"RHYTHM MACHINES - The Rise And Fall Of the Presets - by Alex Graham
Rhythm machines – the precursor to what we in the modern age refer to as a drum machine. This book documents the emergence of the preset pattern electronic rhythm instruments that (for a time) were used as a viable alternative to the drummer. Contained within are the Rhythmates, Rhythm Aces, Rhythm Boxes, Rhythmers, Rhythm Kings, Rhythm Masters, Donca Matics, Mini Pops and many more. Nearly three hundred rhythm instruments are documented here, with over two hundred pictures and information provided on their country of origin, instrument sounds, patterns and features. The book is a ‘must have’ for collectors, vintage instrument enthusiasts and recording artists.
For information on purchasing this unique book, follow the links here:
This is one massive playlist of 68 videos. You can use the player controls to skip around.
The Godwin DM32 gets my vote for best looking rhythm machine.
"Strings Dream is able to reproduce the infinite array of rich, analogue pads from the most famous strings machines in synthesizer history. Emulate the classic Eminent Solina as well as its sister keyboards from Elka, Crumar and even their Japanese cousins.
"Strings Dream Synthesizer" will be released in May 2009 first as VST plugin and later as AU. Extimated price 89 USD
"'Strings Dream Synthesizer' writings for docs,
2009 Luigi Felici nusofting.com
Edited by Scot Solida and Cj
About Strings Machines.
A remarkable number of musicians recognize the desirable sonic character of “string machines”. String machines were unique to the Seventies and nearly every major manufacturer offered some variation on the theme. ARP’s biggest selling instrument was in fact their Omni, an instrument that combined a string machine with a simple synthesizer. Even Moog got in on the act with their Opus 3.
Just as the Rhodes piano and Hammond organs were intended as portable solutions to musicians who desired the sound of more cumbersome (and expensive) instruments, string machines were seen as the gigging musician’s alternative to the orchestra. Or, at the very least, it was easier to carry around than a Mellotron! Of course, the string machines didn’t sound like an orchestra, but had a character that today’s musicians find quite appealing on its own merits.
As found in Octatrack, Model:Cycles or Syntakt, the concept of Machines has now also reached Digitakt.
There are now several new ways to play back your sweet samples. This new OS 1.50 Upgrade brings four different Machines, all with their own different flavor. Repitch for automatic classic beat-matching, Werp for a little quirky old-school way of time warping, and Slice - to chop up your audio and placing the pieces back in any order you like. And finally Oneshot, your default Machine for playing your sample forward, backward or looped. Again, again, and again.
To top things up we also added a new way to record your samples. You can now set a fixed number of steps for your recording. And, Sample Rate Reduction that can be inserted before or after the filter. Just as gritty as you like it to be.
Go find out more and download this new tasty OS 1.50 Upgrade here: https://bit.ly/3IFttuq"
Digitakt OS 1.50 Upgrade Overview
"As found in Octatrack, Model:Cycles or Syntakt, the concept of Machines has now also reached Digitakt. In this tutorial, we explore the four Machines - Oneshot, Werp, Repitch, and Slice - that come with the OS 1.50 Upgrade.
We also cover some creative tools that allow you to push Digitakt’s sequencer and samples further. For example, using Trigless Trigs to parameter lock values without re-triggering samples, using random locks in Slice to get new rhythmic ideas, or using Werp to really pull apart samples and turn them into completely new elements."
Digitakt 4 Machines Tutorial
"In this Digitakt tutorial, we explore the 4 machines that come with the 1.50 Digitakt Upgrade. We also cover some creative tools that allow us to push Digitakt's sequencer and samples further. For example, using Trigless Triggers to parameter lock values without re-triggering samples, using random locks in the Slice machine to get new rhythmic ideas, or using the Werp machine to really pull apart samples and turn them into completely new elements."
"Another massive update for Digitakt. This time we get 3 new machine types, sample rate reduction, recording length setting and a couple of small yet useful improvements! In this video I go over the major new functions in detail. Enjoy!
PS: After I created this video a small change was made to the OS. On the sampling page the recording length setting is now situated on the right and the AUTO setting shown in this video is renamed to MAX."
This post is developing. Check back for new videos and updates below.
Street price appears to be $999. See dealers on the right for availability. In via Alex Timchak.
"We are delighted to announce the release of Syntakt – the 12 track drum computer and synthesizer that fuses digital and analog synthesis together in one music megabox.
Enter this sonic metropolis and experience epic sounds from the past, while pulling others into existence from the future. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too, giving you a musical melting pot with dozens of machines at your disposal.
Affect the sound of each machine with the intuitive and playful graphics. Add analog distortion and filtering to your mix or separate tracks, using the FX block. Run wild and free with the four expressive modifiers. Access a variety of different scales via the keyboard mode. And create dynamic soundscapes with its phenomenal sequencer.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds."
"Syntakt is a sonic metropolis of machines, fusing digital and analog synthesis together in one drum and melody megabox. A 12 track drum computer & synthesizer melting pot like Syntakt needs a majestic guide. Let the intrepid Elin Piel show you around the many features at your disposal."
Baseck Plays : Elektron Syntakt : 12 Track Analog & Digital Synthesizer / Drum Computer
"Elektron's newest device is finally here : The Syntakt ! A 12 Track Synthesizer and Drum Computer!
Let's see how far our friend Baseck can push this new machine.
Grab one NOW : https://bit.ly/3EEzgOE
"Our pal Mario from Elektron came down to the Perfect Circuit HQ and walked us through the ins and outs of their newest Synthesizer and Drum Computer : Syntakt
0:00 - Intro & overview
1:30 - Machines & Visual Language
3:27 - Beats To Melt Brains To
3:59 - Modifiers
7:40 - FX Track
11:50 - Outro Jams
"Elektron's new instrument, the Syntakt, is a powerful combination of analog drum sounds, digital synthesis, and new performance features not seen on any other Elektron product. In partnership with Elektron, watch as our host Fess breaks down these features."
"In this video I perform one of my new tracks using the Elektron Syntakt and the Octatrack MK2. All the sounds in this video are from the Syntakt, I am using the Octatrack with my performance template.
"Some patterns I’ve made with Syntakt. No processing.
Things I love: The machines! The flexibility!
It can be so many things.
8 tracks of Model cycles chord machines with deeper control, 2x LFO per track, full envelopes, dual filters, p-lockable FX track. Or half a Rytm , plus new digital drum synth and bass/lead synth machines.
Or a mix between.
All with a tasty chunk of analog Heat drive, filter, and EG, but p-lockable!
There is an inverted envelope shape in the analog fx that I use as a master compressor. The drive is lovely.
I also love using some of the analog kicks with a bandpass filter for textures. Can even get kinda of vinyl pops and clicks out of these.
Can have up to 3 simultaneous analog DVCO machines."
"The brand new Elektron Syntakt is here!
I'm doing a brief overview, followed by a SID emulation rendition of Rob Hubbard's theme music for the C64 game 'The Last V8' from 1985. Then it grows into a live jam, using all the 12 digital and analog tracks of the Syntakt, including the features such as analog distortion.
0:00 Intro
1:50 Song starts
3:57 Live jam!"
Full details:
12 Track Drum Computer & Synthesizer
Enter a sonic metropolis with Syntakt. Analog and Digital synthesis. Drum and melody. In full fusion.
All your sound crafting, sequencing, and performance needs are fulfilled, in an all-round music mega box that fits in your lap. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too. Experience epic sounds from the past, pulling others into existence from the future.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds. Adore now. Explore forever.
Meet the machines There are 35 sound-generating machines to call on, covering a wide range of drum and melodic sounds. Some machines have been reimagined from Analog Rytm and Model:Cycles, with deeper sound control for the latter, while others are entirely new to the world.
For you to create and personalize your sound, we’ve made sure you’ve got a set of parameter controls tailor-made for each machine. They let you quickly tweak the nature of each type of sound, showing you just the relevant options. Comprehensive without being overwhelming. Let loose with analog or digital overdrive, depending on the tracks you’re playing with.
The graphics more than play their part too, with plenty of animated icons offering visual guidance and extra clarity on how each parameter affects the sound. The joys of tweaking shouldn’t only be for the ears after all.
Special effects Syntakt lets you route any of your synth tracks or external audio sources through the FX block. This gives you analog distortion and filtering, and a couple of LFOs to go to town with. Additionally, you can also call on Delay and Reverb as powerhouse send effects.
And all of the above effects can be sequenced with the FX track. Have them kick in at just the right moment. Add accents and dramatic changes to the selected tracks or external audio. Or use it as a master track for ducking and gating effects.
Modify the moment Wield a little extra trig craft using the four modifiers, offering four varied levels of expression. Configure the first two modifiers to give you the retrig or velocity behavior you desire, and use the other two to access custom intensities of other parameters. They’re ready for action regardless of which synth track you’re using.
And the best bit is that they don’t just give you that extra playability fun in the here and now, you can also capture the moment by recording to the sequencer.
The keys to the city Syntakt’s keyboard mode gives you a whole bunch of different scales to play with.
There are some familiar faces and some maybe a little less familiar for you to try out, helping you discover new places and taking things to another level.
Play across a single octave like on a piano keyboard. Or use fold, and have several octaves laid out in front of you.
Deep sound-shaping Syntakt comes full of filter and envelope goodness. All tracks have a Multimode filter to put to use allowing you to emphasize different parts of your sound, with the digital tracks also able to call on Parametric EQ and a Base-width filter – an additional filter giving you even more sonic control.
Choose from two amplitude envelope types to define the ideal contour of your sound. Try out the ADSR envelope – for your wicked synth lines – or the simpler AHD envelope – perfect for transient percussive sounds.
via the Elektron newsletter
Audio embed below - you might want to start the player first and then come back and read the interview while it's playing.
"Happy and careless 8-bit Nintendo sounds and ever-evolving and intricate compositions. When Introvert operates his machines, these contrasting types of expressions are welded together with ease. The uniqueness of the music gives the impression of listening to something deeply personal.
Why do you think the chip sound is so compelling?
I guess mostly because of the nostalgia of the sound. I mean I think that it is something that most people from my generation grew up hearing on almost a daily basis. It's almost like this minuscule part of our childhood that we can all relate to. Chiptune music to me is just so much fun and those familiar sounds can be made fresh again with modern machines like the Octatrack. I just use the Octatrack MIDI sequencer and my Wayfar MidiNES and go at it.
I also love that even people that I know, who don't really care for what I do musically, can't help but smile when they hear chiptune music. They seem to understand my excitement when they hear that 8-bit grit. It just tickles parts of your brain like a familiar scent from the past. It takes me back to a place when we were all kids and when life was more simple, fun and laidback.
Some of your songs, like»Chicago Dreaming«, are very complex. What is your approach when creating such intricate pieces?
Well, when composing some of the more complex tracks I do, I usually don't have that much of an idea of a finished product and I really don't have a set technique for composing. But what I have found with myself is that I'm usually most productive if I just focus on only one thing at a time. Whether it's beats, synths, Eurorack or just noises for backgrounds, concentrating on just one small piece, rather than the whole picture at once, is really important to me.
I usually take just a Monomachine or a Machinedrum or my Octatrack into a room, away from all of my other gear, so I can just focus on that one machine. That way I can get as lost in that single element as possible. I will usually do that with several machines and then when I can get a large chunk of time to zone out and experiment, I bring all of my machines together and start to layer sounds.
I have an Allen and Heath ZED 22FX so I can run everything all at once and sort of let things build themselves. I currently only use Ableton Live 8 when recording. No other software, no plugins and almost no post edits or software effects. I try to just get things as tight and as formulated as possible before I go into Ableton.
Needless to say the copy and paste features in all of my Elektron boxes get used an insane amount. If a groove really connects with me I will make 10 or 20 different copies and variations of that same groove with different swells, retrigs and lengths. This helps me to have as many variations as possible of a single thought.
Once I have done that, it is possible for me to apply my favorite Elektron trick. It is implemented in the Machinedrum and as far as I know, nothing else out there lets you do this. The trick is the Control All feature. When I found this trick my musical life changed for the better. What I do is I will have one straight groove running on one of my machines (usually my Octatrack or my MK1 SPS-1 chaining tons of patterns together). On my UW I just freak out with another groove by holding function and turning a knob so it will turn that knob consistently for every sound across your entire machine. But the cool thing is that it does not map the same for every machine. So if you are using internal machines or ROM machines parameters will be mapped differently, causing crazy cool things to happen! And when you are done "freaking out", just hold your function key and press the classic button and the saved kit will be reloaded. WOW! Ok, now run that through your Octatrack Echo Freeze delay and your electronic life will be changed.
Which aspects of song writing do you find the most rewarding? And which do you find the most tedious?
For me I honestly think the most tedious and stressful part of the writing process is the recording phase. And it's not really recording per se, it's finding the time to really be able to sit down and fully immerse myself in my machines. I think I have the tendency to over think things and that can be really impairing when it comes to completing things.
But I find the most rewarding part of making music is getting positive words and feedback from people I don't even know, or people that I really respect (like you wonderful people at Elektron or the guys at Trash_Audio). When I get nods from fellow synth geeks or professionals out there in the world, it really makes me happy in a way I can't really explain. I don't get to play out very often but it always makes me feel great when there are music geeks that I have never met who are personally effected and inspired by my music and says how much they enjoy my noises. So I guess what I find the most rewarding is people connecting with and enjoying my musical thoughts on a personal level.
Does acquiring new gear change your approach to producing music?
Oh, without a doubt! I think new gear always sparks excitement and confusion, which forces you to work out of your comfort zone. Every piece of gear inspires a unique spark of creativity that, I believe, can be attributed to the creators of the product and their personal background as musicians. That said, I usually just use new gear to create samples and sample banks for my Octatrack and Machinedrum. So while new things can severely change my approach to my creative process, new gear also helps me find new love and inspiration in current familiar machines like my Octatrack and UW. I recently have really been getting into Eurorack and there is a whole world of possibilities and noises out there that I never could have even imagined of. I have created tons and tons of personalized oneshot drum sounds, drones and swells and dumped them into my Octatrack to be mangled. This works great, because by using the Octatrack, and especially the chromatic function, an unfamiliar instrument can become familiar.
I also play Monomachine, Octatrack and guitar with a full, instrumental, band called Karass and I absolutely love to use my Elektron machines in that context. They are so flexible and enable us to keep things 100% live. While I would love to be able to take my Analogue Solutions Vostok or my Metasonix boxes with me to every practice and gig, I rather keep them safe at home. With the Octatrack we can still have access to all of those noises in a live environment and even expand on those thoughts in a really fun and LIVE way.
With the recent publication of the closing of genoQs Machines GmbH by regular legal procedure, we are issuing a long overdue message to give you a realistic outlook for the future. We also want to contain the spread of inaccurate information about the circumstances, and share our view of things.
Left: Manfred Fricke (via Amazona.de) back in the day with his first creations, the MFB-501 drum machine (right), and MFB-601 digital sequencer (left).
2nd image is Manfred Fricke with the MFB SYNTH II at SUPERBOOTH (unknown source).
We lost another legend in the synth world. Sad news in via STROMKULT:
"'On June, 17th around 11am Manfred Fricke from Berlin alias MFB sadly passed away after having had a hard time with cancer for a while already. He left his wife Gloria and his son Jean-Marcel behind, we are all very sad having lost this partner, friend and father.'
HerrSchneider
Manfred Fricke was one of Berlins pioneers of analog synth and drum machine makers. He has been the weapon of choice for many (not only) starting musicians. Let’s be honest, who didn’t have one of his creations early in his or hers journey into electronic musical instruments – or at least thought about getting one – and why shouldn’t you? Manfred Fricke's machines always brought something unique to the table, they were mostly analog, affordable, in small plastic housings and just did the job. Manfred always focused on keeping his products affordable for his clients and the instruments quite often made their way to professional use later on, and the musicians often kept their first units as something almost holy, because it were these machines that paved the way into analog electronic music making.
But it would be too short-sighted to associate MFB only with budget entry-level products. Especially the drum machines Tanzbär and Tanzbär II, or the great Dominion 1 show that Manfred Fricke also built machines that met higher demands. The Tanzbär, in particular, is considered by many to be their favorite drum machine of the last few years, especially in terms of its amazing sound.
We hope that MFB will continue to exist and that it will continue to make it easier for many generations of musicians to enter the world of electronic sound production.
We wish Manfred Fricke's son Jean-Marcel continued success for the future of MFB and extend our condolences to him and his family. And lets hope that Manfred will finally meet up with all the other good guys on the other side.
MFB's Manfred Fricke's first procuct, the Fricke MFB-501 drum machine.
Description via this video:
"This little analog beatbox was developed in 1980 1979 by Manfred Fricke. It was offered at 380 DM. As a low-cost model on the market for analog rhythm generators the small black and white "Switch Box" quickly found a lot of friends, because its configuration could be compared to its expensive far east competitors: 64 patterns and as many fill-ins switchable via micro switches, speed control via potentiometer, 10 analog percussion instruments (activated by means of micro switches), combined mono/stereo outputs (jack), In & Out (5 Vss) and trigger footswitch inputs (jack) for start and fill-in
(retail price for the switch at 16 DM). An external wall power supply provides 12 volts.
Approx. 5000 units of the MFB-501 had been sold. Not so bad for a one-man company. So this drum machine is one of the top-selling devices in the history of the Berlin engineer offices M. Fricke . If you're lucky, this iconic device can still be found on the relevant internet sales platforms.
Today, maintenance of this tiny noise machine is still easily feasible, because Fricke employed only commercially available components. Therefore, 'presumedly dead 501's' can be reanimated without major problems."
MFB 601 Vintage Digital Sequencer, Teardown, Repair and partial analysis
Published on Feb 2, 2015 FPV Electronics
Note this video is FPV Electronics of course, and not Manfred Fricke.
"This device is exclusively built from 7400 and 4000 series basic logic ICs. Making it must have been so much more difficult than just programming a generic µController as we would do today."
1976: MFB was founded by engineer Manfred Fricke. So far there were more than some hundred products constructed and distributed. The first developments and products were primarly video games for industrial playmachines.
1979: A lowcost drummachine was introduced in 1979. (98 DM for the self construction kit). The legendary drumcomputer MFB-501 was finished and sold. Although it was not the most prominent drumcomputer of that time it surely was one of the best selling drum units in Germany. Some shops sold ten times more MFB-501s than Roland TR-808s. More products for the musician followed, such as the Digital-Sequencer MFB-601 and the digital drum machine MFB-512. All of these featured rich products were offered at exceptional low prices.
1984: The E-Drum module series 1000 and 2000 followed with corresponding pads.
1986: A new construction period started in 1986 with product launches of the MIDI-CV converter MFB-201 and the MIDI drummer MFB-SYNTH was finished in 1997, although its development dates back to the eighties. The machine never went into production since 2001, the year of the company´s 25th anniversary because of decreased interest in analogue synthesizer technology especially in the sales channels.
From 1986 Manfred Fricke specialized in products for video applications. Alone 20 different framegrabbers for the Apple II, C-64 und IBM compatible PCs were constructed. A very high percentage of these framegrabbers were and are still in use for special industrial purposes. Custom development is still done here, so these specialized tools are not available for other customers.
1994: MFB introduced the world´s first videomixer below 1.000 DM, the MFB-901. Its successor MFB-902 was available in 1995. Another important development in the video section was the model MFB-912, a digital video memory. This 1998 product was highly acclaimed by the press.
1999: The successor MFB-915 added sound and higher picture resolution. It´s available since October 1999. Another successor is the model MFB-920 with an integrated harddrive offering better options for nonlinear cutting and post processing of the recorded material.
2001: During this year, Manfred Fricke also developed another new MIDI drum-module. MFB-KULT, includes most of the famous sounds of the older machines. Both MFB-SYNTH and MFB-KULT are availabale since December 2001. Because of constant requests for the digital sequencer MFB-601 a successor MFB-602. was introduced in May 2002.
2002: Since August 2002 there´s also a little brother of the MFB-SYNTH, the MFB-SYNTH LITE
Note: this completes the current run of Espen Kraft posts on the site. If you are coming in on the main site you can just scroll down for previous posts in order. If you are coming in directly to this post, click here for all Espen Kraft posts in reverse order. There have been a couple of updates, so be sure you haven't missed anything. These are some great synth videos with that classic 80s feel.
"GRENOBLE, FRANCE: after almost a year of diligent development, music software specialist XILS-lab is proud to announce availability of V1.0 of StiX by Xils — a virtual analogue and multi-synthesis-driven drum machine with sophisticated sequencer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and 7/8), inspired by a whole host of trailblazing drum machines that have helped make music technology what it is today, all adapted to the modern-day digital paradigm and fast-footed user workflow with ease — as of April 5…
35 years is a veritable lifetime when it comes to music technology. Today’s computer-based music-makers bombarded by staggering software developments on an almost daily basis may mock at the idea of hefty hardware blazing the trail back in the 1980s. But breakthroughs came throughout that genre-defining decade — often at a prohibitive price. Take the wonderful world of drum machines, for instance. Innovative American designer Roger Linn’s revolutionary Linn LM-1 Drum Computer was first to use digital samples of acoustic drums — albeit at 8-bit/28kHz — and also one of the first fully-programmable drum machines to boot. But back in 1981 most musicians could only dream about accessing a $5,000 USD digital drum machine, revolutionary or otherwise!
Only programmability in itself would be a dream come true for many musicians of the time, tied to realistically restrictive constraints when it came to auto-accompaniment budgets. But the technological tide turned in their favour that same year with the timely arrival of the STIX PROGRAMMA ST-305 from (now-long-lost) Italian manufacturer SoundMaster as one of the first affordable analogue drum machines to feature programmable patterns rather than just presets. Proactively, perhaps, the STIX PROGRAMMA ST-305 included individual outputs for several sounds — unlike its main competitor, the breakthrough Boss DR-55, though, similarly, ‘programmability’ was restricted to basic bar-based patterns, which would soon become its downfall. Within a year, Roland’s radical TR-606 Drumatix was a better buy as an affordable analogue drum machine offering a higher number of fully-programmable patterns and, crucially, an ability to chain them together into songs, such was the speed of technological change… before long, the advent of MIDI (Musical Instrument Digital Interface) and affordable digital drum machines changed everything. Endgame? Paradoxically, an ‘analogue renaissance’ is still being felt (and heard) today — a fact far from lost on XILS-lab CEO Xavier Oudin.
Obviously, times change as, of course, does technology — music and otherwise. Today, then, StiX by Xils takes the best ideas (and subtly-different, yet strangely contemporary-sounding sounds) from the likes of the STIX PROGRAMMA ST-305 and Roland TR-606 Drumatix — and many more notable drum machines besides — and successfully transports them to a virtual analogue and multi-synthesis drum machine plug-in for Mac and PC, pumped up for a truly 21st Century computer-based music-making experience that is second to none.
Central to the StiX by Xils workflow with fast-footed users in mind — and centrally positioned in a GUI that’s as easy on the eye as it is to understand — is its engagingly-expressive XoX Sequencer, boasting a multitude of fanciful features, including a multilane editor with customisable steps per beat; per step division trigger (for fills and stutters); customisable beats per bar; and global swing, as well as a single line editor (for in-depth editing of individual sequencer lines), plus pattern and song modes (for speedy song building).
Building upon traditional analogue drum machine design, several sounds — BD (bass drum), SNARE, HH CL (hi-hat closed), HH OP (hi-hat open), TOM L (tom low), TOM H (tom high), and CRASH — are always accessible — alongside additional user-definable PERC 1 (percussion 1), PERC 2 (percussion 2), and MISC (miscellaneous) ones — via the drum pads bar at the top of that intuitive GUI. There the similarity ends, though, as StiX by Xils takes things to another level entirely as an inspired piece of contemporary software design that leaves the historic hardware from which it took its initial inspiration standing (way back in the early-Eighties)! Fit for today, StiX by Xils comes complete with 10 full-featured synthesisers — one for each sound being hosted by those 10 drum pads, each of which can call upon several sound engines, including virtual analogue (with components closely modelled upon a selection of prestigious and rare analogue synthesisers for percussion and drum sounds with unmatched analogue authenticity) and FM sine oscillators (with wave shaping and a third oscillator that can load samples), as well as easy and advanced synthesis pages. Put it this way: yesteryear’s hardware drum machine users couldn’t have imagined such heightened levels of control in their wildest dreams!
Desirable StiX by Xils features well worth noting in that regard include MIDI output (for controlling virtual instruments or recording MIDI data within a DAW); MIDI learn (with full automation of all synthesis parameters of each drum pad and associated mixer, etc); multi-criteria database (for finding the right preset efficiently as well as creating custom tags); randomise (drum kits, sequences, and full patterns); live control (for chaining patterns, plus muting/un-muting tracks on the fly); multi outputs (with volume, groups, and pan preservation); high-quality effects (including natural-sounding reverb, analogue delay, and analogue phaser, plus per drum crusher and distortion); sample-accurate synchronisation and audio engine (to create the tightest beats imaginable); hundreds of simultaneous modulation targets; and gang mode (to edit sequencer lanes, mixer, and effects sends).
Stacked with 390 exclusive samples — including 15 drum kits sourced by production partner Wave Alchemy from classic drum machines of the past (including Roland’s revered TR- series as well as trailblazing digital dream machines such as the E-mu SP-12 and LinnDrum); 2,000 presets; 120-plus global presets; 720-plus patterns; 700 drum pads; and 60 drum kits, StiX by Xils means more sounds and styles are available to the modern-day discerning (virtual) drum machine user than ever… roll on some truly 21st Century computer-based music-making!
StiX by Xils is available to purchase as a USB eLicenser or iLok (soft or USB iLok dongle) protected plug-in for an introductory (30% discounted) price of €125.00 EUR until April 30, 2016 — rising to €179.00 EUR thereafter — from the XILS-lab web store here: https://www.xils-lab.com/products/StiX-by-Xils.html
StiX by Xils can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit-compatible virtual drum machine 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/StiXbyXils_Download.html"
Hydrasynth Explorer Introduction
Hydrasynth Explorer Introduction video upload by ASM Ashun Sound Machines
"Ashun Sound Machines (ASM) announces Hydrasynth Deluxe and Hydrasynth Explorer keyboard synth sensations
LOS ANGELES, CA, USA/HONG KONG, CHINA: creativity-sparking sensational products provider Ashun Sound Machines (ASM) is proud to announce upcoming availability of Hydrasynth Deluxe and Hydrasynth Explorer as two new additions to its Hydrasynth keyboard and desktop Polyphonic Wave Morphing Synthesizer siblings successfully launched to widespread critical acclaim in 2019 — the new-found former as a 73-note, 16-voice version of the Hydrasynth keyboard, while the latter features a 37-note mid-sized key-bed — as of September 9…
As a 73-note, 16-voice version of the Hydrasynth keyboard complete with proprietary ASM Polytouch® technology to provide responsive velocity and expressive polyphonic aftertouch over each note, Hydrasynth Deluxe additionally features dual stereo — MAIN/UPPER (L/MONO and R) and LOWER (L and R) — outputs. On top of that, there are also split and layering functions for its 16 voices powered by two separate Hydrasynth — analog modeling (OSC 1-3) and WaveScan synthesis (OSC 1+2) — voice engines, allowing for full bi-timbral control. An accessory shelf that mounts on the back of the right side of Hydrasynth Deluxe extends the top panel-available area so diverse devices such as sound modules, mixers, laptops, and drum machines can comfortably be accommodated atop. A user-assignable four-octave ribbon controller and ergonomically-designed pitch and modulation wheels — all familiar from the Hydrasynth keyboard — all add to its illustrious performance capabilities, complimented by an also-now-familiar connection compliment of SUSTAIN and EXPRESSION PEDAL inputs, MIDI (IN, OUT, and THRU on five-pin DIN, as well as class-compliant USB B), and a comprehensive CV / GATE section (for playing nicely with the ever- widening Eurorack modular world, vintage synthesizers, and more).
Moving on to the other end of the synth scale, Hydrasynth Explorer is a compact-sized Hydrasynth featuring a 37-note mid-sized key-bed with proprietary ASM Polytouch® technology to provide responsive velocity and expressive polyphonic aftertouch features that are not found in other smaller-sized keyboards. However, Hydrasynth Explorer still has the full eight-voice Hydrasynth engine and, despite diminutive — 21.81”/ 55.4cm (W) x 9.72”/24.7cm (D) x 2.28”/5.8cm (H) — dimensions in comparison to its bigger brother, also features CV / GATE OUTPUTS, a SUSTAIN PEDAL input, and standard-sized MIDI IN and OUT connectors (complimented by class-compliant USB B connectivity), as well as a stereo — L/ MONO and R — OUTPUT and another output for (head)PHONES. Perfectly portable, Hydrasynth Explorer can also be powered by 8x AA batteries — not included.
Indeed, Hydrasynth Deluxe and Hydrasynth Explorer both bring back polyphonic aftertouch — one of the most requested features in synthesizers and controllers — with their respective semi-weighted-keys-providing Polytouch® keyboards beautifully breathing life into otherwise static sounds by affording an ability to create expressive passages, unlike common channel aftertouch-enabled keyboards. It is not necessary, therefore, to learn a new keyboard technique to be able to play and perform with an ASM Polytouch® keyboard. Thanks to the two new additions to ASM’s Hydrasynth keyboard range, deciding which one best suits is now a threefold creative choice... and a clearly-defined one at that!
The bigger picture is immediately clearer as ASM CEO Glen Darcey ends on an equally high note: “Our goal at ASM is to create premium- quality, fantastic-sounding, extremely-playable instruments providing musicians with the affordable tools they need to express themselves musically. Our team has many years of experience with electronic music products, both on a personal and professional level — from playing them to designing them. Our unique partnership with Medeli allows us to realize this goal.”
Hydrasynth Deluxe and Hydrasynth Explorer are expected to ship in November 2021, available to purchase via ASM’s growing global network of authorized dealers (http://www.ashunsoundmachines.com/dealers) at an MSRP of $1,999.00 USD ($1,799.00 USD MAP)/€1,749.00 EUR/£1,699.00 GBP/¥224,900 JPY for Hydrasynth Deluxe and an MSRP of $799.00 USD ($599.00 USD MAP)/€599.00 EUR/£549.00 GBP/¥79,900 JPY for Hydrasynth Explorer."
YouTube via thetonewrecker "Bitchin' Sync test run Dec 17 2009. Din Sync multiples. Clock and Start/Stop 1/4" inputs as well as inputs connecting to pin 4 and pin 5 which can offer up surprises depending on what machines you connect them to. Now it is running one side to the Acidlab Bassline V2 and one over to the Roland MC-202. The touch panel on the BugBrand CTL1 panel is connected to the Start/Stop input and clock rate is coming from the VCO on the BugBrand. Both Din Sync cables are getting the same signals in this test."
Paul Birken more testing on Bitchin' Sync - separate signals to separate machines.
"Bitchin' Sync test run Dec 17 2009. Din Sync multiples. Clock and Start/Stop 1/4" inputs as well as inputs connecting to pin 4 and pin 5 which can offer up surprises depending on what machines you connect them to. Now it is running one side to the Acidlab Bassline V2 and one over to the Roland MC-202. The touch panel on the BugBrand CTL1 panel is connected to the Start/Stop input and clock rate is coming from the VCO on the BugBrand. Both Din Sync cables are getting the same signals in this test."
Paul Birken Bitchin' Sync dual sequencer trigger start/stop test
"Bitchin' Sync test run Dec 17 2009. Din Sync multiples. Clock and Start/Stop 1/4" inputs
Now it is running one side to the Acidlab Bassline V2 and one over to the Roland MC-202. Two different channel rows on the BugBrand CTL1 panel are connected to the Start/Stop input and clock rate is coming from the VCO on the BugBrand. Both Din Sync cables are getting the same VCO clock signals in this test. Each of the 4 steps running on the CTL1 can be set "off", or turned up to have a 5v signal. This gives various patterns to each of the two machines for starting and stopping them."
Bitchin' Sync passing control to Acidlab Bassline from BugBrand Modular.
"Another Bitchin' Sync test run Dec 17 2009. Din Sync multiples. Clock and Start/Stop 1/4" inputs
Now it is running one side to the Acidlab Bassline V2. One of thechannel rows on the BugBrand CTL1 panel is connected to the Start/Stop input and clock rate is coming from the OSC 1 on the BugBrand Weevil panel (which is also getting cv modulation from OSC2). Each of the 4 steps running on the CTL1 can be set "off", or turned up to have a 5v signal. This gives various patterns to the Acidlab for starting and stopping the sequence it is running."
It is os1.7 from the rytm :
four new analog machines : BD & SD acoustic, SY Chip, and HH Lab
euclidean sequencer
page looping and other small workflow bits
random name generator and several small settings changes
0:00 - intro
0:40 - new machines
4:45 - euclidean
8:00 - an idea !
11:11 - pLocks, Page loop, quick sound save
13:26 - another idea!
17:23 - yapping about it"
"For over a decade we have been creating and supplying aural havoc with rewired childrens toys, modified drum machines, abused samplers and audio insanity machines. Our instuments have featured in both DJ magazine and Future Music cover CD and we have supplied and modified custom machines for:
The Chemical Brothers, Factory Floor, Pedigree Cuts, Raiden (renegade hardware / Off Key records), The Plump DJ's, Jacknife Lee, Bloc Party, Twisted Records (Hallucinogen, Shpongle, OTT, Younger Brother etc), Howie Miura (Island / Def Jam), matrix22 (12 Inch Thumpers, Brick records), Groove Criminals, Sweet Noise, Noise Inc and many many more.
TODAYS VICTIM: AKAI S01 SAMPLE GRINDER
The fact that the Akai S01 exists at all is fairly baffling fact as to all intents and purposes it was obsolete before it was even released. A 16 bit mono sampler with 1MB of memory as standard expandable to a massive 2MB maximum, sampling at a maximum bandwidth of 32khz, with no storage options other than a floppy drive, with only one output and only a 3 figure numerical display to edit with. Even the rather odd addition of 2 MIDI in's doesn't save it from being a rather cofusing addition to the Akai range. EMU and Ensoniq must have been pissing themselves laughing when Akai released the S01 for £999 in 1993 (yes you did read that right - £999), but the S01 has the last laugh as our mods have taken its sound mangling possibilities way beyond any other rackmount sampler ever produced.
This one was spotted and sent in via xonox who noticed the following: "No mention is made in the auction but there is AFX scratched on the surface of the machine. According to Ed DMX (DMX Krew), Aphex Twin used one on his early tracks. Interview here. It is not my auction, i have no insider knowledge on anything either. Is it possible it's indeed one of AFX's drum machines or is it some classic AFX prank ?"
The following is the full description from the listing saved for the archives:
"Up for sale a unique extremely rare vintage drum machine. impossible to find it in another place. Many years ago I found this diamond and made the service in a professional workshop. Please note - this is an old gear for the collection and synth enthusiasts, this drum machine is in working condition, but I will not accept any returns and no compensation after the sale - please accept it. These are the first innovative electronic music devices and therefore you can see in the pictures the old technology of plastic coatings and touch buttons have traces of use, but all functions and buttons are well work.- It runs on 220 volt AC.The sound of this beast is very unique, the sound structure and flow are capable of creating incredible emotions and creative potency. The sound is incredibly relevant, I give a detailed description below. The package will be sent internationally, I pack the electronics well — a double strong box and a lot of bubble — look at my seller feedback.
For over 13 years we have been creating and supplying aural havoc with rewired childrens toys, modified drum machines, abused samplers and audio insanity machines. We have supplied and modified custom machines and sounds for:
The Chemical Brothers, Factory Floor, Senser, Nurse With Wound, BICEP, Yoad Nevo, Pedigree Cuts, Raiden, The Plump DJ's, Jacknife Lee, Bloc Party, Twisted Records (Hallucinogen, Shpongle, OTT, Younger Brother etc), Def Jam Records, Groove Criminals, Sweet Noise, Noise Inc and many many more.
TODAYS VICTIM: YAMAHA RX17
This has been hanging around for some time and we're sick of the sight of it, so its got to go! Bidding starts at 1p
Sometimes you might wonder why Yamaha released so many drum machines under the RX name that were so similar in many ways, and we don't have an answer for you, The Yamaha RX-17 was near the bottom of the RX range with only the RX21 and the dreadful preset only RX120 beneath it in terms of features. Having said that, when the RX17 has been circuit bent like this machine, it is capable of eating its older cousins such as the RX15 or RX11 for breakfast, dinner and any other meal you might care to mention!
The circuit bent RX17 has a kind of gentle savagery to it that you don't find on any other bent drum machine, as the sounds tend to be a little more crisp and separated, rather than mashed together in one terrifying wall of distorted glitching noise.
This machine includes a 24 way Bend Bus switching matrix that warps and glitches the onboard sounds in all manner of unlikely and disturbing ways. Each switch connects one bend point to the common 'bend bus' when activated. If you then use another switch to connect another bend point to the bend bus, these two bend points will interact with each other to create some of the most bizarre and extreme audio mangling effects you'll ever hear.
Each bend point has a different effect and will also change its effect depending on which other points its connected to at the time. You can activate as many switches as you want at any time, but you will need at least two switched on to activate any effect. Effects available range from what sounds like comb filters, ring modulation, bit crushing, distortion, bizarre time stretching, EQ, and what can only be described as audio smearing™.
The RX-17 seems especially good at shimmering ring mod and chopping effects on the high frequency sounds, along with unexpected percussion sequences on each drum hit i.e. the crash cymbal can start as a crash and then strangely morph into a clap, timbale or any / all of the other sounds in sequence. It also seems keen on creating looping within the sound sample, as if a short loop has been set up and the loop start point is moved along the sample as it plays back.
This machine will never be a punchy bass monster, but if you want a cheap source of some of the most bizarre circuit bent percussion sounds you'll ever hear, you won't go far wrong with a RX17.
The RX17 has 26 typically 80's Yamaha onboard sounds, with Midi in/out, and a pair of audio outputs. You can find a copy of the manual HERE, although its about as difficult to use as a toothbrush, so we doubt you'll need it.
Take a listen to the demos below to get an idea of the kind of sounds this machine can now produce. With none of the switches activated, it acts like a normal RX17."
Status: 630 - New Application - Record Initialized Not Assigned To Examiner
Image for trademark with serial number 87800341
Serial Number87800341
Word MarkGRANDMOTHER
Status630 - New Application - Record Initialized Not Assigned To Examiner
Status Date2018-02-24
Filing Date2018-02-16
Mark Drawing4000 - Standard character mark Typeset
Attorney NameChristopher M. Thomas
Statements
Goods and ServicesElectronic musical keyboards; Music synthesizers
Classification Information
International Class015 - Musical instruments. - Musical instruments.
US Class Codes002, 021, 036
Class Status Code6 - Active
Class Status Date2018-02-24
Primary Code015
Current Trademark Owners
Party NameMoog Music, Inc.
Party Type10 - Original Applicant
Legal Entity Type03 - Corporation
Correspondences
NameCHRISTOPHER M. THOMAS
Trademark Events
Event Date Event Description
2018-02-20 NEW APPLICATION ENTERED IN TRAM
2018-02-24 NEW APPLICATION OFFICE SUPPLIED DATA ENTERED IN TRAM"
The TR-6S Rhythm Performer features a six-track sequencer and a battery-powered box that will fit in just about any space. The device recreates the legendary sounds of Roland drum machines like the 808, 909, 707, 606, and more, and allows users to mix and match them with preset and custom samples and futuristic FM tones.
The TR-06 Drumatix is the modernized update to the Roland TR-606 Drumatix that allows users to control tuning, decay, and pan, and includes advanced features like sub-steps for ratcheted parts, step-loop for instant pattern slicing, and more. This new drum machine incorporates a USB audio interface, and features battery operation and a built-in speaker for easy on-the-go production.
The TR-606 Software Rhythm Composer is the new plug-in version of the original ‘80s classic made for DAW music production. This software introduces powerful features, like the ability to overdrive the internal circuitry, an expanded step sequencer with lanes for each sound, and pairing with the TR-8S and TR-06.
---
And the full Press Release:
Roland Adds Three New Models to the TR Drum Machine Series
The Famous TR Lineup Expands with the TR-6S Rhythm Performer, TR-06 Drumatix, and TR-606 Software Rhythm Composer
Los Angeles, CA, October 1, 2020 — Roland welcomes three new instruments to the famous TR drum machine family. Based on the flagship TR-8S, the TR-6S Rhythm Performer delivers next-generation TR performance in a compact and affordable package. The TR-06 Drumatix is the latest addition to the Roland Boutique series, blending the sounds and workflow of the ‘80s-era TR-606 hardware with modern enhancements. Also based on the TR-606, the TR-606 Software Rhythm Composer expands Roland Cloud’s Legendary series with another renowned TR instrument.
TR drum machines have driven music culture for decades, forming the backbone of hip-hop, pop, and electronic styles and defining the sound of multiple genres and sub genres. Roland continues to honor the historic legacy of the TR series and expand the product family, offering both modern recreations and innovative new instruments that bring fresh creative possibilities to today’s musicians, producers, and DJs.
TR-6S Rhythm Performer
The TR-6S delivers the same speaker-pummeling, window-rattling, body-moving sound of its bigger sibling. It features a six-track sequencer and the most iconic rhythm sounds in music history—all in a battery-powered box that fits just about anywhere. Authentic recreations of legendary Roland drum machines like the 808, 909, 707, 606, and more are included, and users can mix and match them with preset and custom samples and futuristic FM tones to create exotic hybrid kits.
The sound of modern music owes a lot to the classic step sequencer—and the “TR-REC” variety found in early Roland drum machines in particular. The TR-6S employs the same tried-and-true approach, elevated with real-time recording and modern enhancements. And with an array of expressive effects, users can take their rhythm tracks to new levels. The TR-6S is a high-quality USB audio/MIDI interface too, perfect for mobile or minimal production setups.
TR-06 Drumatix
The TR-06 is a detailed replica of the Roland TR-606 Drumatix from the 1980s—with some major modern upgrades. This new Roland Boutique version captures the distinctive tone and iconic look of the original while reimagining it with bold new sound-crafting potential. Users can control tuning, decay, and pan for each instrument, or crank up the internal gain for each circuit model and push it into warm overdrive or aggressive distortion. An onboard compressor adds fullness and punch, while the tempo delay creates depth and space.
Like the original, the TR-06 has a familiar and straightforward step sequencer. But now it’s been updated with advanced features like sub-steps for ratcheted parts, step-loop for instant pattern slicing, and more. With five trigger outputs and a trigger input, the TR-06 integrates nicely with modular setups. It's a high-quality USB audio interface too, and features battery operation and a built-in speaker for production on the go.
TR-606 Software Rhythm Composer
With the TR-606 Software Rhythm Composer, the underground ‘80s classic is now available as a plug-in for DAW music production. The software version has the same sound and behavior of the original, plus powerful new features that virtually modify the circuitry for more sound choices and faster, more fluid programming.
Like the TR-06 hardware, the TR-606 plug-in offers tuning, decay, and pan on each instrument and the ability to overdrive the internal circuitry. The step sequencer has been expanded with lanes for each sound, and each pattern has eight variations plus adjustable flams, sub-steps, and soft hits.
Users can pair the TR-8S or TR-06 with the TR-606 and enjoy the benefits of easy hardware and software integration. Patterns can be shared between the TR-8S and TR-606, and the TR-06's knobs are pre-mapped to the plug-in for intuitive, hands-on workflow.
The TR-606 Software Rhythm Composer, along with all instruments in the Legendary series, is included with the Ultimate membership level of Roland Cloud. All paid levels—including Core and Pro—start with a free 30-day trial of Ultimate. In addition, any Roland Account holder can purchase Lifetime Keys for individual Legendary series titles.
Availability & Pricing
The TR-6S will be available for $399.99 in November 2020 and the TR-06 will be available for $399.99 in late October 2020.
The TR-606 Software Rhythm Composer is available now via Roland Cloud.
To learn more about the TR-6S, TR-06, TR-606, and Roland Cloud, visit Roland.com. "
"Great sync box for making your vintage (and not so) drum boxes, rhythm machines, sequencers, samplers, keyboards, synths, midi sound modules, tape machines, etc. talk to one another.
Shows cosmetic wear, but overall in good shape. (The last image is a digital advert for informational purposes).
The unit appears to work well with the following exceptions — the light in the ‘start' / 'tap' does not light up, but the button works well; the ‘set sec’ button does light up, but the button does not work (may just need a good cleaning); the two smaller rubber feet on the bottom are old / feel sticky; unit is missing 1 rubber foot which has been replaced with felt foot. Unit is older, used, and sold as-is.
Includes power cable. (and yes, has the plastic battery holder inside with two healthy AAs included).
From the web —
'Synchronize MIDI, SMPTE tape machines and Roland DIN sync for X0X machines.'"
Update via Konketsu in the comments: "analogassailant is correct. We had this happen in Vancouver at a community space called "Here on Earth" that was located in the industrial section of East Vancouver, and it was organized by several members of a now defunct electronic music collective called "The Black Hole Club". I found these and other pictures while I was cleaning up one of my hard drives, and I thought that I would upload it so I could share it on http://www.livepa.org/board and I didn't expect it to show up here.
We had somewhere around 30 machines show up and the idea was to get them all synced up to one clock source. Sort of a "hey, can we do this?" exercise more than a musical or recording one. It did work, but as you can imagine the sound was godawful and given the number of machines there obviously was a lot of slop in the timing. The hard part was actually getting a clock that each of the machines could recognize; there were a number of pre-MIDI boxes that had a wide variety of differing clock requirements so it was no small feat getting everything to talk to one another.
Before we did this, we had to define what a "drum machine" was, and we settled on a definition like "a stand alone hardware device that is capable of generating simultaneous and polyphonic sounds that are primarily percussive in nature and is capable of playing back those sounds in a preset or user-defined pattern, and is intended for use as a backing rhythm track source alone", or something to that effect which excluded MPC's, sequenced monosynths/modulars and workstations/grooveboxes.
Like I said before, it was really a try-it-and-see type thing, rather than a musical or recording exercise, as well as a great excuse to get together, geek out on drum machines and drink beer. Good times!
Details:
"Only 50 ever made - so this is probably the last time you will see one again - this rare beast sounds like a cross between Moog / Oberheim and the Prophet synths and the has the film soundtrack fx side of the VCS3 so is killer for film soundtracks - the Gleeman is in tip top condition and has been recently serviced by a reputable UK company - it comes with mains 110>240v transformer - the total shipping weight is 26kg so email me your area/postal code / country for shipping quotations - I originally paid £2000.00 for the Gleeman Pentaphonic - remember this is one of the very rarest synths out there - you will definately not see another one and it sounds like no other - here is what has been said of the legendary Gleeman Pentaphonic:
The Gleeman Pentaphonic
by Joey Swails (j.swails@comcast.net)
The Gleeman Pentaphonic was introduced in 1981 by the Gleeman company, a partnership of two brothers, Bob and Al Gleeman. They were based (in the grand old Silicon Valley tradition) in their garage in Mountain View, California.
I met Bob Gleeman at the 1982 AES show in Anaheim, while I worked for Don Wehr's Music City in San Francisco. I was blown away by the Pentaphonic's sound; Bob came around the store a soon after, and we became the first authorized Gleeman dealer.
The story goes that the Pentaphonic came about when Bob decided that he wanted a synthesizer like a Prophet-5, but smaller and more portable. His "smarter brother" Al, a computer hardware designer, basically designed the synth from the ground up, working from his brother's description of what a polyphonic synthesizer should do.
It was in actually a digital/analog hybrid -- the filters and amps were based on the same Curtis chips that were used in the Prophet, ARP and Octave machines. The oscillators were digital, as were the ADSRs. The machine was based on the Intel 80186 microprocessor, which was very advanced for it's time. In fact, it used two 80186's -- one for the keyboard/transpose functions, the other for waveform and amplitude control. One thing led to another and they decided to try to market the machine after everyone who heard it told them how great it sounded. They had wanted to call it the "Gleeman Minstrel", since their family name Gleeman means "minstrel." But there was another machine on the market called Minstrel (the Basyn, by Grey Labs), so they settled on "Pentaphonic".
The oscillator section featured 3 oscillators, each with a selection of 8 waveforms. The waveshapes were fixed, in that there was no pulse-width modulation. Instead it offered 3 choices of pulse widths. There were two "digital" waveforms with lots of high, bell-like overtones which had a distinctive, almost FM-like sound when selected.
There was an octave switch on each oscillator (hi/low) and a "chorus" switch that actually detuned oscillators 2 and 3. Interval tuning of the oscillators was not introduced until the programmable version was made, and the intervals were part of the program, selected by pressing keys on the keyboard. There was also a Transpose control that shifted the entire tuning of the machine in half-steps over a one octave range.
It was a standard Prophet-type control set, with one filter ADSR and one volume ADSR. The filter section had the standard cutoff, contour amount and resonance dials. The layout was basically that of a MiniMoog, including an oscillator mixer that included a pink noise control.
One drawback was a lack of a keyboard tracking filter setting, which was explained to e as being impossible due to the way the keyboard controlled the oscillators. Another as that it also lacked a provision for a sustain pedal.
The keyboard system was unique in that it was not based on the same serial-scanning system developed by Tom Oberhiem used by virtually every polyphonic synth, but was rather a parallel port that had an input point for each of the 37 keys. This made for a very fast, responsive keyboard, but made it difficult to derive an analog voltage
to use for filter tracking.
The first Pentaphonic's joystick was only a pitch bend lever, but later they upgraded it to allow for pitch bending and modulation of either the pitch or filter cutoff. There was also a simple, real time, one-track sequencer built in, but with the unique eature of being able to play back the sequence while playing the keyboard with the joystick and transpose control effecting only the notes played on the keyboard.
The original Gleeman Pentaphonic retailed for US$2795 and featured a 6X9 inch "car speaker" with amplifier built into the back of the cabinet. The price included an injection molded road case (actually a Samsonite suitcase customized with form-fit molding inside to hold the synth and a "Gleeman" nameplate glued over the "Samsonite" label.)
In 1982, the programmable version was introduced. I had told Bob from the beginning how much better (and more marketable) the Pentaphonic would be if it were programmable (as the Prophet-5 was setting the standard for analog synths in these days.) The "Presetter" used a two-digit thumbwheel selector next to the joystick with a toggle switch. The first 50 programs (designed by the Gleemans with help from
myself and Keith Hildebrant, who later worked for Opcode and authored several sound sample disks) were in ROM memory and the second 50 were user programmable. The toggle switch allowed for either instant recall as the thumbwheels were changed, or in the second position the patch remained in performance memory until the wheels were changed and the switch was toggled into the "recall" position. A small recessed red
button was the "write" switch. Unfortunately there was no provision for off-loading of programs. The programmable version retailed for US$3295.
I sold Oscar Petersen his Pentaphonic a few months after we became a dealer. He was playing a concert in town nearby and came into the store just to kill time after the soundcheck. He started playing on the Pentaphonic and didn't stop for two hours, while a small crowd gather to listen. He told his road manager he had to have one, and Bob and I delivered it to him at the venue the next day.
The greatest thing about the Gleeman was the sound -- it was gorgeous! The pads were thick and rich; the string patches made an OBXa sound almost thin by comparison. The three oscillator sound was very similar to a MemoryMoog in some ways, but with a crystal clarity that the Moog couldn't touch. If it had a weak point, it was that the Gleeman was almost TOO "pretty" sounding -- not a very good "down and dirty" synth. It was no good at the kind of bizarre patches that the Moog and the Prophet were capable of. It lacked a sync mode and the limited keyboard range was a hassle, but within that range, it was a truly lovely sounding instrument.
To address these defects, the Gleeman brothers had plans for a 61-note, touch sensitive, 8-voice version of the synth (I even saw the prototype being built while visiting their workshop). MIDI was just becoming available, and the new machine would have MIDI (though by then programmable Pentaphonics could be retrofitted for MIDI by the shop.)
Unfortunately, by 1984 the Japanese synth builders were flooding the market with inexpensive polysynths (like the PolySix and the Juno 6/60) and the market for a 5-voice machine with a 37-note keyboard and a price tag over 3000 bucks was gone. And oon after that the DX7 was introduced and the market was radically changed. The Gleeman "Octophonic" never saw the light of day, and the Gleeman brothers retired from the synthesizer business. (I heard that years later Al Gleeman went on to invent the laser dentist's drill.) Only 50 or so Pentaphonics were ever made but they still pop up in the keyboard rigs of some major recording artists such as Kansas, The Band, R.E.M. and of course, Oscar Petersen.
But the Gleeman didn't disappear until after it had made a bit of a stir in the synth world with the introduction of the world's only see-through synthesizer -- the "Pentaphonic Clear".
