Oberheim DS2 Digital Sequencer

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OBERHEIM DS-2 Digital Sequencer SN 050

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"Rare OBERHEIM DS-2 DIGITAL SEQUENCER. Made in Santa Monica, CA around 1974. Serial number: 050. Excellent working condition. Unit is 17.5" wide and 11" tall.

The DS-2 was probably the first commercially produced digital sequencer, and very few were made. I believe the DS-2 pre-dates the SEM and was Tom Oberheim's first product under his own name. Number 50 is in superb cosmetic condition and is running well. The right Panaplex gas discharge/plasma numeric display is missing some segments but works fine and is very readable. The left display is perfect. There are a few nicks and scratches and a little tape residue on the back. The lighted buttons work fine but some are slightly brighter than others. Comes with instruction/service manual.

I've played the DS-2 for many years with an Oberheim 2-voice and have always loved the possibilities of using this in tandem with the TV's on-board mini-sequencer. The big NASA layout is beautiful in its simplicity. Definitely a collector's item but also a real blast to use. Especially the three discrete, tunable transpose settings are very useful and breathe new life into your sequences when used on the fly..." Pics of the back below.

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70s OBERHEIM SQUENCER DS-2A

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"Up for sale is a piece of Tom Oberheim history! rarer than chicken lips!! Oberheim Digital Sequencer model DS-2A... Perfect for your SEM Two/Four/Eight Voice, MOOG, ARP synths! About 1975, Oberheim electronics introduced the DS-2a, a "Digital" sequencer capable of remembering one-hundred and fourty-four notes. Although it was only a monophonic device, the attraction to this type of sequencer was that notes could be entere in both "real time" or "step time" from the synthesizer keyboard. This was of great interest to composers who would prefer to play notes in from the piano keyboard, rather than having to painstakingly "tune in" one note at a time with a potentiometer. This unit had the capacity for three sequences that could either be played back independently or chained together to play in turn, but there was no means of permanent storage for anything loaded into the device. Since all information was stored in a "volatile" RAM memory, everything was erased when the power was removed. Simply a great instrument for creative use."

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Thief (1981) complete "Igneous" scene (music by TD)

video upload by kovalmoog

"The whole scene of Thief (1981) with TD's re-edition of 'Thru Metamorphic Rocks' theme, renamed as 'Igneous' in the OST release.
The film version is by far more extensive than Thief CD version.
Enjoy that sequence !"

TD = Tangerine Dream.

Curious what they were using back then. According to this thread, they used the following on tour during that time period:

Live in East Berlin, 31st Jan 1980

Chris Franke:
Custom modular synthesizer (comprising of about 50% Moog and 50%
Projekt Electronik):
Moog Oscx2/R.M./VCF/VCAs
Projekt Elektronik VcEnvx2 & Proj. Elek. 2VCO/W.Noise/R.M./Waves (for Drums)
Digital sequencer & trigger selector
Programmer for above (SCI model 700 programmer)
Synth sound bank (for above)
Moog 960 sequential controller x2
Projekt elektronik sequence controller x2
Moog 3-band parametric
Moog 12 stage phaser
Moog 920 programmer
Moog 16-channel vocoder
Rhythm robot sequencer
Emu Oddity voice card
12 analogue drum sounds
Drum envelope unit
Drum EPROM sampled sounds
and more...

Oberheim OB-1
Prophet 5 (rev 2)
Minimoog
Korg PE-2000 polyphonic Ensemble
Elka Rhapsody 610 string machine.

Edgar Froese:
custom Moog modular synthesizer (3 box units comprising Moog modules and sequencers plus sequence controllers from Projekt Electronic)
Prophet 5 rev 2
PPG Sonic Carrier 1003 programmable duophonic DCO/DCF/DCA based synthesizer
PPG Wavecomputer 360 polyphonic digital synthesizer
PPG 350 keyboard sequencer
Arp Pro-DGX monophonic preset synthesizer
Korg PE-2000 polyphonic ensemble
Roland MC-8 microcomposer
Roland VC-10 vocoder
Arp/Solina string ensemble
Mellotron mk V

Johannes Schmoelling:
- Minimoog
- Yamaha CP-80 electric grand
- Oberheim 4-voice
- Elka Rhapsody 610
- Polymoog
- Korg PS-3100
- Synthanorma sequencer

-----------

European tours (Nov-Dec 1980 & Jan-Feb 1981):

Equipment used:

Chris Franke:
Moog/PE modular tower as above
Minimoog
Arp Odyssey mk III
Elka Rhapsody 610
Prophet 5 rev 2

Edgar Froese:
Projekt Elektronik modular synthesizer & sequencers (used by Peter Baumann during '76 and '77)
PPG 340 A Generator Unit, PPG340 B Processor Unit, PPG380 Event Generator, PPG x 2 Terminals, PPG x 2 Computer Keyboards,
Oberheim OB-X

He may have used some more keyboards during these tours but I'm not sure which ones (possibly the Arp pro-DGX, the PPG Sonic carrier or the PPG
360 wavecomputer?)

Johannes Schmoelling:
Moog modular synthesizer (usually handled by Edgar Froese on stage)
Minimoog
Polymoog
Prophet 5 rev 2
Yamaha CP-80 electric grand

-----------

British Isles tour (Oct-Nov 1981):

Equipment used:

Chris Franke:
Moog/PE modular tower as above
Minimoog
Arp Odyssey mk III
Elka Rhapsody 610
Prophet 5 rev 2

Edgar Froese:
PPG 360 wavecomputer
PPG Wave 2
Arp Pro-DGX
Korg PE-2000 poly-ensemble
PPG 5-octave keyboard controller
Custom sequencer (by Helmut Groethe)

Johannes Schmoelling:
Minimoog
Oberheim OB-X (handled by Froese on previous tours)
Custom sequencer (like Edgar's)

Introducing the Tom Oberheim & Dave Smith OB-6 Polyphonic Analog Synthesizer

Uploaded on Jan 20, 2016 Dave Smith Instruments - "Tom Oberheim & Dave Smith Introduce the OB-6"

Update: new demo video from INHALT in via Soviet Space Child below!
Update2: DSI / Tom Oberheim - OB6 - live looping demonstration by Daniel Davis added below.

Awesome video! You'll find an audio demo at the bottom of this post. So, if you weren't sure NAMM had any big surprises coming, well here you go. A brand new six voice polyphonic Oberheim synth based on the original SEM's discrete VCOs and filters, complete with trademark blue pin strips, and a few extras. This is not a CEM based Oberheim. This is discrete analog with some modern capabilities. Think closer to the original Oberheim FVS and classic OB-X (CEM VCOs & VCFs came with the OB-Xa). A new Tom Oberheim six voice polysynth has arrived!

The following is the official press release:

"Tom Oberheim and Dave Smith Unveil OB-6 Analog Synthesizer

Legendary Poly Synth Creators Team Up on New Instrument with Discrete VCOs and Filters

Anaheim, CA—January 21, 2016—Dave Smith Instruments today announced the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and exibility of modern technology.

Said Smith: 'Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.' Added Oberheim: 'A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.'

The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM- inspired state-variable lter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled ampli ers complete the all-analog signal path. 'The classic, bold SEM sound is all there,' said Oberheim.

Present also is X-Mod, with lter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, lter cutoff, and lter mode. The knob-per-function front panel puts virtually all parameters at a user’s ngertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.

A dual effects section provides studio-quality reverbs, delays (including standard and BBD), chorus, and faithful recreations of Tom Oberheim’s acclaimed phase shifter and ring modulator. The effects are digital, with 24-bit, 48 kHz resolution, but a true bypass maintains a full analog signal path. Additionally, the OB-6 features a multimode arpeggiator and a polyphonic step sequencer with up to 64 steps (and up to 6 notes per step) plus rests. It allows polyphonic keyboard input and can sync to external MIDI clock.

The full-size, four-octave, semi-weighted keyboard is velocity and aftertouch sensitive. Said Dave Smith, 'As with the Prophet-6, we made size a primary concern on the OB-6. It’s the right mix of power and portability and it ts right in on-stage or in the studio.' Added Oberheim, 'And of course, it’s got that unmistakable SEM sound that’s going to turn a lot of heads. '

The OB-6 is manufactured and sold by Dave Smith Instruments. It will be available in March, with a projected MAP of $2,999."



Update: new demo from INHALT in via Soviet Space Child.

Oberheim Dave Smith OB 6 Demo by INHALT

Published on Jan 21, 2016 INHALTVIDEO

This sounds like an Oberheim.

"As long time users of the Oberheim OB8 and 2 Voice (take a listen to our "Occupations" EP as both are on it all over the place) we were pleasantly surprised when Dave Smith Instruments showed us their new analog workhorse and collaboration with the inimitable Tom Oberheim— the OB6. The allure for the Oberheim polyphonic sound, for us, has always been it's unique melancholic tone colour. No matter what kind of sounds are programmed, Oberheim's tend to have this wonderful midnight music vibe, like driving in a car late at night circa 1983. We're pleased to report that the OB6 captures this sound quality effortlessly and in spades.

Our approach to the design of the factory bank patches we submitted (most of which you hear in the demo) was rather simple: we made the same kinds of sounds we would program on our Oberheims, and barring a couple, largely ones we would find useful in a production context. Though we don't typically record synthesizers with FX printed on the same track, the FX engine is so wonderful sounding on the OB6, and highly controllable, that it made us reconsider. In short, the FX engine is no slouch, and for the many decades spent dismissing the on board FX of most 'modern' synths, this is the first time that we've heard an FX engine exude the same quality as the top end hardware units from Lexicon, Eventide, or AMS that we tend to use in the production process.

Everything you hear on the demo was done entirely on the OB6. Absolutely NO additional FX or sequencers were used. We simply ran the stereo output from the OB6 into a DI and a stereo mic pre amp directly into Pro Tools HD and tracked it in."

DSI / Tom Oberheim - OB6 - live looping demonstration

Published on Jan 21, 2016 Daniel Davis

"DSI / Tom Oberheim - OB6 - live looping demonstration

Live looping demonstration of the new OB6 analog synthesizer. Only used the OB6 and Pigtronix Infinity looper."

I own an OB-Xa and the two videos above nail the sound and then some.

Update2:

NAMM2016 Introducing the New Dave Smith OB 6 Desktop Synth

Published on Jan 21, 2016 Analogue Zone Showroom / Synths and Studio

"Introducing the New Dave Smith OB 6 Desktop Synth
@dsiSequential

Available soon from
http://www.analoguezone.com/"

NAMM2016: Dave Smith Instruments OB6

Published on Jan 21, 2016 sonicstate

"NAMM2016: Dave Smith Instruments OB6 Dave Smith shows us the new OB6"

DSI / Tom Oberheim - OB6 - Patch Demonstration

Published on Jan 21, 2016 Daniel Davis

"DSI / Tom Oberheim - OB6 - Patch Demonstration

Some patches I made on the new OB-6.

All effects are from the OB-6. No post processing or production."

[NAMM] Dave Smith Instruments OB-6 NAMM Floor Video with Dave Smith & Tom Oberheim

Published on Jan 21, 2016 Audiofanzine in English

"Here's a presentation of Dave Smith Instruments and Tom Oberheim's OB-6 at the NAMM Show 2016."

NAMM 2016 Dave Smith Instruments OB-6

Published on Jan 22, 2016 Kraft Music

"Great deals on Dave Smith Instruments at Kraft Music:
http://www.kraftmusic.com/brands/dave...

Mark from Dave Smith Instruments presents the OB-6 at the 2016 Winter NAMM Show."

Dave Smith OB 6

Published on Jan 21, 2016 musicianews

"Dave Smith and Tom Oberheim team up to create a fantastic sounding new instrument. OB-6 has arrived. Check out the video."

Tom Oberheim OB 6 SEM

Published on Jan 21, 2016 musicianews

"Wow great to see Tom Oberheim and his take on the OB-6, Eurorack SEM and the world of Analog design in the 21st Century!"

Introducing the Dave Smith Instruments Pro 2

Published on Jun 19, 2014 Dave Smith Instruments·26 videos

Update: DSI eurorack filter module at 5:00. Also note the multiple 1/8" CV Ins & Outs on the back of the Pro 2.  Some conversation on The MATRIXSYNTH Lounge.

"Special thanks to Peter Dyer (http://peterdyer.net).

One Voice to Rule Them All
Dave Smith calls the Pro 2 his "most powerful mono synth ever." It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word "fat."

Full info and specs: http://www.davesmithinstruments.com/p..."

"One Voice to Rule Them All
Dave Smith calls the Pro 2 his 'most powerful mono synth ever.' It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word 'fat.'

A New Classic for a New Generation
The Pro 2 is a fusion of classic analog synthesizer design and cutting-edge digital technology. It boasts four high-resolution digital oscillators, plus a sub oscillator. The oscillators produce both classic and complex wave shapes and can frequency and amplitude modulate each other in any operator and modulator configurations you choose for harmonically-rich FM and AM sounds. A set of Character controls adds high and low frequency boost, bit and sample rate reduction, and tape saturation emulation to the Pro 2's sonic palette.

Two New Filters Based On Vintage Designs
At the heart of the Pro 2's gutsy sound is its all-new dual filter design. Filter 1 is a 4-pole low-pass design inspired by the original Prophet-5 filter. Filter 2 is a state-variable design inspired by the Oberheim SEM and can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. The two filters function in either serial or parallel, or anywhere in between. Two of the four oscillators can be routed through Filter 1 with the other two routed through Filter 2 for a broad range of tonal possibilities.

Advanced Sequencing
One of the most exciting features of the Pro 2 is its sequencer—possibly the most powerful step sequencer ever designed for a synth. With up to 32 steps and 16 tracks, it provides real-time input, rests, and variable-length sequences. It also syncs to MIDI clock and external audio input. Sequence tracks can control any parameter in the Pro 2's extensive modulation matrix.

Plays Well With Modulars
The Pro 2's flexible architecture opens the door to not only processing external audio, but also to interfacing with modular synths through its 4 rear-panel control voltage inputs and outputs and a dedicated gate output. Control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. Some of the many parameters that can be sent to the CV outputs include oscillators, LFOs, envelopes, and sequencer tracks, making the Pro 2 a natural choice for the center of your studio or live setup.

Delays, Envelopes, LFOs, Arpeggiator, and a Multitude of Modulation
The Pro 2's delay section provides three digital delays with pan, and high-pass and low-pass filtering controls. A fourth delay is a digital bucket-brigade delay (BBD) for analog-style effects. There are four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a full-featured arpeggiator, and a sixteen slot modulation matrix with dozens of modulation sources and destinations.

Monophonic by Design, Paraphonic by Choice
The Pro 2 was designed primarily as a super-powerful monosynth, but it’s also a true, four-voice paraphonic synth that allows you to control each of its four oscillators individually with their own envelope. This makes playing four-note chords not only possible, but very expressive.

Package all of this power in a three-and-a-half octave, semi-weighted keyboard with velocity and channel aftertouch, add two backlit pitch and mod wheels and two location and pressure sensitive touch sliders, and you've got one of the most feature-rich, awe-inspiring synthesizers ever created."

Specs:

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Tom Oberheim's Jacket

Very "Daft Punk." Apparently this one was owned by Tom Oberheim himself. Man I am tempted... If anyone out there gets it, please post back with a comment and let us know. It would be great to know this went to a good home. Title link takes you to more shots pulled via this auction. The other shots include images of it in silver reversible . Sent my way via brian comnes.

Details:
"It’s True! My very good friend, Mr. Tom Oberheim personally gave me his own Oberheim jacket has a thank you for supplying him with key electronic components and consulting with him on his electronic needs as he began the rise of Marion Systems. Tom is a good friend and a fantastic man with incredible genius. As a young man I grew to have a ton of respect for him and enjoyed hanging out with him in his Santa Monica office as Marion Systems grew.

Tom Oberheim (mini bio)
Synthesis Pioneer

Tom Oberheim has been developing electronic products for musicians for over 35 years. He invented a number of innovative electronic music products, including: the first polyphonic music synthesizer, the first phase shifter and ring modulator for the performing musician, the first completely programmable music synthesizer, and the first electronic music system that incorporated a synchronized music synthesizer, digital sequencer and digital drum machine. He has founded and managed three electronic music product companies, and served as a CEO and CTO. He also participated in the development and implementation of the MIDI standard."

Tom, forgive me for putting your jacket on Ebay, but I feel it should be passed on to another fan of your fantastic legacy (not to mention it doesn’t fit me anymore).

This silk, zip up Jacket is in FANTASTIC condition, reversible, and has the large GREAT Oberheim Logo embroidered on both the “black side as well as the silver side”. Also since this was Tom’s jacket “Oberheim” is embroidered on the front left breast area of the black side. The jacket can be worn comfortably by a man or woman and I would say the size is a man’s large, based on Tom’s size and when it fit me."

Oberheim DS-2A Digital Sequencer for Analog Synthesizers

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"Extremely rare Oberheim DS-2A digital sequencer - this was the very first digital sequencer, back in 1974.

The unit powers up, all the buttons and knobs work as intended, and it plays back the sequence that is currently recorded in it, but I am unable to confirm that it is otherwise fully functional, re: recording sequences, so it is sold AS IS, no returns."

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Oberheim DSX Sequencer for OB-Xa and DMX Drum Machine SN A20111

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"About the Oberheim DSX (taken from an original Oberheim ad)
MULTI-TRACK: The ability to record musical elements individually and separatley in synchronization with each other. It is the multi-track recording capability of the Oberheim DSX Polyphonic Sequencer that separates it from other sequencers that just record and play.

The DSX records up to 6000 notes and patches from the OB-Xa, OB-SX or OB-X onto any of 10 different sequences. Each sequence contains 10 different recording tracks. Each track can be recorded separatley, from the keyboard, in any order, for almost any lenght of time. Record with any combination of voices inside the OB-Xa, or use any of the eight external Control Voltage and Gate Outputs with other synthesizers, for a total of 16 voice polyphony.

Playback any of the tracks, in any sequence, in any key, in any order with the Merge function. Sync the DSX to the DMX Programmable Digital Drum Machine or tape, etc... The Oberheim DSX - it does things even a digital multi-track can't do.

~ Records up to 6,000 notes polyphonically and in real time
~ Eight independently controllable CV and GATE outputs with both Oberheim and Moog triggers
~ Interface directly with the OB-Xa, OB-SX, OB-X and the DMX
~ Sixteen digit alpha-numeric display provides interactive operation
~ Ten independent tracks within each sequence which can be overdubbed and played back in any combination
~ Sequences can be merged together to create long compositions
~ Sequencer records all program changes and tempo, as well as note depressions
~ Selectable quantize modes correct rhythms
~ Battery back-up retains sequencer memory with power off
~ Cassette interface for off line storage of sequences
~ Can be synchronized to audio or video tape
~ DSX can be connected directly to other DSX units for controlling many sequencers at one time"

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Hataken Interview

Back on March 31, I put up a post on Hataken, a Japanese DJ artist who primarily uses analog synths. At the time, Shane Chisolm, the manager of Don Juan Dracula mentioned Hataken was working on a remix version of DJD's "Take Me Home". Shane asked me if I'd be interested in doing an interview with Hataken, and I thought why not. It would be interesting to hear his perspective on the world of synths as a live DJ artist. The following is the result of that interview. Note, this is a long one. You will want to use page down to scroll through. If it is too long for you, I recommend reading one or two questions each time you visit the site. Each DIY item below would typically have been a separate post. There is a lot of interesting stuff here. That said, I start with an introduction followed by asking Hataken how it all started for him. Note the focus is primarily on synths as this site is about everything synth, and Hataken delivers. The gear he has both worked with and designed to meet his specific needs is overwhelming. There's also an interesting interlude on experimenting with frequency counters to produce specific frequencies of sound known to have healing properties, and of course there is a bit of the age old discussion of digital and analog.

Before we start the interview, I want to thank Hataken for taking the time out for this, and I want to thank Shane for suggesting it. It's a fascinating history of a DJ synth artist with interesting perspectives that I'm sure I will come back to over time. Be sure to check out the video and link to more at the end. And of course be sure to check out Hataken's website.

1. Can you tell us a little bit about yourself?

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Oberheim Stretch1984 OBERHEIM DX STRETCH

images via this auction

"OVERVIEW
The DX Programmable Digital Drum Machine from Oberheim fills the professional musician's need for an afford able. easy to use, state- of- the- art drum computer. Based upon the modular Oberheim DMX Drum Machine, the DX offers the sound and features of the DMX in a less expensive, more integrated package . The DX is not a drum synthesizer; it is a complex microcomputer system programmed with digital studio recordings of real drums. It doesn't sound like a rhythm box. it sounds like a drummer. Not only does the DX sound like a drummer, it can play like a real drum mer; with rolls, flams, odd time signatures, uneven phrases, changing tempos, or even off the beat. Up to 2200 notes can be stored in the DX, recorded in any of 100 Sequences of any length or time signature. Drum sequences can be recorded in real time or one note at a time. Any of the 18 individual drums (including crash cymbal) or individual notes can be recorded, erased, and then re-recorded until the drum beat is exactly right. The sequences can be combined to form up to 50 songs. Each song can contain up to 255 sequences, arranged in any order, to form a complete composition. Tempo and Time Signature are programmable for each sequence, and with the DX's extensive editing capability, a song's structure can be changed quickly and easily. The DX has several Quantize modes, which correct your rhythm to any beat between l/4 notes and 1/32 note triplets, or turn the Quantize off for the human feel. In addition, there is a Swing mode which will give rhythms the uneven feel that is used so often in jazz and other music.


There are individual tuning controls for each voice on the rear panel and each of the six DX voices has its own output. so you can record them on separate tracks. or EQ them separately. There is also a 7 input stereo mixer to allow you to mix all of the drums into the stereo and mono outputs. The DX can run in synchronization with the Oberheim DSX Digital Polyphonic Sequencer and the other components of the Oberheim Music System as well as other sequencers. There is a programmable external trigger, so you can control the DX with sequencers, synthesizers. or even a drum kit. A battery maintains power to the memory when the DX is turned off. so that you don t lose your sequences when you turn off power. A cassette interface is provided which enables quick changes of all of the sequences and permanent data storage. original list price $1395.00

STRETCH expander for Oberheim DX drum machines. The Stretch adds the two things DX owners want most of all: more sounds and more features for older model DX drum machines. For those DX machines, features are added like variable clock, auto start, cue tempo, midi clock out & more. Each Stretch voice has its own buttons, tuning, output jack and level control for the mixed output of the DX. Zif sockets are included to make it easier to add new sounds, containing chip locations for 4 more rows. original list price $495.00"

Analogue Solutions Ships Nyborg-24

"Analogue Solutions ships space-saving real analogue monosynth module with ‘Moog-style’ filter

KINGSWINFORD, UK: British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce availability of Nyborg-24 — a ‘Moog-style’ 4 Pole 24dB/Octave LOW PASS FILTER- equipped standalone monophonic synthesiser module with REAL ANALOGUE VOICE & MODULATION CIRCUITS that essentially shares the same features (and the same form factor) as its white-faced Nyborg-12 ‘Oberheim SEM-style’ 2 Pole 12dB/Octave MULTIMODE FILTER-equipped sibling released to critical acclaim earlier this year — as of October 13...

The appropriately-named Nyborg-24 not only looks different to its appropriately-named Nyborg-12 synth sibling — thanks to their obviously opposing front panel colour schemes, but also sounds different — thanks to sharing the same ‘Moog-style’ 4 Pole 24dB/Octave LOW PASS FILTER found in the company’s critically-acclaimed Leipzig-S analogue monosynth/step sequencer (whereas the Nyborg-24 shares the same ‘Oberheim SEM-style’ 2 Pole 12dB/Octave MULTIMODE FILTER found in the company’s Telemark semi-modular analogue monosynth). Moreover, it is what these form factor- and feature-sharing synths have in common that makes them stand out from the analogue renaissance crowd, constantly swelling in numbers as it is. Indeed, as they both proudly state on their black (Nyborg-24) and white (Nyborg-12) rugged steel/aluminium casings for all to see (and hear): REAL ANALOGUE VOICE & MODULATION CIRCUITS

But what does REAL ANALOGUE VOICE & MODULATION CIRCUITS actually mean? Meaningfully, then, apart from its high-quality 16-bit DAC (Digital-to- Analog Convertor) for MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion (which, by its very nature, has to be digital), like Nyborg-12 before it, Nyborg-24 is absolutely analogue through and through, hand built (by humans) using real transistors and op-amps. Unlike other so-called analogue synths you’ll find no CPU-stabilised and quantised circuits, DCOs (Digitally-Controlled Oscillators), digital LFOs (Low Frequency Oscillators), or digital EGs (Envelope Generators) hiding here, thank you very much! Instead its circuitry is based on tried-and-tested, distinctive- sounding designs dating back to the late-Seventies, so Nyborg-24 sounds suitably vintage in character — surely destined for much praise by Analogue Solutions’ loyal customers. Cast aside those bland-sounding digital synths and DSP-based soft synths and dial in Nyborg-24 whenever a full range of synth leads, basses, excellent-sounding electronic percussion, and all manner of subtractive synthesis-derived sounds are the musical (and not-so- musical) order of the day (or night)!

Speaking of dials, Nyborg-24 boasts an abundance of high-quality, smooth potentiometers, fully sealed against dust intrusion, together with high- quality knobs with spun aluminium caps — all as appealing to look at as they are to turn! Two super-stable VCOs (Voltage-Controlled Oscillators) — each providing a whole host of options and MODULATION sources — are available to start turning the most adventurous analogue musical dreams into reality. Thereafter, Nyborg-24 continues to follow the traditional, well-trodden analogue synthesiser signal path with its distinctive-sounding 4 Pole 24dB/Octave LOW PASS FILTER; AUDIO MIXER (VCO 1, VCO 2, NOISE/SUB); LFO (Low Frequency Oscillator) with triangle and square wave modulation signals and MODE switch to route CV2 (velocity control voltage) or S+H (Sample and Hold) signals to that 4 Pole 24dB/Octave LOW PASS FILTER or those VCOs; VCA (Voltage-Controlled Amplifier), controllable from EG2 or GATE with BYPASS option (allowing Nyborg-24 to be used as an external effects processor) and CYCLE setting (so the envelope is constantly re-triggered by the LFO, allowing for hands-off sound effects); and ENVELOPE 1 (VCF) and ENVELOPE 2 (VCA). As such, it should feel familiar to anyone with a modicum of subtractive synthesis skills... so much so, in fact, that reading of its accompanying user manual may only be necessary for finer operational detail: “Do not use a carwash or jet wash to clean this synth.” Surely as good advice as you’re going to get from anyone anywhere!

And speaking of communicating with the outside world, with an intentionally easy yet effective MIDI implementation — CUTOFF control of Nyborg-24’s all-important 4 Pole 24dB/Octave LOW PASS FILTER is available via MIDI velocity or a MIDI controller — and external CV (Control Voltage) sockets for PITCH1 (VCO), PITCH2 (VCO), CUTOFF (filter), GATE (to trigger the EGs), and EXT (for feeding an external CV to various circuits), DAW (Digital Audio Workstation) integration or working with an analogue step sequencer (such as Analogue Solutions’ own Oberkorn and recently-released Megacity) is a breeze. Better still, simultaneous MIDI and CV operation is possible, so users could, for example, use an Oberkorn to play a little melody then transpose that step sequence using a MIDI keyboard controller (or MIDI sequencer). Child’s play? Perhaps.

Note Nyborg-24 — like Nyborg-12 — can be user configured in various ways to save space to suit. Shipping as a vertically-orientated standalone monosynth module (much like its bigger brother, the Telemark), it is possible to rotate Nyborg-24’s front panel so that it can be used horizontally as a desktop device. Optional wooden side panels can be screwed to a single Nyborg-24 (from its inside so no ugly screws are visible) or to two Nyborg-24s that have been bolted together. It is also possible to rack-mount two Nyborg-24s that have been bolted together using the optional rack ears. (Of course, it is perfectly possible to bolt a Nyborg-24 to a Nyborg-12 and also rack-mount this perfect pairing for full filtering flexibility.) Either way, Nyborg-24’s modified software allows two Nyborg-24s to be poly-chained together to play as a single two-voice polysynth. Four-voice polyphony is also available upon request for those looking to really push the boat out and purchase four Nyborg-24s, though one Nyborg-24 is still a very versatile, super-sounding, space-saving standalone monosynth module in itself. One that will serve any adventurous analogue renaissance man, woman, or child well for many years to come.

Nyborg-24 is available to order online directly from Analogue Solutions (http://analoguesolutions.com/nyborg-24/) for £499.00 GBP (plus tax and delivery) or through an authorised dealer, as are its optional rack ears (£19.00 GBP, plus tax and delivery) and wooden side panels (£39.00 GBP, plus tax and delivery)."

Be sure to check on availability with a MATRIXSYNTH sponsor on the right! They help support the site that brings this post to you.

New Abstrakt Instruments VS-1 Analog Synth - New Classic Oberheim OB-X Inspired Rackmount Synth

Published on Jan 14, 2020 Abstrakt Instruments

Update: I thought it worth noting that this project is being done with Tom Oberheim's blessing. From the Kickstarter campaign:

"Tom Oberheim of tomoberheim.com and Oberheim Electronics is aware of our plans to market an OB-X-centric synth. We asked permission and he did not have any reservations with our plans and said good luck! We have also offered a royalty per unit but there was no interest. However, even though the VS-1 is by nature a boutique offering and won't break any sales records, we will indeed be paying a royalty in deference to the original design."




You might remember the OBX Rack Synth Kit Stretch Goal Added to Abstrakt Instruments' Kickstarter for OB-X replacement boards. It looks like they are taking it a step further and offering a completed version named the VS-1 for non-DIYers, or those that just don't have the time or resources to build their own. The project is currently seeking funding on Kickstarter here. Abstrakt Instruments, of course, are the people behind the Avalon Bassline 303 clone, which has become highly regarded by many as the best 303 clone with extra features. P.S. See Abstrakt OB-X for additional posts and demos leading up to the new VS-1.

Some details from the Abstrakt Instruments VS-1 Kickstarter follow - click through for additional pics and info.

"The VS-1 combines vintage analog sound with modern features, designed for those that find modern synths over-perfected. Based on the discrete analog design of the iconic Oberheim™ OB-X, the VS-1 utilizes many of the same design trade-offs, including a signal path comprised of discrete transistors, op-amps, & 3080 OTA's utilizing through-hole components. Combined with modern digital control, a clean & simple interface, and packed into a 3U rack... this is the essence of the VS-1.

It’s all about the tone. Based on the classic OB-X, each voice consists of two analog VCO's and a 12dB OTA Filter (LP/BP/HP) and VCA.

VCO's Two discrete VCO's per voice with saw and pulse waves. Pulse width can be adjusted from 0% to 100%. VCO1 can be modulated by VCO2 (crossmod) and VCO2 can by hard-synced to the frequency of VCO1. VCO's can also be modulated by two analog LFO's, two digital LFO's per-voice, and a DADSR 5-stage envelope generator.
Noise Analog white & pink noise.
Portamento Analog polyphonic portamento gives a natural clustering effect between voices as the analog components are never perfectly matched. Although this requires many additional components it has been included - another example of small imperfections that impart character. In addition, digital portamento with both fixed rate and fixed time modes is also included.
12dB OTA Filter The classic resonant 12dB multimode filter is the desert island filter, simply awesome in a polyphonic synth. The classic OB-X had a fixed lowpass mode, the OB-R has lowpass, bandpass & highpass modes.
Panning VCA's Each voice retains the classic 3080 OTA VCA but also includes a stereo panning VCA that can be modulated by several sources. The spread control make it easy to pan voices across the stereo field.
Envelope Generators Each voice has a dedicated analog ADSR for the filter and VCA. In addition there is a global five-stage DADSR with (20) modulation destinations.
Analog LFO's Two global analog LFO's with triangle, square and S&H waveforms can be sent to VCO1 frequency and pulse width, VCO2 frequency and pulse width, and filter cutoff.
Digital LFO’s Two LFO’s per voice with triangle, sawtooth, reverse sawtooth, square, and random waves with (20) destinations. LFO’s also have dedicated attack-decay envelopes and can be free-running or synced to the arpeggiator, sequencer, or MIDI clock for tempo-synced effects.

https://www.kickstarter.com/projects/abstraktinstruments/vs-1-polyphonic-analog-synthesizer

IK Multimedia Introduces Syntronik 2

"Syntronik 2 sets the new standard in modern virtual synthesizers. IK’s advanced sampling techniques, combined with a hybrid sample and modeling synthesis engine, power a comprehensive collection of rare and sought-after synths with stunning sonic accuracy and the deepest editing.

This is a massive update to the previous release, adding 11 new synths, exciting new, advanced, and much-requested functionality, and a huge number of all-new presets for the 22 original synths taking advantage of all these new features."

"Syntronik 2 features

33 powerful synths with familiar panel designs and easy-to-use controls

A collection of 54 iconic hardware synthesizers and string machines

Multi-sampled oscillators for ultimate authenticity

4 classic types of circuit-modeled filters to shape sounds

DRIFT™ technology for realism of subtle oscillator variations

Mix and match oscillators with filters for new original sounds

True 4-part synth to create rich sounds with Multis and splits

4 dynamic arpeggiators and new step sequencer for complex rhythmic textures

71 high-quality effects derived from T-RackS, MixBox and AmpliTube

More than 200 GB of sounds with disk streaming and over 5,500 presets

Browser search by category or keyword to find sounds in seconds

Optimized resizable interface and “lunchbox-style” effects panel

Load Syntronik sounds into SampleTank 4* for more expandability

Works as a 64-bit plug-in or standalone instrument for Mac/PC

Fully functional free Syntronik CS version also available"

New models.


The CATO captures the distinctive analog sounds of the Octave Cat SRM and its SSM filter. The pure-analog tonality of this synth is huge, and its modulation capabilities allow for truly unique and stylized timbres. Able to create gigantic Moog-style basses, the CAT can also go in its own sonic direction with its clever oscillator sync implementation.

CLICK FOR MORE »

Oberheim DX Stretch

via this auction.
Details:
"The DX Programmable Digital Drum Machine from Oberheim fills the professional musician's need for an afford able. easy to use, state- of- the- art drum computer. Based upon the modular Oberheim DMX Drum Machine, the DX offers the sound and features of the DMX in a less expensive, more integrated package . The DX is not a drum synthesizer; it is a complex microcomputer system programmed with digital studio recordings of real drums. It doesn't sound like a rhythm box. it sounds like a drummer. Not only does the DX sound like a drummer, it can play like a real drum mer; with rolls, flams, odd time signatures, uneven phrases, changing tempos, or even off the beat. Up to 2200 notes can be stored in the DX, recorded in any of 100 Sequences of any length or time signature. Drum sequences can be recorded in real time or one note at a time. Any of the 18 individual drums (including crash cymbal) or individual notes can be recorded, erased, and then re-recorded until the drum beat is exactly right. The sequences can be combined to form up to 50 songs. Each song can contain up to 255 sequences, arranged in any order, to form a complete composition. Tempo and Time Signature are programmable for each sequence, and with the DX's extensive editing capability, a song's structure can be changed quickly and easily. The DX has several Quantize modes, which correct your rhythm to any beat between l/4 notes and 1/32 note triplets, or turn the Quantize off for the human feel. In addition, there is a Swing mode which will give rhythms the uneven feel that is used so often in jazz and other music.

There are individual tuning controls for each voice on the rear panel and each of the six DX voices has its own output. so you can record them on separate tracks. or EQ them separately. There is also a 7 input stereo mixer to allow you to mix all of the drums into the stereo and mono outputs. The DX can run in synchronization with the Oberheim DSX Digital Polyphonic Sequencer and the other components of the Oberheim Music System as well as other sequencers. There is a programmable external trigger, so you can control the DX with sequencers, synthesizers. or even a drum kit. A battery maintains power to the memory when the DX is turned off. so that you don t lose your sequences when you turn off power. A cassette interface is provided which enables quick changes of all of the sequences and permanent data storage. original list price $1395.00

STRETCH expander for Oberheim DX drum machines. The Stretch adds the two things DX owners want most of all: more sounds and more features for older model DX drum machines. For those DX machines, features are added like variable clock, auto start, cue tempo, midi clock out & more. Each Stretch voice has its own buttons, tuning, output jack and level control for the mixed output of the DX. Zif sockets are included to make it easier to add new sounds, containing chip locations for 4 more rows. original list price $495.00"

Oberheim Stretch-DX

via this auction
"The DX Programmable Digital Drum Machine from Oberheim fills the professional musician's need for an afford able. easy to use, state- of- the- art drum computer. Based upon the modular Oberheim DMX Drum Machine, the DX offers the sound and features of the DMX in a less expensive, more integrated package . The DX is not a drum synthesizer; it is a complex microcomputer system programmed with digital studio recordings of real drums. It doesn't sound like a rhythm box. it sounds like a drummer. Not only does the DX sound like a drummer, it can play like a real drum mer; with rolls, flams, odd time signatures, uneven phrases, changing tempos, or even off the beat. Up to 2200 notes can be stored in the DX, recorded in any of 100 Sequences of any length or time signature. Drum sequences can be recorded in real time or one note at a time. Any of the 18 individual drums (including crash cymbal) or individual notes can be recorded, erased, and then re-recorded until the drum beat is exactly right. The sequences can be combined to form up to 50 songs. Each song can contain up to 255 sequences, arranged in any order, to form a complete composition. Tempo and Time Signature are programmable for each sequence, and with the DX's extensive editing capability, a song's structure can be changed quickly and easily. The DX has several Quantize modes, which correct your rhythm to any beat between l/4 notes and 1/32 note triplets, or turn the Quantize off for the human feel. In addition, there is a Swing mode which will give rhythms the uneven feel that is used so often in jazz and other music.

There are individual tuning controls for each voice on the rear panel and each of the six DX voices has its own output. so you can record them on separate tracks. or EQ them separately. There is also a 7 input stereo mixer to allow you to mix all of the drums into the stereo and mono outputs. The DX can run in synchronization with the Oberheim DSX Digital Polyphonic Sequencer and the other components of the Oberheim Music System as well as other sequencers. There is a programmable external trigger, so you can control the DX with sequencers, synthesizers. or even a drum kit. A battery maintains power to the memory when the DX is turned off. so that you don t lose your sequences when you turn off power. A cassette interface is provided which enables quick changes of all of the sequences and permanent data storage. original list price $1395.00

STRETCH expander for Oberheim DX drum machines. The Stretch adds the two things DX owners want most of all: more sounds and more features for older model DX drum machines. For those DX machines, features are added like variable clock, auto start, cue tempo, midi clock out & more. Each Stretch voice has its own buttons, tuning, output jack and level control for the mixed output of the DX. Zif sockets are included to make it easier to add new sounds, containing chip locations for 4 more rows. original list price $495.00"

CLICK FOR MORE »

Vintage Oberheim DS-2A Digital Sequencer SN 273

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

via this auction

"Vintage Oberheim DS-2A Digital Sampler S/N 273

Fully tested using a Kenton Pro Solo MkII to provide Gate and CV while driving a Dotcom Modular Synthesizer. The following Gate types were verified:
• S-Trig No Pull-up
• V-Trig Low (+5V)
• V-Trig High (+15V)

All other sequencer functions were tested and proved to be working as designed. A photo copy of the DS-2 user manual will be included. There are some minor interfacing differences between the DS-2 and DS-2A. However, they are operationally identical and the DS-2 manual provides a good description of operation.

Please note that the sequencer provides a Trigger output and does not sustain the notes. The amount of sustain is controlled by the sequenced synthesizer's envelope generators using the decay and release controls. This sequencer records Keyboard CV voltages and the time between Triggers. During playback the sequence rate can be modified with the clock rate control and the pitch can be modified with three selectable transpose controls. This is a hands on type musical tool and is a lot of fun to use.

Cosmetic condition is excellent, almost mint. There is one cosmetic defects that should be noted. There is a slight indentation on the top left side. It is barely noticeable. All control pots, switches, push buttons, push button lights and indicator lights are working. The gas discharge display is working and in fantastic condition. Inside is clean with no sign of repair or modification of any kind..."

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Vintage Oberheim DS-2A Digital Sequencer S/N 168

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

via this auction

"Vintage Oberheim DS-2A Digital Sampler S/N 168

Fully tested using a Kenton Pro Solo MkII to provide Gate and CV while driving a Dotcom Modular Synthesizer. The following Gate types were verified:
• S-Trig No Pull-up
• V-Trig Low (+5V)
• V-Trig High (+15V)

All other sequencer functions were tested and proved to be working as designed. A photo copy of the DS-2 user manual will be included. There are some minor interfacing differences between the DS-2 and DS-2A. However, they are operationally identical and the DS-2 manual provides a good description of operation.

Please note that the sequencer provides a Trigger output and does not sustain the notes. The amount of sustain is controlled by the sequenced synthesizer's envelope generators using the decay and release controls. This sequencer records Keyboard CV voltages and the time between Triggers. During playback the sequence rate can be modified with the clock rate control and the pitch can be modified with three selectable transpose controls. This is a hands on type musical tool and is a lot of fun to use."

CLICK FOR MORE »

Analogue Solutions Nyborg 24

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

via this auction

Recap on features:

"Nyborg is a compact analogue synthesizer. Analogue – as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilized and quantized circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Nyborg has a genuine old sound.

Audio Applications

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The First Synth to....

Update: The new home for this list is now here. You can add to the list there or comment here and I will update both lists. Note that the complete list however will be there as I do not plan on updating this list with updates made there. That would be too much work and would compete with me being able to put up new posts here. Can't let that happen. : ) Related but separate from that list also see https://120years.net. That said...

If you are going to add to the list in the comments, use the same format.

Year - Manufacturer - Model - First at
1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader
1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader
1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument.
1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis
1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer
1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite
Both were researched as a way to transmit speech over copper wires (id est, telephone lines)
1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer
1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Worstation (electromechanical) and the Electronum - first sequencer.
1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music
1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet'
1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. See Laurie Spiegel with one here.
1963/64 - Buchla - model 100 modular - 1st "modern" modular synth
1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth.
1969 - EMS - Synthi VCS-3 - first non-modular mini-synth
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1971 - Tonus/Arp - Soloist - 1st preset mono synth
1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX-7.
1972 - Triadex Muse - first digital synth
""is the first digital musical instrument and was produced in 1972. It was
designed by Edward Fredkin and Marvin Minsky at MIT. It is an algorithmic
music generator: it uses digital logic circuits to produce a sequence of
notes based on the settings of various parameters. It has four small sliders
in that control Volume, Tempo, Pitch, and Fine Pitch. It is not known how
many were made, but they are considered extremely rare.
The Muse is the subject of U. S. Patent 3610801"
1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synthclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year."
1973 - Dartmouth Digital Synthesizer - NED - Synclavier prototype - first digital synth
1974 - Roland - SH-3A - first commercial additive synth
1974 - RMI - Harmonic Synthesizer - first commercial additive synth
1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.
1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the Buchla 502 or FVS was released first.
1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth with patch memory (this, along with the model 1020, might have been the 1st synths to use DCO's as well)
1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers with the CS80 to be the first synth with poly aftertouch
1977 (late) - Oberheim - OB-1 - 1st commercial programmable mono synth with patch memory
1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth
1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff
1979 - NED - Synclavier - First FM
1979 - Fairlight CMI - First Sampler, First Workstation
1980 - Performance Music Systems - Syntar - First self contained keytar
1982 - Sequential Circuits - Prophet 600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI)
1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream
1983 - OSC - OSCar - First real-time additive with analog filters
1984 - Sequential Circuits - SixTrak - first multitimbral
1985 - Casio - CZ-101 - First battery-powered all digital mini-synth
1987 - Kawai K5 and Technos Axcel - first additive synths
1989 - E-Mu Systems - Proteus - First dedicated ROMpler
1992 - Seer Systems - first host-based software synthesizer in 1992
1994 - Yamaha - VL1 - first physical modelling synth
1995 - Clavia - Nord Lead - 1st Virtual Analog
1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality.
1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously
1997 - Seer Systems - Reality - First Modular Soft Synth
2002 - Hartmann Neuron - first neuronal synth
2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your head.

I thought it might be fun to have a "first synth to..." post. There's been a lot of buzz over Sonic State's Top 20 Synths of All Time with good reason. What exactly is a "top synth?" Is it it's influence on the music scene? It's rarity and lust appeal? The number of synths sold? According to Sonic State their list was the result of Sonic State reader's voting for their favorite synths. Blame the voters if you don't like what you see. Based on what has come up on the list so far, the E-Mu Proteus and Roland JV-1080 for example as well as the Roland Jupiter 8 not even making the top ten, I'm guessing a bit of it has to do with the vote and... possibly the most influential/ground breaking synths for their time. The JV1080 and Proteus? Not super sexy in this day and age, but what they offered in their time? Who knows. It's obviously subjective. But there is something that isn't. The most influential synths of all time not because they were super sexy or utilitarian, but because they offered something that was not previously available.

I thought what might be interesting to create a list of the first synths to feature a particular technology or feature. For example what was the fist synth to bring FM to the table? Was it the DX7 or a predecessor? What was the first digital synth and when? The first additive synth? I have a good idea and could probably look it all up, but that wouldn't be any fun, so.... You tell me. I am going to make this an open post that will live over time. You get to participate by putting an entry in the comments. I will update the list and when I do I will change the time stamp of the post to keep it current. That said, for the archives, this post went up with a time stamp of 4/11/07 7:20 PM PST. I'll start the list (btw, do correct me on the MOOG, what model should we be talking about here? The A, B, C or D or all of them?).

Year - Manufacturer - Model - First at
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1978 - Sequential Circuits - Prophet 5 - 1st Programmable Polyphonic Analog
... List continues above.

Update 3/34/12: Also see the first synthesizers to offer patch storage here.