razor blades. Wendy Carlos signed on to create timbres for the Synergy, and eventually 22 different banks of 24 voices were created for the Synergy, for a total of 524 Synergy timbres. These timbres ran the full gamut from spacey digital sounds to chimes and gongs, to ethnic instruments like drums and xylophones and membranophones, to plucked and struck sounds, to brass and woodwinds, and rich strings and subtle keyboard timbres like the celesta and the vibraphone and the electric piano.

The Synergy doesn't sound like any other synthesizer. It's warm and vibrant. It sounds alive. This is party due to the unprecedented sophistication of the synthesizer envelopes, which interpolate between 16-point max and min values depending on how hard each synthesizer key gets pressed on the keyboard. In part it's due to the interaction of the A filters and B filters with the digital oscillators, since each digital filter gets defined for each separate oscillator. And in part the unique sound of the Synergy results from the synthesizer's aperiodic vibrato, which add user-controlled unpredictability to the amplitude and frequency envelopes of each oscillators, just like a real acoustic instrument, where each note on a violin or each note on a flute sounds slightly different.

All the timbres on this YouTube video were created using the Synergy with multitrack tape. This video shows SYNHCS running on the Kaypro 2x and sending the Wendy Carlos voice bank number 1 to the Synergy:" [video above]

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Happy New Year From MATRIXSYNTH! - A Look Back at 2014

Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

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XILS-lab Releases miniSyn’X

"XILS-lab launches low-cost luscious soft synth emulation of Eighties polysynth par excellence!

'I’ve just got miniSyn’X and am so excited, because the Synthex is a fantastic rarity. Thanks to XILS-lab for giving everyone the opportunity to play with it.'

- Jean-Michel Jarre (April 2015)

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of miniSyn’X — an authentic, cost-conscious soft synth emulation of a much-loved Eighties-vintage analogue polysynth of Italian origin that helped define the sound of an era — as of April 8...

miniSyn’X is a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polyphonic, duo-timbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) Windows (XP, Vista, and 7/8) that faithfully emulates the still-sought-after sound of the Synthex, a luscious, 1982-vintage, eight-voice programmable analogue polysynth independently designed by Mario Maggi and built by Italian home organ manufacturer Elka. Indeed, it was much loved by synth luminaries of the day — not least French synth wizard Jean-Michel Jarre, whose well-known Laser Harp performances still emanate exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/ programmer Paul Wiffen and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s multi-million-copy-selling Rendez-Vouz album of 1986. Pity, then, that the Synthex did not sell in such Jarre-like quantities during a four-year, three-stage (50-, 800-, and 1,000-unit) production run, with one last post-production unit being built especially for Stevie Wonder, such was the legendary American singer-songwriter/multi- instrumentalist/record producer’s love for the future-classic instrument that initially failed to fly in the face of the-then ‘art nouveau’ digital age of dominating desirable FM synthesis from Yamaha’s considerably cheaper, MIDI-equipped DX7, and subsequent super-selling, all- singing, all-dancing digital designs from the likes of Roland (D50) and Korg (M1).

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Mos-Lab Arp 2500 Demos

Cymatic - ARP 2500 - Mos-Lab video upload by Smartti1970

"Synthesizer ARP 2500 Mos-Lab
FX: Lexicon Pcm80, Eventide Space"

The illusion is Deep - ARP 2500 Mos-lab


"Synthesizer: ARP 2500 by Mos-lab (rented from a studio)
FX: Eventide & Lexicon Pcm80
(contains a lot of FX so this is not for those who want to hear the pure sound of the Arp2500 )"

Synthesizer Arp 2500 - demo with Multi-mode filter 1047 & Filt Amp 1006 & Sequencer

"demo with just a view variations with the Synthesizer Arp 2500 - (Mos-Lab)

Fx: Lexicon Pcm80
Eventide Space
0:00 drone one oscillator filter cut off with Filt Amp
1:20 filter cutoff with 1047 filter multi mode, sequencer"

Synthesizer ARP 2500 - Mos-lab - demo with Dual Sample & Hold 1036 module

"Just a view variations filter the Sample & Hold module with the Synthesizer ARP 2500 - (MOs-Lab)

0:00 Drone one oscillator + Lexicon Pcm80 Eventide Space
0:30 Second Oscillator on , off
0:39 third Oscillator Low octave, filter cut off Filt Amp
2:12 Filter cut off Filter 1047
4:12 One Sample & Hold on cut off
5:52 Sample & Hold on VCA and VCF
7:19 Samle & Hold on VCF and resonance
9:10 second Sample & hold, first drops driping sound
10:12 sweet spot with drip drop buble sound
11:27 rain drops more
12:17 white noise added to sample & hold"

SONICWARE Introduces the LIVEN Texture Lab | Granular Synthesizer/Effector

video upload by SONICWARE

"LIVEN Texture Lab | Granular Synthesizer/Effector
- Sample, slice, transform and reconstruct audio to synthesize completely new sounds
- Granular synthesizer with granular effects processor mode
- Shimmer reverb for fantastical and majestic sounding spaces
- 128-step sequencer with parameter locking
- World-famous sound designers have provided presets as results of their experiments

The presets are
01 FL.BK (Flashback) : Yasutake(elfin)
02 DRMR (Dreamer) : Limbic Bits
03 FEAR (Fear) : Chris Lody
04 US.HP (Use Headphones!) : Takashi Matsuura
05 CHOR (nostalgic space choir) : Dr. Endo"

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New Propellerhead Complex-1 Modular Synthesizer for Reason

Published on Dec 18, 2018 Propellerhead

"Complex-1 is a modular synthesizer from Propellerhead Software, bringing the quirks, freedom and sonic depth of modular synthesis to to your Reason Rack. Boasting a 4x oversampled synthesis engine, a freely routable signal and modulation path and a sound like nothing else, Complex-1 is a synth lover’s dream machine.

If you’re a seasoned modular synth enthusiast, you can dive right in. If this kind synth is new to you, it can look a bit daunting, but it’s actually surprisingly easy to get going. Load up any of the included patches to get you going, and start your sonic exploration there. Nothing can break, and if things go weird (like, in a bad way), there’s the undo button to your rescue.

Most people associate modular synths with lab coats and glitchy noise soundscapes, but if all you want is a beefy bass - let Complex-1 surprise you. Its modular madness aside, it’s also a really awesome-sounding synthesizer, capable of perfectly playable instrument sounds and yes, beefy basses too.

The modules in Complex-1 bring a mix of modular synth ideologies to the Reason Rack. The Complex Oscillator, Low Pass Gates and Shaper modules, build on the works on Don Buchla (or West Coast style) and the regular Oscillator and ladder design Filter module, derive more from the Bob Moog school of synth design. Combine them anyway you like and craft your very own unique synth sounds.

If you’re a seasoned modular synth enthusiast, you can dive right in. If this kind synth is new to you, it can look a bit daunting, but it’s actually surprisingly easy to get going. Load up any of the included patches to get you going, and start your sonic exploration there. Nothing can break, and if things go weird (like, in a bad way), there’s the undo button to your rescue.

Most people associate modular synths with lab coats and glitchy noise soundscapes, but if all you want is a beefy bass - let Complex-1 surprise you. Its modular madness aside, it’s also a really awesome-sounding synthesizer, capable of perfectly playable instrument sounds and yes, beefy basses too.

Features
- Fully-featured modular synthesizer
- Complex Oscillator
- Analog Oscillator
- Noise Generator
- Wave Shaper
- Comb Delay
- Ladder-style filter
- 2x Low pass gates
- LFO
- 3x mix modules
- Lag module
- 3x Scale & Amp modules
- ADSR envelope
- Output mixer
- Built-in sequencer with note quantizer
- Function module
- Reverb/Echo module
- Oscilloscope module
- Connects CV or audio to the rest of the Reason Rack
- Comes with over 200 expertly crafted patches to get you going

Please note that Complex-1 Modular Synthesizer requires Reason 10.1 or later"

New ASM HydraSynth 8 Voice Digital WaveMorphing Hardware Synthesizers - First Demos & Details

Update: Playlist added above. You can use the player controls to skip around.
Update2: New pics and product description added below.
Update3: Official press release with higher res pics starting with the desktop added below.

Playlist:

1. ASM Hydrasynth Keyboard Preset Sounds - Perfect Circuit - interview here
[Note Supporters of MATRIXSYNTH get %10 off at Perfect Circuit! See the support page for details. Thank you to all who support the site!]
2. ASM HydraSynth Overview Demo arp and Poly Touch Pads - Ken Flux Pierce Fluxwithit
3. HYDRASYNTH FIRST IMPRESSIONS – This is an INTENSE synthesizer - BoBeats (Patreon)
4. New Polysynth - HYDRASYNTH - From ASM - Sonic LAB First Look - sonicstate
5. Hydrasynth: Review, detailed tutorial // Keyboard vs Desktop // Polyphonic Aftertouch - leploop
6. Hydrasynth Review - BBoyTechReport.com
7. Welcome the ASM HydraSynth! Digital Wavemorphing Synthesizer - Ken Flux Pierce Fluxwithit
8. ASM HydraSynth Exploring Oscillators and Mutants - Ken Flux Pierce Fluxwithit
9. ASM Hydrasynth Sounds Demo 🎹 - Sweetwater
10. ASM Hydrasynth Synthesizer Deep Dive 🎹 - Sweetwater

ASM stands for Ashun Sound Machines, not to be mixed with the Elby Designs ASM2 & ASM STRAT 1.

Screen grab of the desktop version.

via Fluxwithit

"Over the past year or so I was fortunate enough to work on this project. Eventually it became one of the most interesting synthesizers I have seen hit the market in ages. What makes the ASM HydraSynth so special? let’s start with a run down of the bullet points first.

Hydrasynth is an 8 voice digital wavemorphing synthesizer.

8 voices3 oscillators: 219 waveforms, custom wavetables with wavelist/wavescan function, ring mod, 3 noise colors.4 custom “mutator” sections each with 7 effects FM-lin,wavestack,PWM,PWM squeeze, PWM-ASM,Sync,Harmonic sweep. oscillators can be stereo panned.

2 Simultaneous filters that can be arranged in parallel or series. Filter 1 has 11 filter models including traditional Moog style 12 and 24db ladder filters, q compensated 12 and 24db ladder filters ala MatrixBrute, 18db slope LP,BP,HP,filters based on the Threeler eurorack filter, MS20 style HP and LP filters,LPG filter and a Vowel filterOscillators can blend into filters at varying amounts, Filter 2 is a SEM style multimode filter with morph control LP-BP-HP.dedicated analog 270 degree pots for cutoff, resonance and Drive/Morph.

5 6-stage DAHDSR envelopes with BPM sync allowing you to sync the slope of each stage to the beat. Looping with definable number of repeats

5 LFO each with 10 waveforms + noise, delay, fade in/out, and phase. multiple trigger modes , step mode with pattern length.

32 point mod matrix with 28 sources and 188 destinations .

8 macros each with scribble strip and up to 8 destinations each. Macro buttons also allow for quick value changes.

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KORG KRONOS Details

via Hispasonic, translated to Googlish from Spanish:

"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.

Features in detail

There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:

* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.

Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).

It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.

Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.

Section 16 effects available. 9-band equalizer general. Flexible Routing. Mastering tools. 16-track sequencer."



Update:

Korg KRONOS Music Workstation- Official Product Introduction video added below.

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Strange Synthesizers of Japan by Hiromichi Oohashi - Synth Book w/ CD

Hiromichi Oohashi wrote in to let us know about his new synth book featuring rare and somewhat strange synthesizers from Japan. The book features synths from his collection along with a CD of audio/music. You can find the book via the publisher Rittor Music (Japan) (published Nov.2021), and on Amazon JP here.

You can find a list of the synths featured by chapter further below.

Details on the book from Hiromichi Oohashi follow.

"This art book introduces many of Japanese most rare and strange electronic musical instruments (1960s~1980s) from author's private collection for long years.

Contains over 130 synthesizers, rhythm machines, organs, toy instruments, speech synths, etc most of these rare instruments will be the first public release. All color pages, lot of beautiful photo of these unique instruments with simple and detailed text, all photos and book design by author himself.

Contribution from Mark Mothersbaugh (DEVO)

Foreword by Eric Schneider (author of TOY INSTRUMENTS/MBP)

Attached CD has original music using these strange instruments so you can hear what these synth sounds like.

CD's music made by author's band KINO-MODERNO (world-renowned electronic music duo)



Hiromichi Oohashi is an artist born in Tokyo 1961
after studied art & design at Kuwazawa Design School in Tokyo
works as an artist and producer for Art, Design and Music
also known as collector of rare electronic musical instruments
in 1990 released groundbreaking [ VIDEO DRUG2/Phuture ] and get noticed
member of electronic music duo KINO-MODERNO since 1984
president of DAT PLANET PRODUKT"

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