"This is one of my most prized and cared for possessions. If we weren't in the middle of an unprecedented financial crisis, I would prefer have this beauty buried with me. ;) It's the absolute king of wavetable synthesizers, the first and only of its kind if you ask me (and virtually anyone else who's had the privilege to use one). I've had this particular one for the better part of 20 years, and she's never let me down (unlike multiple new synths where I find myself flustered when firmware corrupts or memory erroneously wipes out); she's just been steadfast and true for her treasured time with me. Always kept in a non-smoking studio, voltage regulated and on battery backup. When I bought this beauty some 20 years ago I was under the impression the previous owner had a good working relationship with PPG when they were still in business and this was one of the first editions in circulation. This beauty was exported to the UK and found a home with one of the curators of the early 2000 (UK) PPG Conferences. With the help and guidance of PPG connoisseur, H. Seib, she was gone through with a fine tooth comb and had been swapped out with new bushings, keys and factory formatted. Since my acquisition of this unit (3rd owner by my understanding) I had created and sculpted custom waves with the Waveterm A (When it still functioned, but sadly that is now a very distant memory) and a wide range of factory sounds which are still in place. I had considered the upgrade to V8.3 to save much of the library I had created but wouldn't attempt it without the expertise and assistance of a few friends in Toronto who had years of experience working on these, but sadly that never did come to fruition. Time is always the greatest enemy, isn't she? ;) I also have the entire factory soundset from the floppy disk of the 2.3, Waveterm A and B as well as many wavetables shared on the old PPG forum so the update would probably be worth it. It's a fairly easy upgrade and still available to purchase if you're considering using the SYSEX features of V8.3. There was discussion some years ago about a virtual waveterm being available at some point (Waveterm C), perhaps a gentle nudge in the PPG discussion forum and it will eventually materialize with those DIY monowaves. ;) Until then, I leave you with one of the worlds finest synthesizers ever imagined. This is the stuff dreams are made of, not kidding. Serious inquiries only, thanks!
"UVI PX-WaveFrame - A Modern Take on a Digital Sampling Pioneer
With a blend of pristine digital sampling and freshly-crafted FX variants, a cutting-edge engine, professionally designed presets, and a vintage-styled UI, PX WaveFrame is a comprehensive and modern reimagining of a digital sampling classic.
Also included in SonicPass ➡️ www.uvi.net/sonicpass
Video credits: Anthony Hak
Music Credits: Harel Tsemah"
"With a blend of pristine digital sampling and freshly-crafted FX variants, a cutting-edge engine, professionally designed presets, and a vintage-styled UI, PX WaveFrame is a comprehensive and modern reimagining of a digital sampling classic.
Video credits: Théo G.
00:00 - Intro
00:06 - Dobachi Doux
00:17 - Rocky
00:26 - Wes Dream
00:39 - SEQ Broken IA
00:48 - Road And Seq
00:58 - Ambient String Ensemble
01:15 - Power Synth B
01:25 - Harcastlead
01:29 - Mask Power Up / KPR Five 2"
"PX WaveFrame captures the groundbreaking essence of the WaveFrame AudioFrame, a high-end digital sampler and audio production system that made waves in the late 1980s. Developed in Boulder, Colorado, this system was a formidable competitor to the Synclavier and Fairlight, featuring advanced capabilities like non-aliased transposition, phase-coherent polyphony, and 24-bit processing features that were light years ahead of their time. Even with a focus on post-production, the AudioFrame was embraced by forward-thinking musicians and producers for its pristine sound and unique sonic character, with artists like Peter Gabriel, Stevie Wonder, and many others utilizing it for both studio and stage."
See the WaveFrame label below for additional posts.
"In this Korg multi/poly tutorial I show how to build a Tangerine Dream-style PPG lead sound from an initial program, using the built-in digital wave tables rather than imported PPG waves.
The patch starts with a choir-like digital wave, then uses a second detuned oscillator, effects, wavetable position and morph settings to get that wider, vocal, classic electronic lead character.
Chapters:
00:00 Tangerine Dream PPG lead demo
00:57 Choosing built-in PPG-style waves
01:45 Shaping the choir-like wave
02:30 Detuning two oscillators
03:16 Chorus, compressor and tape delay
04:02 Wave morph settings
04:51 Combining the oscillators
05:37 Reverb, detune controls and sound pack info
06:23 CTA and requests"
"The Evolver’s unique tonality comes from the synergy of its two analog oscillators and two digital oscillators (which feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Evolver apart is the way in which the analog and digital sides of its personality mesh—in a true stereo signal path. Massive doesn’t even begin to describe the sound of the Evolver.
Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo.
It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos.
"The Evolver marked Dave’s Smith’s triumphant return to hardware synths and still sets the standard for sheer sonic ferocity in a monosynth. It features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with a sound like no other.
The Evolver’s unique tonality comes from the synergy of its two analog oscillators and two digital oscillators (which feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Evolver apart is the way in which the analog and digital sides of its personality mesh—in a true stereo signal path. Massive doesn’t even begin to describe the sound of the Evolver.
Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo.
It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos.
Monstrous four-oscillator voice architecture True stereo signal path with separate Curtis analog low-pass filters in each channel Dedicated onboard effects (feedback, delay, distortion, high-pass filter, etc.) 16 x 4 step sequencer really brings the Evolver to life with evolving “pseudo-polyphonic” sounds – you won’t believe it’s mono! Stereo audio input for audio processing of external stereo or mono signals, enabling the synth to act as a unique stereo effects processor Everything (sequencer, LFOs, and delay) syncs perfectly to MIDI. Easy-to-navigate matrix-style interface for quick editing and real-time control of 8 parameters simultaneously Multiple Evolvers can be daisy-chained for more polyphony."
Details (Regarding the PPG comments, do note that the DW8000 is not a wavetable synth like the PPG and although some of the sounds are reminiscent of the PPG, they are a bit different as would be expected. The PPG also has considerably more waveforms. Also, the digital waves in the DW-8000 were carried over to the more current MS2000 and MicroKorg line of synths):
"The DW-8000 has an old school analog sound from the early 80's, but it also excels at creating those DX-7 digital pianos and other digital timbres. (Please check out the MP3 links below!!!) It actually sounds very similar to a PPG Wave synth because it's oscillators are digital and filters are analog. If you are into the sound of Depeche Mode, Tangerine Dream or Kraftwerk, this synth is for you! This synth is perfect for emotive, organic pads, deep filter sweeps, screaming portamento leads, throbbing Moog basslines, fat burbling analog sequences, some noisy madness and sweet analog synth percussion. You can also get a nice acid sounding patches like on the Roland TB-303. The filters on the DW-8000 sound a lot like the filters on my old, school Roland SH-2 and Minimoog -- as the resonance increases, the filter screams! The DW-8000 has 8 rich analog voices, a very simple to use sequencer that syncs to MIDI, a very expressive pitch bend/mod joystick, full MIDI implementation and sysex, and a very nice sounding effects processor that allows for chorus, flange and reverb effects. It was an ingenious synth in the 80's and is now still sought after for its rich hybrid digital/analog textures ala synths like the classic PPG Wave. The DW-8000 sound is truly distinct from other polyphonic analog synths, and it makes a great addition to any synth setup!"
"The listing is for a Digital Keyboards Synergy II+ synthesizer with Kaypro II PC in great condition! One of the first premium digital synthesizers manufactured in the US , The synth is based on Dr. Hal Alles from Bell Labs synthesizer architecture.This model is the programmable version and has the solid wood casing which only came out with the very early serial numbers. The wood was replaced by tolex to reduce cost in following years. Approx 700 total Synergy units were made of which about 300 were said to be the upgraded programmable version.It is estimated that only 100 or so units are still operational today of which about 20% are the higher end wooden case version. When the Synergy II + hit the market in the early 80s, they were going for upwards of $10K for the wooden programmable version with Kaypro PC. The DX7 came out with their FM synthesis in 83 for $2500 and changed the entire synth industry. After that DK was dumping their units for under $7K with Kaypro and eventually went under in 1985. I payed $5,450 (including shipping) for this unit 8 months ago so for a 30 year old rare synth , it is still holding it's value.
The Synergy II+ 's Kaypro II PC is in great shape as well with two functional drives and the 1980s style green light screen resolution is still very prominent. You can find Kaypro PCs for sale on eBay should you ever need a back up. The sale includes everything you see in the photos- Synergy synth, Kaypro PC and keyboard, null modem cable to RS232 port ,original operational manual for the synth( not a copy), instructions for understanding the Kaypro and the complete Synergy library.The library includes close to 500 patches. It includes the L1-L13 FDs, VCART1-VCART6 FDs and Wendy Carlos Library( WENDY 1-WENDY3 FDs). All library, diagnostic, software systems and boot disks have been backed up with multiple copies, anywhere between 4-6 sets of each. The sale also includes a 2 hour video made by the original owner who purchased this synth as a floor model in 1983. The video on DVD is well thought out as well as his written start up instructions to get a new owner going. You definitely want to review the video and documents to understand the nuances using the synth and PC software . Included are the original documents listing the names and categories of the library disks and patches/voices in alphabetical order and by instrument or sound type. Other documents include synth schematics, pin schematics if you want to make your own null modem cables and addendum released by DK.
This synthesizer is definitely not for the touring musician or quick knob turning gratification player. This synth is typically purchased as a collectors piece or a programmers synth who enjoys sound sculpting for personal pleasure or studio recording. This synth has unique architecture and very sophisticated envelope control . What makes the Synergy II+ unique even to this day is that you voice each oscillator twice for both frequency and amplitude and you have 16 different envelope points for each envelope. So you get to control how each voice changes in response to velocity. For example, you might choose to have a phase modulated envelope that rises very sharply at low velocities and dies off fast, but at high velocity(loud notes) it rises less sharply and dies off much more slowly. Or you could do the opposite with the carrier envelope scheme which means the loudness envelope of the timbre operates normally with a sharper attack the harder you press the key but a shorter decay at louder amplitudes. Since you can define two 16 point frequency envelopes for each oscillator and you are dealing with phase modulation, you can have sound going from strictly harmonic overtones to inharmonic partials and back again over time or set it up to go inharmonic to harmonic and back again. And this effect is with just two oscillators. Typical Synergy II+ patches use 3-6 oscillators so you can also detune them to get chorus effects. Another reason to set up multiple chains of oscillators for a patch is to have different sets of overtones moving in and out of harmony against one another which gives you very complex timbral effects like you would get with real instruments. Another reason to use multiple oscillators is so you can combine additive synthesis with phase modulation to create some very realistic percussive sounds like bells or chimes using subharmonics of the fundamental of a note to create that low hum that is not harmonically related to the timbre ,but present in real percussive instruments.There is a reason that Wendy Carlos still has two Synergy GDS units among her gear of only 5 remaining keyboards.
For those not familiar with the Synergy, there is a good website if you Google DIgital Keyboards Synergy Preservation Page.Also there are several YouTube videos on this unit. However, here are the basics:
In the picture, the 2 upper photos are the PPG Wave 2.0: as you examine the front panels you'll find differences:
The upper one (which I call the first version because it was used for the original brochure) has no space between top legending and top flat panel. Also the legending around the LCD screen has a different configuration, compare with the second version. That usually had Moog type- chrome topped knobs, here in the pic has the standard PPG type. The second version which is more common, has a space between top flat panel and upper legend. To be more confusing, I've seen sec. ver. Wave 2.0's with chrome topped knobs! Also in the second the legending around the screen has the same configuration with the later Waves (2.2 , 2.3). Also, the top writing 'Multiple digital/analog control panel' has different placement and font size in all versions (2.0a, 2.0b) and in the 2.2/2.3 is on it's final placement. The later versions (2.2 / 2.3) had no differences between them anyway, and both had standard pitch/mod wheels, compared with the wave 2.0 single wheel with it's strange ergonomic angle - I can't tell if it's more comfortable than the usual placement - better ask a wave 2.0 owner!
A curious thing is that in almost every Wave 2.0 I've seen, the front panel paint is worn, mostly in the volume knob area and the programmer's numerical switches area. This problem is not common in later waves -maybe they improved the front's panel paint quality/sturdiness. It is reported that only 200 2.0's were made (both versions).
The main internal difference, apart from the single oscillator per voice in the 2.0, is that the filter chip was the CEM 3320 -in the Wave 2.2/2.3's used the SSM 2044 of course. As for the VCA's, in the 2.0 used the CEM 3330 (dual VCA) and in the 2.2/2.3 the VCA chip was the CEM 3360 dual VCA as well.This info is backed by service literature. Sound wise, the 2.0 was more rawer and primitive than the 2.2/2.3's, although the INTERNAL wavetable resolution in ALL Waves, was 8-bit. Things were different in 2.3's, where it had SRAM of 12-bit and thus you could play samples from Waveterm B loaded into the 2.3.
Edgar Froese of Tangerine Dream and Klaus Schulze both had the first version of Wave 2.0 and used them 'till 1983 as far as I know. In fact, E. Froese's is visible in his rig in the 'Poland' video (1983 - left) and Klaus Schulze had his own Wave 2.0 with him, when he toured Poland in 1983. You can have a very good idea how well the Wave 2.0 by listening to track 'Remote Viewing' by Tangerine Dream, from the 'Exit' LP, from the middle and on there some melodies played by Froese on the Wave 2.0 with a voice-like patch,gritty, beautiful and majestic.
PPG photos credits: top photo from ebay auction, second by Laurent Prot from Paul Maddox PPG CD-ROM, the 3d by a 'Matrixsynth' link and Edgar Froese's pic is a capture from the 'Poland' video.
That's about now,
Long live the Wave.
Nick-Greece"
YouTube Uploaded by allvek597 on Sep 5, 2011
Re-Published on Feb 12, 2016
Update via e man in the comments: "There is no CS style VCO, it's just the VCF's and VCA's - the VCO's in the electronic design are what's used to clock the waveform data from the basic waveforms in ROM. It's like the Korg DW series, only analog on the VCF/VCA side. It has very little pitch control other than minimal glide (semitone range) and same for the vibrato (if even)... the source oscillators are purely phase locked digital constructs."
And: "There is no analog VCO in this entire synth, certainly nothing resembling the CS80 or any other CS synth - zip, nada, zilch - anyone telling you otherwise is trying to sell you swamp water. This is a giant polyphonic that has much more in common with the Korg DW series (also having crude basic waveform in rom), but very much lacking in it's ability to do any pitch control - what little there is, is a an digital approximation of minimal range. The only place you could add modulation circuitry to any great effect is the VCF and VCA section of the Orchestra Voices - pitch modulation is either limited global vibrato or equally minimal vibrato on the upper manual via wiggling the keyboard that drives a photovoltaic shutter combo, again going to a digital interface having little effect - even the glide is minimal and digital. You will never get anything properly analog out of the the Wavetable oscillator end as it's a giant digital construct with loads of sample and holds to distribute the wavetable rom voltages that approximate the basic synth waveforms (ramp, pulse, square). It's basically 3 waveform samples in ROM with very little control over pitch other than basic notes (the speed that the sample is read out from the ROM)."
The following is the original post starting with the video description:
"Mystery is resolved. Chopped and completely electronically modified analog Yamaha E70 organ into Yamaha CS80 synthesizer. What You see now is 2 fully programmable polyphonic synths 2 OSC's per voice + fully programmable 2 OCS's per voice monophonic synth in a body of Yamaha E70. Same P.A.S.S sound technology, same analog filters and same sound, same offspring of legendary Yamaha GX1.
Any questions, please visit www.alvek.us"
"Here's one more organ from my collection: Yamaha E70 . What You see in the pictures is completely modified Yamaha E70 in body and electronically. Organ after chop work went 327lbs down to 130-140lbs(Yamaha CS80 is 242lbs) and under the hood all electronic carts are located pretty close to like inside of CS80. It's been a while people talking about E70 which has same P.A.S.S technology like CS80 and electronic carts, all wiring are practically the same like CS80. Yes, E70 has absolutely the same analog filters like CS80, same sound synthes and it does sound like CS80. This particular E70 has beed modified from organ into 2 and half fully programmable CS80. All presets still have same functions except FUNNYII preset green buttons. Those 3 green buttons(1 for upper, 1 for lower keyboard, 1 for pedal board or extra keyboard) function now differently. When You push FUNNY II E70 starts to work as most powerful and expensive programmable synth-Yamaha CS80. On left top of organ You see control box. The box has 3 sections: 1st for upper keyboard, 2nd for lower keyboard, 3rd for footpedal/or extra keyboard you can hook up. You can see all signs under the switches(3 waves forms sawtooth and 2 square waveshapes) and pots, they have same function like on CS80. So after all this E70 has 2 polyphonic 7 voices 2 OCSs per voice CS80 synths and one monophonic 2 OCS per note synth (pedal or extra keyboard which can be connected to E70 is monophonic, it's perfect for bass lines and pretty good even for leads as far as You will move 2 OCS slider from 16' up to 4'). Oscilators can be detunes between each other and between keyboard. Does E70 sound like CS80?. Yes, it does. Main different between E70 and CS80: no velocity and aftertouch on E70. Big flaw. On another hand You have 2 and half CS80 under the hood. You can build sound on upper keyboard and MIX IT with sound you built on lower keyboard. Also you can add organ/orchestral section(they all can be saved in memory-see small control panel on a botton of organ to left-very much the same look like on CS80) from upper keyboard AND organ/orchestral section from lower keyboard. Same thing can be done between lower polyphonic and monophonic keyboard/pedals: monosynth also can be played on first 2 octave of lower keyboard. Now You realize CS80 is kind of kind of behind! PLUS very powerful arpeggiator! and even cheesy drum machine and 100 lbs less. From control box You can see 3 cables coming inside of E70, each cable has 25 pins . The connector 9 pins in a middle of a back of E70 serves expression pedal. 3 inputs 1/4 on back are not hooked up. Could be 1/4main output(original main output on a bottom of organ)or sustain pedals-it's easy to hook up. Same about 6 inputs on control panel-they are not hooked up. It's your choice how to use them. I didn't connected any inputs for 1/4 jack, coz basically all extra functions are on control panel of organ. I don't play on stage, so I can turn on sustain effect simply by hand. The organ is absolutely stable in tune and doen't have overheat problems like CS80 Anyway, if you are still skeptical about what You read here, please check some INFO on line about unlocking Yamaha E70 and Yamaha CS80 both children of Yamaha GX1. And don't forget how much money you will save not buying CS80. Please check, read and watch all links below and You will see it's not a dream anymore. You can get 2 and half CS80 more than 4 times cheaper... compare to ebay price for last month. "
Sonic Exploration is a carefully crafted soundset for the Nord Lead 4, focused on atmospheric depth, motion and musical exploration. This collection of 32 expressive patches blends ambient textures, electronic sequences, evolving pads, soundscapes and playable keys, designed to highlight the dynamic and performance-oriented nature of Nord’s virtual analog engine. Each sound is built to feel alive, evolving over time while remaining immediately playable and inspiring.
The sound design moves between retro-futuristic tones and modern electronic atmospheres, combining analog character with digital clarity. From subtle, spacious pads to rhythmic sequences and cinematic keys, Sonic Exploration is ideal for producers and keyboard players who want to create immersive sonic environments without sacrificing musicality or control. Modulation, velocity and performance parameters are optimized to make every patch responsive and expressive.
Perfect For:
Ambient and cinematic music
Electronic and experimental production
Soundscapes and evolving compositions
Live performance and improvisation
Producers seeking expressive Nord Lead 4 sounds"
"Another legend of 80s music is here and it's sure to make its way into your collection. It’s time to ride the Behringer WAVE! Capable of classic 8 or 16-bit wavetable synthesis and layering of up to 8 different multi-timbral sounds."
Hands-On with the Behringer Wave: The Ultimate Wavetable Synth
Legendary 8-Voice Multi-Timbral Hybrid Synthesizer with Wavetable Generators and Analog VCF and VCA, LFO, 3 Envelopes, Arpeggiator and Sequencer
WAVE Another legend of 80s music is here and it's sure to make its way into your collection. It’s time to ride the Behringer WAVE! Capable of classic 8 or 12-bit wavetable synthesis and layering of up to 8 different multi-timbral sounds, the sound of WAVE is synonymous with the sound of the 80s as artists like David Bowie, Jean Michel Jarre and Tangerine Dream, to name a few, used the original to create hits that still resonate today!
Flexible, Vibrant, Vintage Sounds WAVE is amazing for creating lush pads, bass and even some bell- or chime-like sounds and that’s all thanks to its 8 highly configurable voices and its classic wavetables with 64 waves each, complemented by and additional 64 fixed sub-oscillator waveforms for added depth. Want to change the characteristics of a wavetable? The 2 ADSR envelopes allow you to sculpt your wavetable just the way you want it. There’s also a dedicated sub-oscillator position control for some extra nuance.
Enhanced Expression WAVE’s 49 full-size keys, offer the perfect balance between expressiveness and playability. Aftertouch and velocity sensitivity, allow you to shape and modulate your sounds depending on how hard or soft you play.
Product Features
Authentic Wavetable generators and analog VCF and VCA designs based on the PPG* Wave 2.2 and 2.3 from the ’80s
Classic digital wavetable synthesis with 8 or 16-bit resolution
Authentic analog signal path based on original VCF and VCA designs
8 voices configurable in modes such as splits, layers, and unison
30 classic factory wavetables and 64 user-defined wavetables, each comprising 64 waveforms, along with 32 user-defined transients
Easy import of user wavetables and transients through SynthTribe
Rob Papen sharpens soft synth breakthrough by bringing boosted BLADE-2 to existing bundle owners and wider world beyond
ECHT, THE NETHERLANDS: virtual synthesizer, instrument, and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BLADE-2 — boosting its original BLADE soft synth with fantastic features making it a dream synth for synth lovers who like to think out of the box while working in the box, and available at no extra cost to existing owners of the company’s expansive eXplorer-6 and sure-fire SoundDesign-X bundles — as of October 28…
When the original BLADE was released back in 2012, it had a unique concept — controlling the waveform harmonics (HARMOLATOR) using its recordable XY PAD, which was a very different approach to additive synthesis, and remains so to this day. Indeed, it was the first Rob Papen soft synth to include this feature, facilitating flexible sound editing, recording, and tempo-based playback. Put it this way: when putting this extraordinary combination into action, BLADE users can creatively generate very different tones — far from the sound of the subtractive synthesis crowd, and even those of other additive synthesizers.
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
"Generator sequencer - Loop points and Freeze. This video shows you some cool things you can do unique to this sequencer."
"Analogue Solutions plays to win with highly-versatile next-generation Generator step sequencer
KINGSWINFORD, UK: having made musical waves with a prototype presentation at SUPERBOOTH18 in Berlin before speedily selling out of its first batch, British boutique electronic instruments innovator Analogue Solutions is proud to announce (approaching) availability of a second batch of its next-generation Generator step sequencer — a highly- versatile, multi-channel analogue appliance specifically targeted towards making it easy, fun, and intuitive to change generated rhythms and also play alternative sequences — as of September 14…
As implied by the CV & GATE SEQUENCE GENERATOR wording which is boldly blazoned across a pleasingly well-populated panel, Analogue Solutions’ next- generation Generator is no ordinary step sequencer. As a compact, slim form factor desktop design featuring three parallel-running, 16-step CV (control voltage) channels — CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C — and an array of associated hands-on controls housed in a rugged steel and aluminium chassis with no plastic mouldings (making it ideally suited to withstanding the rigours of the road while being equally at home in the studio, home- based or otherwise), Generator is actually a playable step sequencer at its musical heart. How, exactly, it does that is exactly what sets it apart from the run-of- the-mill step sequencing pack.
Put it this way: with Generator it’s not simply a case of setting up a short sequence of notes to be left looping ad infinitum, as is still the case with some step sequencers out there — though there is still something to be said for those mesmerising musical compositions conjured up by the repetitive note patterns pioneered and popularised by the likes of Germany’s homegrown Kraftwerk and Tangerine Dream during their Seventies heyday and appropriated in many musical styles since; instead, its user interface is deftly designed to make it easy, fun, and intuitive to change generated rhythms and also play alternative sequences.
Firstly, four dedicated knobs offering patent-pending IReTiGaC (Intuitive Real Time Gate Control) can change the rhythm of the beats for the pattern playing by setting which of the 16 steps of the sequence will produce gates; slowly rotating each knob adds more beats in specific positions, thereby increasing the intensity of the rhythm. A pair of associated GATE pattern outputs are available alongside a FLIPPED GATE ‘copy’ — positive voltage with an inverted ‘state’ (so the output does the opposite of the main GATE outputs) — for flexibility when connecting to suitably-equipped analogue synthesisers, Eurorack modular system setups, or other analogue equipment. These output the rhythm set using those IReTiGaC knobs, and using both together with two different synths creates considerable interplay between them.
The wonderful world of the VOLTAGE GENERATOR is where Generator really steps up to the plate to offer some serious alternative action, though. This is a special kind of transposer/CV generator with six ‘slots’ — each activated using its own triangular-shaped gold-plated pressure plate. The corresponding knob above each plate is used to set the control voltage output of the VOLTAGE GENERATOR within an approximate range of 0-5V. Those voltage outputs can be sent straight to and mixed with CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C’s respective CV A, CV B, and CV C outputs sockets, with an associated SHIFT switch’s settings determining what goes where: setting said switch into its ‘up’ position results in the VOLTAGE GENERATOR being mixed with A, B, C (CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C); ‘centre’ is off, and ‘down’ results in the VOLTAGE GENERATOR only being mixed with C (CV CHANNEL C). The VOLTAGE GENERATOR’s control voltage is also always available on its own CV output, allowing users to patch it back somewhere else — even externally (to a suitable synth or modular setup).
So what, exactly, can be done with this visionary VOLTAGE GENERATOR? For starters, it can conceivably be used as a standalone six ‘note’ interval CV keyboard to directly play an external CV-equipped synthesiser, such as Analogue Solutions’ own Treadstone (taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding synthBlocks signal-processing siblings and applying them to a true analogue mono synth that packs a lot of patchable punch into a perfectly-matched, portable package). Patching possibilities abound as the VOLTAGE GENERATOR pressure plates are routed to its own outputs: the CV socket outputs control voltage, so pressing plates harder results in a higher voltage that can, for instance, be used to creatively control clock tempo, intensity, fill, or transpose via their respective INT CLOCK TEMPO, INTENSITY, FILL, and TRANSPOSE sockets. (The INTENSITY input uses a CV of approximately 0-5V to alter the intensity of the rhythm with more beats being added to the rhythm as the voltage increases; the FILL input is similar to INTENSITY, but only affects the last four steps to alter the pattern of notes in the last four beats of the sequencer.) The GATE socket outputs a gate that can be used to clock the sequencer, RESET or START it, for example. Additionally, another output voltage from the VOLTAGE GENERATOR can also be patched to alter internal clock speed or transpose. That said, there are also QUANTISED VG output sockets outputting the same signal which will quantise the VOLTAGE GENERATOR voltage to the nearest semitone (when using 1V/oct synths).
Thereafter, thanks to those three parallel channels of 16 steps, Generator steps back into more familiar step sequencing territory — albeit with dedicated start and end LOOP point controls for initiating interesting patterns — that plays well with any analogue gear that has CV and Gate inputs, including vintage or more modern analogue synths and Eurorack modular system setups. Since it does not feature a MIDI (Musical Instrument Digital Interface) output, it is clearly not a MIDI sequencer — nor a DAW (Digital Audio Workstation) control surface. Saying that, it is equipped with a MIDI IN socket, so allows sync, start, stop, and resend control signals to be sent from a DAW or MIDI sequencer. Speaking of which, using MIDI Note information, users can program their own ‘clock pattern’ that can run to clock Generator at the same tempo, half the number of notes to run Generator at half tempo, double the number of notes to run it at double tempo, or even mute the clock note pattern to silence Generator at a particular point before unmuting to get it running again, all the while creating rhythmic patterns to make Generator syncopate with DAW patterns — much more creative and gratifying than simply using MIDI sync alone.
Analogue Solutions is clearly playing to win with its next-generation Generator step sequencer — so much so that the likes of (the still-active) Kraftwerk and Tangerine Dream should seriously consider playing with one (or more) onstage or in the studio. Speaking of which, English electronic music duo The Chemical Brothers already have access to two! That said, chances are musician, composer, arranger, record producer, and music programmer par excellence Martyn Ware would also approve... after all, he co-composed Sheffield synth-pop funksters Heaven 17’s influential single ‘Play To Win’ way back in 1981, at a time when synthesisers started to make a serious dent in the charts, exciting the ears of one teenage Tom Carpenter — Analogue Solutions’ future founder — in the process.
Priced at £629.00 GBP (inc. VAT)/$749.00 USD/€679.00 EUR (inc. VAT), Generator is available to purchase through Analogue Solutions’ growing global network of authorised dealers — including Analogue Solutions itself — listed here: http://www.analoguesolutions.com/dealers/"
"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...
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
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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
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via this auction
"The SQ-80 is basically a reved-up ESQ-1with a total of 75 waveforms, a 61-note keyboard with velocity & aftertouch, floppy disk drive for storing patches and sequences, and an enhanced sequencer. Great for organs, analog-type sounds, pads and sound effects. Like the classic ESQ-1, the SQ-80 functions in providing analog-type 4-pole lowpass filtering and editing of digital waveforms. Each voice can combine up to 3 of the 75 waveforms. These waveforms include multi-sampled transient attack waves such as violin bow, plectrum picks, mallet, hammer, breath attacks and percussive sounds. There are also 5 sampled drum sets. Three LFOs are onboard for some pretty wild modulation of the sounds you create or edit. Complete MIDI implementation makes the SQ-80 great for any studio or live use too.
As for playing the SQ-80, it is a dream! Its 61-note keyboard is full, responsive and has polyphonic aftertouch. Polyphonic aftertouch simply means that each key pressed will respond to aftertouch independently of the other keys. The aftertouch can be used to control a variety of modulation parameters such as the LFO. Pitch and mod wheels and plenty of front-panel buttons and a few sliders make accessing and editing fairly easy and hands-on. The keyboard can be split or layered. The pattern-based 8-track multitimbral sequencer is great for creating short to complex sequences live, or in step time with quantization, bounce-able tracks, 60 sequence patterns and 20 songs. And they can be saved to disk along with any patches you've created and any SysEx Midi data. Unfortunately, the SQ-80 has no built-in effects. The SQ-80 is certainly a classic analog/digital hybrid of the late eighties which still holds up well today."
"This is one of my most prized and cared for possessions. If we weren't in the middle of an unprecedented financial crisis, I would prefer have this beauty buried with me. ;) It's the absolute king of wavetable synthesizers, the first and only of its kind if you ask me (and virtually anyone else who's had the privilege to use one). I've had this particular one for the better part of 20 years, and she's never let me down (unlike multiple new synths where I find myself flustered when firmware corrupts or memory erroneously wipes out); she's just been steadfast and true for her treasured time with me. Always kept in a non-smoking studio, voltage regulated and on battery backup. When I bought this beauty some 20 years ago I was under the impression the previous owner had a good working relationship with PPG when they were still in business and this was one of the first editions in circulation. This beauty was exported to the UK and found a home with one of the curators of the early 2000 (UK) PPG Conferences. With the help and guidance of PPG connoisseur, H. Seib, she was gone through with a fine tooth comb and had been swapped out with new bushings, keys and factory formatted. Since my acquisition of this unit (3rd owner by my understanding) I had created and sculpted custom waves with the Waveterm A (When it still functioned, but sadly that is now a very distant memory) and a wide range of factory sounds which are still in place. I had considered the upgrade to V8.3 to save much of the library I had created but wouldn't attempt it without the expertise and assistance of a few friends in Toronto who had years of experience working on these, but sadly that never did come to fruition. Time is always the greatest enemy, isn't she? ;) I also have the entire factory soundset from the floppy disk of the 2.3, Waveterm A and B as well as many wavetables shared on the old PPG forum so the update would probably be worth it. It's a fairly easy upgrade and still available to purchase if you're considering using the SYSEX features of V8.3. There was discussion some years ago about a virtual waveterm being available at some point (Waveterm C), perhaps a gentle nudge in the PPG discussion forum and it will eventually materialize with those DIY monowaves. ;) Until then, I leave you with one of the worlds finest synthesizers ever imagined. This is the stuff dreams are made of, not kidding. Serious inquiries only, thanks! 
U+fh!WBRuQNbynK!~~60_57.JPG)
