Happy New Year!

Happy New Year everyone!!!  I hope 2012 treated you well and I wish you the best in 2013!

As I do each year, I thought I'd reflect a little on the past year.  These posts are always difficult to write, and I always wing them, so bear with me.  It's impossible to justify a whole year's worth of synth coverage in a single post.  The following is just a small bit of what comes to mind when looking back.  You'll find a top ten list of posts with the most page views followed by my picks for the year further below.  Apologies if I miss anything, and of course, if you have anything to add, feel free to leave a comment below.  I'm curious what you, the readers of the site, felt stood out in the world of synths this past year.

First, I want to begin this post with a HUGE THANK YOU!!!  If you are reading this it obviously means you have come to this site and some of you have been coming here for years! Thank you for sticking with me. This site is a journey I hope to continue for years to come. Thank you to everyone that has taken the time to showcase their synths, and thank you to those that share what they find! Thank you to those that link to the site and help spread the word on MATRIXSYNTH via Twitter, Facebook, Google+ and your own websites! And of course, THANK YOU to all the sponsors on the right who believe in the site enough to support it!

A nod to previous New Years posts, pictured to the left is the MATRIXSYNTH world domination map. :)  I always think it's worth taking a look at who's watching the site.  Synths are global and you are looking at a map of the readers of MATRIXSYNTH.  Everything you see in green represents a visit from that country.  The darker the green, the higher the number of visits.  This is just for the year, but for the life of the site, we still haven't gotten a single hit from North Korea!   I don't know what they have against synths!  ;)   You'll find the top 10 visits by country further below.

This is the eighth New Year the site has gone through!  The focus for the site this year has been the same as previous years, and I plan to keep it that way.  This site is about showcasing specific synths, not just synths in general, and not just news and press releases.  The focus is on the individual synths that have existed throughout history, the technology behind them, and the lives they lead with their odd owners, myself included.  :)  Yes it is about the gear, their makers, and their players.  It has always been my opinion that synths in general have a tendency to be undervalued. Compared to say collectible guitars, they are often discarded and devalued in favor of next year's model, next year's technology.  It has always been my opinion that every synth has something of value to offer,  something specific and something unique that gives it its character. I built this site to showcase that.  This site is about the history of synths as their history unfolds - videos and images of synths being played and used, by both those that make them and those that play them.  Vintage synths being offered in the second hand market, being exchanged from one sonic explorer to the next. It really is a wondrous thing. Think of the magic synthesizers bring into your world. That is what this site is ultimately about.  Some posts may not seem to make sense now, but they will in time, because they will be a look back in time. A day in the life of a particular synthesizer.  I love analog and I love digital. I love all synths and this site celebrates that.

And now for a little reflection on the year. This year we had a total of 16678 posts including this one.  That comes out to roughly 45.69 posts a day.  Not a single day of the year went without a post.  So what dominated the synth year?  Mobile, modulars and a few dedicated hardware synths.

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An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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"Starfield Bound" - Akai MPC X / DAWless MIDI performance

video upload by Patrick Manderson

"'Starfield Bound' - was recorded live early Sunday morning on January 16, 2022 using a MIDI sequencer, 4 mixers, outboard compressors and a room full of synthesizers. This music originated from a shorter music sequence that later evolved to what is here now. For several weeks I considered breaking it up into 2 separate pieces sharing the same theme and later left decided to keep it as is. I'm still not sure it was a good idea to keep it as one.

The MPC X was used to compose and arrange all the MIDI data and control all the synths during recording. Most of the modulations were made with note velocities. Many parts were controlled with continuous controller messages. This is my second piece of music composed on the Akai MPC X and despite the complexity of all the automation and modulations, working with it at this level was very easy and comfortable. Much more so than the Yamaha RS-7000.

The Oberheim Matrix 1000 and Korg Minilogue XD provided the primary sonic textures for Startfield Bound - aided by the wonderful percussion textures of the Boss DR-660. A custom kit was mapped meticulously so accomodate layering of sounds using the pitch, decay and nuance parameters. All 4 outputs were used and careful consideration on routing the sounds to each of the 4 channels on the Soundcraft GB4.

The Roland JX-08 and ASM Hydrasynth were added late in the development of the music. I am really impressed with the sound of both, especially the JX-08.

During the summer of '21 a pair of new mixers were added to the room. The Soundcraft GB4 and a Allen & Heath MixWizard WZ3 replaced my aging Mackie 1604 VLZ3 which had nothing technically wrong with it, but it drove me crazy there were no eq disable switches on the channels.

Why two mixers? I would have preferred a single larger frame (24 or 32 channel) console but I don't have the physical space for it. Two smaller mixers works out great better for the room.

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I Dream of Wires to Add Additional Extended Interview

via I Dream of Wires on Facebook:

"It looks like we'll be producing and releasing one more free I Dream Of Wires: Extended Interview piece in 2014. If you could choose just one person, out of all of the people we interviewed in IDOW, who would you like to see featured in a full Extended Interview? [leave your pick on Facebook here]

If you're not familiar with our Extended Interview series, we've released 9 of them so far. See the list below, and check out our Vimeo channel to watch.

I Dream of Wires - Extended Interview Series:"

9. Chris Carter:

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Morton Subotnick & Steve Horelick @ Brooklyn Synth & Pedal Expo (October 21-22)

Details follow:

"The Brooklyn Synth & Pedal Expo, a free for all interactive display of synthesizers and pedals of all kinds, will return to Brooklyn on the weekend of October 21st and 22nd in a new, larger venue in Greenpoint.

Hosted in a 6k sq ft warehouse in the heart of one of Brooklyn’s most musical neighborhoods located between Williamsburg and Queens, this year's event is expected to be attended by around 2k visitors. Pictures from previous editions can be found here [you can find some video coverage in previous posts here].

Morton Subotnick and Steve Horelick VIP Guest Speakers
The organizers are excited to announce the involvement in this year's expo of two legendary NY synthesists who will be hosting talks and a performance on Sunday 22 in the 70-seat theater embedded in the venue

"Buchla Focus" on Sunday October 22
The two presentations will be part of a 3 hour block from 12pm to 3pm on Sunday 10/22 dedicated to Buchla, which will also feature a Music Easel product presentation and an industry panel featuring the company owner Eric Fox among others.

The full program of talks and workshops can be found here.

Morton Subotnick, one of the pioneers in the development of electronic music and multi-media performance, is best known for his 1967 composition Silver Apples of the Moon, the first electronic work commissioned by a record company, and for his creative output linked to Buchla synths. He will host a talk about synthesis on Sunday October 22 in the early afternoon (schedule to be released soon). He will be the event's keynote speaker.

Steve Horellick is a tireless educator and acclaimed soundtrack composer (he wrote the Butterfly in the Sky song from PBS's Reading Rainbow). He is also known for his immersive, textural surround performances. At the Brooklyn event, he will perform using a hybrid setup of synth and pedals in surround sound. Steve will be hosting a talk/performance involving several synths (including Buchla) and some guitar pedals.

Eurorack Classes and GSG.live workshops
The schedule of the presentations will be also integrated by two Eurorack classes hosted by Ben Atchouel of the New York Modular Society and two workshops about online performances curated by the team at GSG.live.

Confirmed Vendors
Visitors will find a varied mix of companies, over 70, with almost all the heavyweight synth and pedal brands and several boutique builders, and also a selection of Eurorack and many pedal builders. Full list below.

Please find attached the event's flier.

This is a free event, anybody can RSVP here.

LIST OF PARTICIPATING MANUFACTURERS:

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ReSynthesizer (Autonomous Synthesizer Installation at MIT's PSFC, Spring/Summer 2018)

video upload by ParadisoModular

"In December of 2017, as part of the 50’th anniversary celebration for MIT’s CAVS (Center for Advanced Visual Studies), I was invited to install my large, custom built-and-designed modular synthesizer system into the experimental hall where Alcator C-Mod was residing, MIT’s most recent tokamak reactor used in plasma fusion research. Known as being a pioneering melting pot for art and technology during the 60s, 70s and 80s, the CAVS was a place where scientific fields like physics would commune with performance and music. Modular synthesizers, as used there by early adopters like Paul Earls, were part of the Center’s original vernacular, and after many decades they are being enthusiastically re-discovered, re-embraced, and in many way re-invented by the current young generation of electronic musicians. Such reflected synergy into the present led to my invitation (as well as this installation’s name), as did the match between the aesthetic and technical grandeur of a large heavily-patched modular synthesizer and the huge mélange of custom, elegantly-kludged electro-mechanical systems that surrounded the tokamak. Similarly, the researchers’ quest to manage the chaotic nature of an energetic plasma (as expressed inside the tokamak’s torus during the peak of plasma confinement) resonated with my efforts to ‘sculpt’ my autonomous and likewise chaotic huge synthesizer patch into a definable aesthetic.

As I have my PhD in high-energy physics (having worked at CERN at various times between the late 70s and early 90s) in addition to having designed, built, and used electronic music systems of various sorts over the last 45 years, I was anticipating having access to actual Alcator data and using it in the patch that I would compose when the installation would go live in late March of 2018. My plasma physics colleagues resonated with this idea, and I was provided with several waveforms coming from various sensors on the tokamak acquired during its record-breaking run from a few years ago, when Alcator C-Mod had attained the largest recorded plasma pressure. Listening to this data as audio, I was immediately transfixed. This didn’t sound like bland digital noise, but instead felt alive – some strange kind of muted rattlesnake here, burbling life forms on a weird water planet there, perhaps other samples evoked the barely scrutable control room of an alien spaceship. These sounds, played at various rates and filtered into audible bands, were strongly otherworldly. This dictated the flavor that I’d strive for in my patched composition. Accordingly, I loaded banks of Alcator’s waveforms into an array of Eurorack samplers that I could control from processes running in my synthesizer. While most of these signals were used as direct audio, some were adopted for modulation envelopes and slow control – the tokamak cycle exhibited a variably noisy build-and-release structure as the magnetic fields were ramped up to concentrate the plasma before it went terminally unstable, which worked well here.

My patch evolved considerably during the installation, which ran from late April through late August of 2018. I worked on it weekly, and it achieved its ultimate balance between form and complexity by the beginning of July. At the end, I used every patch cord that I owned (on the order of 700) and nearly all modules in the synth, in addition to an assortment of outboard effects and commercial Eurorack modules that I coaxed to work with my system. Towards the end, when I was starting to run out of cords and hardware capacity, I resorted to kludging in simple wires and electrical components hanging in the air between modules to attain effects and sounds that I still wanted but didn’t have the modules available to make. This was the most extensive and ambitious synthesizer patch that I’ve yet composed – it pushed me to extremes of being simultaneously a composer, synthesizer musician, engineer, and scientist. Having designed, built or custom-modified nearly everything in my setup creates a special rapport for me that goes deeper than interaction with commercial synthesizer equipment – my system has its own unique capabilities and quirks that reflect my personal audio nuances and what I want to achieve with them.

At various stages during the 4-month run of this installation, I digitally recorded the patch’s stereo mix – in all, I have archived probably on the order of 60 hours of audio. The excerpts provided in this video all came from different sections of this long set of recordings. Aside from cross-fading between different excerpts, there was no manual intervention or overdubbing in these clips – the sound was made entirely from the patch running on its own after I set it on its way, with updates and augmentations I made every week or two based on ideas I got while listening to it stream online. The video also features a brief example of some of the raw plasma data sounds that I used."

And in the studio:

Synth Patch For Chaos Unit, Sitar Pedal, and NightSky'ed Keyboard (August 2021)

video upload by ParadisoModular

"In the summer of 2021, I put in a synth patch to test out my newly-arrived Sitar Pedal as well commemorate the tweaking/repair of my voltage-controlled chaos module. This was a very simple patch compared to my usual - nothing too deep or thought out, and the master sequence is a bit shallow - but it has its vibe. Plus, at 2:30 in, I added a keyboard line over what the patch was doing. This was all live - the synth patch ran autonomously and I just recorded as I played - no preparation, overdubbing, or refinement here - hence it's raw and not even close to what I'd term finished or a 'demo' - but I kinda like its intrinsic 'hopeful' feel.

The basic sequence is running through the sitar pedal, which locks on fine (it can separate the drone sounds and re-synthesized lead into separate channels). I'm running a fixed tone also through my chaos generator, which I move in a complex way into and out of stability - it locks onto subharmonics or devolves totally/partially into noise as it sweeps. This sound goes through several signal processing paths that periodically fade in, involving filters, unstable phase-locked loops, and a Boss guitar synthesizer pedal (which does wonderfully noisy gyrations as it tries to lock onto the chaos signal between stable moments).

At that time, as opposed to collecting Eurorack modules, I was slowly accumulating and modifying pedals - pedals are all about modifying an input sound in interesting ways, and which generally appeals to me (I hack them, of course, to accept voltage control in different ways).

The only keyboard sound here (aside from one chord and arpeggio at the end) is from the little cheezebox Casio 'toy' that the Minskys gave me at a Media Lab event some years ago - I abandoned my more sophisticated synths for this one in this piece, as it fits easily on your lap (that's how I played it in the excerpt here) and it sounds amazing if you feed it through one of the new complex reverb/echo/delay pedals like the NightSky or Micropitch (those pedals can put any sound into an evocative space).

The video is indeed of this patch and me playing atop it (shot while I was holding the phone in my other hand), but it's not the live segment that you hear in the piece, so pardon if things don't line up entirely, but you get the vibe.

OK - I figured I'd let this one get a bit of air in case it hits some resonance... It radiates a bit of melancholic positivity, which is something we all relate to these days."

New England Synth Fest - Bill T Miller Synthesizer Performance @ Museum of Science Boston - 08.11.22

video upload by Bill T Miller

"Bill T Miller Synthesizer Performance @ New England Synth Fest @ Museum of Science Boston - 08.11.22. This BTM stereophonic improv performance features a CLASSIC SYNTH array... Buchla Easel Command 208-C, Korg ARP 2600, Moog Mother-32, Make Noise O-Coast and 4MS STS Sampler & Toppobrillo MiniMix.

Video Produced/Directed/Edited by Bill T Miller
Cameras: BTM & Sheri Hausey & Beth Moguel

BILL T MILLER, a chameleon of sonic exploration, is a multi-instrumentalist musician, composer, recording engineer, producer, filmmaker, photographer, artist, instrument builder and cat lover. From toy piano at two years old to starting a "band" with tennis racket guitar and trash can drums in the 60s to becoming a professional recording engineer / producer / live sound tech after graduating from College for the Recording Arts in San Francisco in 1976, his paths are always unfolding and looping. At recording college he took synthesizer courses with ARP 2600 and Emu synths and then worked (as live sound and recording engineer) in California until 1980.

Eventually ending up in Boston working as a freelance recording engineer and live sound engineer and then starting his own Headroom Recording Studios. While much of his "professional career" was devoted to recording and photographing OTHER artists, he was always working on his own weirdo music bands in the shadows. Some of these adventures include Out of Band Experience (OBE), Kings Of Feedback, Drum Army, Kings Of Slack, Zonkulator, and Orgy Of Noise with over 25 full album releases on his own DIY labels as an artist.

BTM's quest has looped back around to a nostalgic look forward incorporating ALL of the past adventures while moving sideways in time in to an unknown future think void. Living in Boston for 37 years and giving every moment to this insatiable desire to CREATE and SHARE is focus of his true path.

SEE: http://btmtv.com (this youtube channel)
HEAR: http://billtmiller.bandcamp.com
MORE: http://billtmiller.com/

On the Second Thursday of every month of summer 2022, the Museum of Science teamed up with New England Synth Fest for an incredible fusion of live synthesizer performances that took over the Charles Hayden Planetarium. Experience some of the best synth musicians and visualizers from New England like never before in the immersive full dome environment of the Planetarium.

LOBBY MUSIC 7pm
BILL T MILLER = outer space trip out synths
20 minute set - PLEASE LISTEN CAREFULLY.

LOBBY SYNTHFEST VENDORS
ARP Foundation (Alan R. Pearman's daughter DINA will be there) & SynthCube & Stompbox Sonic & coolpix and MORE

7:30pm in the DOME three were 20 minute sets back to back for first show...

introduced by the host of MOS SUMMER THURSDAY SERIES... JAMES MONROE ! - Asha Tamirisa
- LIMBC with visuals by Solid State Entity - Bob Familiar with visuals by cskonopka

+ following 1st dome show were two 20 minute LOBBY sets...
- Vizzie / Oxalis (Ed Guild & Richard Tarantio)
- Build (Nick Solarz)

The three lobby sets are hosted by Richard Tarantio in conjunction with Modular On The Spot Boston. Richard provided LIVE SOUND for all three lobby sets and played in a duo for the middle set.

+ 9:30pm in the DOME there was a repeat of the hree 20 minute sets back to back for second show. (see above.)

Boston Museum of Science Polage Art by Austine Wood Comarow !!!!!

Mega Thanx to NEW ENGLAND SYNTH FEST HOST... KENT LUNDBERT !
Super Thanx to MOS SUMMER THURSDAY SERIES HOST... JAMES MONROE !

Ultra Thanx to BUCHLA GURU TODD BARTON for KRELL WISDOM & FLUTE APPEARANCE via morphagene sampler.

Super THANX to BETH MOGUEL for footage.
Eternal THANX as always to SHERI HAUSEY & Tippi Cat & Ziggy Cat & Mel the Cat !!!!"

SSM Chip Production to Return as SSI Chips under Sound Semiconductor

We have some huge news in. Most of you might be experiencing a slight state of adrenalin induced shock right about now; I admit, much like myself when I read the press release that follows further below. If you have been following synths over the years, and are familiar with CEM vs. SSM chips like me, you know how big this is. For those of you not familiar with SSM, to say they made chips responsible for the sonic character of some of the most revered classic vintage synths out there, would be an understatement. SSM and CEM were the two top manufacturers for chips used in many of the classic vintage synthesizers you have come to love. CEM stood for Curtis Electromusic Specialties and is now Curtis Electromusic, run by the family of the late Doug Curtis. SSM stood for Solid State Music under Solid State Micro Technology for Music founded by Dan Parks. Dan Parks is back, under the helm of Sound Semiconductor, and they will be reproducing new chips. For a full list of what chips were used in various vintage synths, see this Wikipedia article, but I'll just mention a few that used SSM: the Sequential Circuits Prophet-5 Rev 1 & 2 (which some say sound warmer than the CEM based Rev 3s), the Fairlight CMI II and IIx, the PPG Wave 2.2 and 2.3, the Octave Voyetra 8 and Cat SRM, the KORG Mono/Poly and Polysix, E-Mu's Drumulator, SP-12, SP-1200, Emulator 1 & II, and Emax, the Buchla 296 Programmable Spectral Processor, the Aeries System 300 modular, and more.

The following is the official press release from Sound Semiconductor:
[note the Dave Rossum mentioned below is, of course, Dave Rossum formally of e-Mu, and now of Rossum Electro-Music]

"NEW SEMICONDUCTOR VENTURE FOCUSES ON ELECTRONIC MUSIC AND AUDIO

First Product is Voltage Controlled Filter for Analog Synthesizers

April 20, 2017 - Sound Semiconductor today announced its formation and first product for analog synthesizers.

Headed by Dan Parks, CEO of 80's chipmaker SSM and former Audio Products Director at Analog Devices and National Semiconductor, Sound Semiconductor will focus on high performance IC's for electronic musical instruments and professional audio equipment. The development team includes previous SSM IC designers; all passionate about music and audio.

Sound's first product is the SSI2144 Four Pole Voltage Controlled Filter, an improved re-issue of the SSM2044 that many believe to be the best sounding synthesizer filter chip ever produced. Developed by original SSM2044 designer Dave Rossum - known for his many electronic music contributions - the SSI2144 utilizes modern process technology for high reliability and low cost. Improvements include lower noise and control feedthrough, better performance of the resonance control circuit, and pin connections optimized for PCB layout. Preservation of the SSM2044's coveted sonic characteristics - a key project requirement - were achieved.

The SSI2144 is now available in sample quantities to interested OEM's, with production quantities in stock by late Spring. The device is offered in a 16-lead Shrink Small Outline Package (SSOP).

Pricing of the SSI2144 is $1.60 at 1000-pieces. Sound Semiconductor intends serve the hobby and enthusiast community through resellers for small volume sales and evaluation boards.

'It's exciting to see the renaissance of analog synthesis,' stated Dan Parks, President of Sound Semiconductor. 'When the idea hit to develop new ICs for this market, it was gratifying to have so much interest from my former colleagues to get involved in this effort.'

A second product is in layout design, with first samples expected by Summer. More information on that product will be forthcoming at a later time.

Sound Semiconductor is composed of musicians and technologists with the goal of developing affordable, high-performance integrated circuits for the electronic music and professional audio markets. For more information, please visit www.soundsemiconductor.com."

Kurzweil PCEK8, PCLE Series, and SP4-7 Stage Piano

"PC3K8 Overview [via]
The PC3 introduced the world to a new generation of ground-breaking Kurzweil technology, having a synthesis architecture that remains unparalleled in depth and flexibility, combined with a staggering amount of effects processing power. The PC3 sound set, which encompasses everything from the traditional to the cutting edge, has been widely acknowledged as second to none.

And now the PC3's successor has arrived. The Kurzweil PC3K is the pinnacle of our PC3 line, bridging the gap between Kurzweil's past successes and present innovations.
An Old Friend

The PC3K, already loaded up with the many impressive features and sounds of the PC3, allows users to tap into the massive wealth of samples and programs developed for our legendary K Series over the past 18 years. Capable of loading .KRZ/25/26 sample files, WAVE and AIFF files, as well as most of the K Series programs and setups, the PC3K presents a whole new world of choices to players, and once again underscores our commitment to the concept of non-obsolescence by design. You can choose to delve into the extensive libraries of existing K Series samples or decide to fill the PC3K's flash memory with your own signature samples. In either case, you'll have the most powerful version of Kurzweil's V.A.S.T technology ever developed at your fingertips to help sculpt your sounds and attain a level of detail and expressiveness truly worthy of your music. Sample files can be loaded via USB from a thumb-drive or directly from a computer.
Esto Immortalis

~ "Let it be lasting, immortal" (Latin)

User samples that do not "go away" when a keyboard is powered off - this is a feature that's been requested by keyboardists since the introduction of digital sampling in the early '80s. Clearly demonstrating the virtue of enduring quality, the PC3K offers 128 megabytes of user sample memory and compatibility with K Series files, while also taking an enormous leap forward by allowing user samples to remain intact while power is off. Once samples are loaded into the PC3K's flash memory, there is zero load time for those samples when powering on the instrument.

Advanced program, keymap and sample editing features allow you to customize your sounds with surgical precision. You're able to map any sample to any key, tune individual samples, change the start, alt start, loop point and end point of samples and even assign a controller to adjust sample start point in real-time.
Light Years Ahead

Under the hood of the PC3X is simply the most powerful synthesis engine ever created by Kurzweil. Dynamic V.A.S.T. picks up where the K series left off. Having up to 32 layers per program means that emulations of real instruments can be extremely detailed and accurate, while the synthesized sounds can be extraordinarily large and complex.

Expanding upon our V.A.S.T. architecture, the PC3X's new architecture delivers more power and flexibility combined with unprecedented ease of use. Users can now create and store their own DSP algorithms, with nearly limitless possibilities for routing.

In another huge development, we've resurrected the VA-1 Virtual Analog Synthesizer, having built it's synthesis engine right into the new system. Hear the VA-1's power-shaped, anti-aliasing oscillators (including supersaw, triplesaw, and hard sync oscillators) combined with a newer, larger set of V.A.S.T. filters (like the classic-style 4pole low pass w/ resonance) and non-linear processors and you'll understand why the internet is buzzing about this feature.
It's The Sound

The PC3 Series's advanced synthesis architecture, along with its painstakingly-edited sample ROM, allowed us to create a sound set that is both broad and deep, with no compromises on sound quality. Referred to by some in the music industry as "the solid gold Swiss army knife", the PC3 line has become well known for having covered all the bases when it comes to presets. Whether it's the famous Kurzweil grand piano, the wide array of deadly-accurate vintage keys emulations, KB3 Mode, VA virtual analog sounds or the hundreds of world-class orchestral and string section programs, the PC3K provides over 900 presets that let you know that it does everything and does it well.
Plug And Play

Saving, loading and updating the OS are all made easy on the PC3K with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. Samples and OS updates can be loaded from a thumb-drive or directly from your computer, and of course the PC3K sends and receives MIDI over USB.
Finishing Touch

In a nod to the design of classic synths and keyboard instruments from years past, the PC3K, the top of our PC3 line, has been fitted with handsomely crafted wooden end-caps, adding an element of luxury and refinement that beautifully complements the awesome technology at the heart of every Kurzweil keyboard.

Suggested Retail Price: $4199
Available: Summer 2010"

""PC3LE6 Overview [via]
The Best Sounds, The Best Features, The Right Price
First Things First...

Fantastic sounds, reliable performance, musical expressiveness, ease of use; these are the things we believe are essential to the design of an affordable keyboard instrument. Kurzweil's new PC3LE6 combines the amazing sound quality and performance control features of our enormously successful PC3 with a new streamlined, intelligent user interface, providing an interactive experience that is bound to inspire creativity.
It's The Sound...

Under the hood, the PC3LE features the same groundbreaking chip technology that has made the PC3 the most talked about keyboard in recent years. All of the PC3's sounds are included - the famous Kurzweil grand piano, vintage electric pianos, Clavinets and Mellotrons, dazzling Orchestral and Strings collections, stunning VA virtual analog synths, KB3 organs, realistic basses, drums, guitars, percussion and horns, General MIDI, plus nearly 200 new programs developed specifically for the LE; over 1050 programs in all. We've improved the method for navigating through such a massive sound set; programs in the LE can be viewed and selected with a new set of Category buttons. Select "Leads" and you'll see a list of all the synth leads in the machine, grouped together. Same goes for the other 20 categories, everything from Synth Bass to Mallets to Guitars.

These programs take advantage of our V.A.S.T. synthesis engine, using pristine samples paired with detailed programming of literally hundreds of synth and effects parameters. Whether it's the rosin of a bowed string instrument, the resonant harmonics of a piano's damper pedal, or the thumps and squeaks of an electromechanical keyboard, we've done our homework and provided a level of detail and realism that can only be found in a Kurzweil. Which means you can focus on the important business of making music.

The PC3LE6 comes equipped with over 700 onboard effects chains from which to choose, all with real-time controllers already assigned to relevant parameters. With world class reverbs that decay into complete silence, warm, classic sounding phasers, flangers and choruses, and burning, saturated distortions, you'll have everything you need to make your music sound like a polished, finished product from the outset. The PC3LE6's architecture provides up to 10 insert effects, which can be distributed among 10 channels, with an available auxiliary effect as well.
Interactive...

In the PC3, we introduced the "INFO" feature, a soft button-press that allows the user to see which controllers have been assigned to parameters within a program. For the LE, we've taken this to the next level, with an interactive user interface that communicates directly with you whenever you move a real-time controller. Turn a knob, hit a button or move a wheel and the LE's screen will display the controller, its real-time value and the parameter being affected. An example would be moving the modwheel on an organ program - you would see the following: "Modwheel 79 Distortion Drive". This system never breaks down - you can change effect chains freely and all of this info remains intact, updated to reflect the new chain you've selected. Also, this info is transferred seamlessly to Setup Mode - you can see whatever controllers have been assigned to programs used in any zone of a setup.
Customizing Your Sound...

Prefer to spend your time playing over sound-programming? Think of the LE as the preset-player version of the original PC3. All the sound, no deep programming necessary.

At the same time, we wanted to give users the quickest, simplest possible way to adjust the PC3LE's sounds to suit individual tastes and needs. In any given program or effects chain, select relevant parameters have been pre-assigned real-time controllers for easy access. Move a controller and hit the SAVE button - no menus, no pages with endless parameters - and you get one touch sound customization.

Also, we understand that flexibility is important when it comes to customizing your sound. Don't want filter frequency control on a knob? Prefer to have it assigned to the modwheel? No problem. The PARAMETERS page allows you to re-assign any controller to any available* parameter. You can save your custom sounds to the user bank, with over 1000 ID slots.

*available parameters are predetermined and vary per program
A Different Drummer...

With the PC3LE6, we're introducing a new set of dynamic physical controllers - 8 backlit, velocity-sensitive drum pads that can be used to trigger sounds, sequences, chords and arpeggiations. Every program in the machine has a drum kit assigned to the pads, so you'll always have access to a rhythm track when you need it. As a bonus, we've included a set of over 100 new drum programs, with acoustic brush kits, slammin' rock kits and a number of heavily effected techno/electronic kits, in addition to the 24 existing kits from the PC3. Just as we put a great deal of effort into making sure that our keyboard action feels just right, the drum pads were implemented with precision and care, with utmost attention given to how they feel when played. After all, this is a musical instrument and not just a piece of technology.
Everything Else You'd Expect...

Complimenting the LE's new features are a few old familiar Kurzweil favorites; Setup Mode, Quick Access Mode and Song Mode, all taken directly from the PC3.

Setup Mode enables the LE to act as a powerful MIDI controller as well as providing 16 simultaneous, independent, fully programmable arpeggiators, with factory and user-programmable patterns. On top of that, each setup can have up to 16 simultaneous Riffs - sequences that can be triggered by buttons, drum pads or notes on the keyboard. While Setup Mode, with up to 16 zones each with its own program, is still as powerful as ever, we've added a Split/Layer button to make the creation of simple setups quick and easy.

Quick Access Mode allows you to create custom banks of 10 sounds that can be accessed by a single button-press. And Song Mode delivers a full-featured 16 track sequencer with all of the powerful editing features that you'd find in a high end workstation - event editing, swing, controller scaling, input quantize, input filter, and chasing controls. User memory provides over 1000 ID slots each for your own QA banks, Setups and Songs.
Connectivity...

Saving, loading and updating the OS are all made easy on the LE with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. OS updates can be loaded from a thumb-drive or directly from your computer, and of course the LE sends and receives MIDI over USB. Standard MIDI jacks are also included for In, Out and Thru. For audio, the PC3LE6 features high-quality, hum-canceling, stereo balanced analog outputs, with 24-bit DACs as well as a 24-bit stereo S/PDIF digital output at 48K.

Suggested Retail Price: $1695

All specifications subject to change without notice."

""SP4-7 Overview [via]
Kurzweil's SP4-7 is the modern successor to our best selling SP76, which famously combined world-class Kurzweil sound quality with previously unheard of affordability and portability. The updated SP4-7 makes available to more players than ever the same sound set featured in our hugely successful PC3 line of professional keyboards, in an instrument that is slim, lightweight and extremely easy to use.
Good Things Come In Small Packages

Here at Kurzweil, we realize that many musicians have the need for a keyboard instrument that is both compact and lightweight. The SP4-7's enclosure is slender, elegant and easy to lift; once set up it leaves the smallest possible footprint, which means that you, not your keyboard, will be in the spotlight.
Up And Running In Record Time

With a user interface that's intelligently designed to make things as easy for you as possible, the SP4-7 provides the features that are most important, right where you'd want them. Create splits and layers with the touch of a button; select presets and setups from easy to access category and program buttons; quickly adjust effects parameters; everything is laid out so that you can be up and running and making music right out of the box.
No Compromises

While the SP4-7 is the most affordable keyboard that we currently offer, no compromises were made, no corners were cut, when it comes to its sounds. Featuring 128 hand-picked programs taken directly from our acclaimed PC3 line, the SP4-7 delivers the best of the best in every category of sound, with our famous Triple Strike Grand Piano, classic electric pianos and lush strings and orchestral instruments, along with top notch basses, guitars, winds, brass, percussion and drums. Its 16-part multitimbral architecture makes the SP4-7 a powerful tool for writing and recording music in conjunction with an external sequencer or Desktop Audio Workstation.
Icing On The Cake

In addition to utilizing programs from the PC3, the SP4-7 also features dozens of the PC3's professional quality effect chains. Everything from flawless concert hall reverbs and crisp delays to powerful distortion and amp simulation effects add another layer of depth and realism that can only be found in a Kurzweil. The most relevant effects parameters have been mapped to the SP's Timbre knob, so you can customize your sound without having to dive into menus or manuals.

Suggested Retail Price: $1349
Available: Summer 2010

All specifications subject to change without notice."


http://www.kurzweilmusicsystems.com/Product.php?id=207

Starter - Lunapark/Minijupe

Published on Feb 11, 2008 de1998

Pure, vintage, gold, synth spotting in via @bengoldacre: "MS20, VC10 and more, in their natural habitat"
There are two sets in the video. See what else you can spot, and do not miss the transition.

"Taken from Starter's CDR/DVDR 'Start', the original Songs can be found there oron their 1981 LP 'Starter'"

Found them on BandCamp (they are also on Spotify and iTunes):

"STARTER was a minimal electronic/synthpop group from Switzerland, formed in 1980 by vocalist and fashion designer Francis Foss, Claudine Chirac (from fellow Swiss Wave group Grauzone) and Jet Harbour. Originally the band also included Stephan Eicher who co-wrote two songs but departed before the band recorded their debut album. STARTER began in the city of Bern when Francis, Claudine and Jet decided to create their own brand of New Wave music inspired by Gary Numan and Kraftwerk.They released their debut, self-titled album STARTER in the summer of 1981, making this summer the 30th anniversary of this long out-of-print and extremely hard to find LP!

Using early analog Roland and Korg synthesizers, STARTER’S music seamlessly merges wistful electronics from Germany’s Neue Deutsche Welle movement and powerful vocal stylings from French Chanson. Alongside their Swiss Wave contemporaries like Grauzone, Yello, Liliputt/Kleenex, STARTER created a new brand of hallucinatory ‘Techno-Pop’ made up of chopped rhythms, energetic and almost epileptic vocals that are immediately catchy and hypnotic, perfect for the dance-floor. In 1985 STARTER reformed as a duo with Francis Foss on vocals again and Gary Grey on synth/rhythm programming. Their first single “Victim” took cues from Italo Disco and Bobby Orlando’s Hi-NRG dance sounds and is the bonus track on Side B of this LP. The song “Part of You” was chosen as the lead track on the Gomma compilation CD Teutonik Disaster 2 in 2003 recruiting new fans worldwide and ushering Francis Foss to release a homemade CD-R/DVD compilation of the entire STARTER discography in 2004.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley in 2011. Each LP includes a lyrics sheet with unreleased photos and a STARTER badge/button.

Includes unlimited streaming of Starter via the free Bandcamp app, plus high-quality download in MP3, FLAC and more."

Update: Some solo tracks from Claudine Chirac added below. She played sax as well as synths.


Claudine Chirac - Nautilus (1981) Published on May 5, 2011 sineadoconnickjr

CLICK FOR MORE »

My Favorite Retro Synth - The ConBrio ADS 200

"THE ADS (Advanced Digital Synthesizer) 100 was a high end (there was no given price when the 100 system was introduced) analogue synthesiser, probably most well known for providing the sound effects for 'Star Trek' TV series. The first model 100 system was a dual manual splittable keyboard (microtonally tuneable) ,a video display for envelopes, 'control cube' disk drive with computer hardware, and a multi-coloured buttoned front panel for 64-oscillator additive synthesis and real-time sequencing."

Title link takes you to more on the ADS 200 on Synthmuseum.com. Both the ADS 100 and ADS 200 were digital. Only two of the ADS 200 were ever made and one sold for $30,000.

Update: I remember hearing how the ConBrio ADS 200 would look home on the original Star Trek series. Well, according to 120 Years, it's bigger predecessor, the 1978 ADS 100 was actually used in Star Trek the TV series.

Update: I should change the tagline of this blog to "The Snopes of the synth world, debunking Urban Synth Legend." See the comments for much more. The ADS 100 was not around when Star Trek the TV series was aired. I'm going to shoot 120 years an email on this to see if they know something we don't. Thanks all.

Update: Looks like Retro Synth found the answer to our little mystery. The ADS 100 was used in Star Trek, The Motion Picture. Now that sounds more familiar to me, but who knows, it's all a blur. Too many synths, too little time... : ) As for my favorite digital synth, why it would also be the Wave... But, it would be the Crimson Wave with matte finish. The ConBrio is my favorite Retro Synth, focus on Retro. I had a TV that looked just like it when I was a kid. Warm memories... : ) image via wikipedia.

The Crimson Waldorf Wave

Update on the original Star Trek via the comments: ""Star Trek burst upon T.V. screens in the summer of 1966. The guiding genius behind this massive effort was Gene Roddenberry. Roddenberry recruited a hand-picked technical crew to create the incredible series which became a legen in its own time. The challenge of finding and creating the multitude of sound effects was of particular interest since no television series of this magnitude had ever been attempted before. Virtually all the sound effects were created exclusively for the television series, i.e.: the pneumatic doors of the Enterprise were actually the sound of an airgun played in reverse. Spock's viewing machine was in reality the thump of a torpedo firing pin played backwards.

The final result is a unique library of brilliantly futuristic sound effects that were created principally by Jack Finlay, Douglas Grindstaff and Joseph Sorokin. Grindstaff is one of Hollywood's finest sound editors and the recipient of many awards and is currently the department head of Lorimar Post-Production. Sorokin also works at Lorimar and is the sound editor of "Knots Landing." Jack is now retired.

Just imagine what they could have created for Star Trek if they had access to today's high-tech electronic equipment!""

Yamaha Introduces New Montage M - Next Gen Flagship Synthesizer - Overview & Sound Demos

video upload by Yamaha Synths Official

Curious if Yamaha will ever re-introduce their Formant & fseqs synth engine found on the FS1R. The FS1R was crippled by the UI.

Yamaha | Montage M Sound Demo
video upload by Yamaha Synths Official

"Enjoy this sound demo video showcasing sounds available in the new Yamaha MONTAGE M Series Synthesizers.

0:00 - 0:36 : AN-X Syn Orch Pat - AN-X Poly Synth with Polyphonic Aftertouch
0:37 - 1:00 : Hamburg Grand - AWM 2 Concert Grand Piano
1:01 - 1:19 : Sweet Synths - AN-X Poly Synth
1:20 - 1:48 : RD 67 Smooth - AWM2 1967 Tines E. Piano
1:49 - 2:10 : Classic Mini Sawlead - AN-X Mono Lead
2:11 - 2:35 C7 + Analog String Ensemb - AWM2 Yamaha C7 Grand Piano + AN-X String Ensemble
2:36 - 2:55 : Poly Dreams - AN-X Poly Synth
2:56 - 3:10 : SFZ Tremolo BPM Sync - AWM2 Tremolo Strings
3:11 - 3:49 : Distant Memories - AN-X Poly Synth
3:50 - 4:11 : Drawbar Organ - AWM2 Organ with YC Series VCM Rotary Speaker effect
4:12 - 4:29 : FM Piano + Soft Pad - FM-X E.Piano + Soft Pad
4:30 - 4:45 : Synthpop Forever - AN-X Poly Synth
4:46 - 5:05 : U1 Upright - AWM2 Yamaha U1 Upright Piano
5:06 - 5:31 : Dum Drum Bass - FM-X + AWM2 Poly Synth

Yamaha presents our next-generation flagship Synthesizer: MONTAGE M. Featuring three engines that create a variety of sounds – ultra-realistic instruments, vintage analog synths, and cutting-edge FM synths. For keyboardists, synthesists, and pianists, MONTAGE M seamlessly bridges stage and studio, unlocking new possibilities for sound, control and workflow."

NEW AN-X ENGINE

A revolution in authentic analog sound, control and behavior, the AN-X engine recreates the warm, classic sound of an analog synthesizer with a host of sophisticated modulation options.

･Three Oscillators with 5 waveforms (Saw 1, Saw2, Triangle, Square and Sine) and Noise Generator

･Two filters with 10 filter types

･Pulse width modulation

･Oscillator Self Sync

･Ring modulation, FM, and wave shaper

･Amp EG with drive

･LFO for both amplitude and filter,

･Voltage drift and aging settings to simulate vintage synth behavior

Integrated into the Motion Control system, the AN-X Engine allows you to create expressive, unique analog sounds to your heart’s content.

Improved AWM2
Experience realism and detail with MONTAGE M’s improved AWM2. Offering an incredible 128 Elements per part, AWM2 allows for smoother transitions, giving you an expansive canvas for ultra-high-definition sound creation, especially for “nameable” sounds such as piano and strings.

400 NOTE TOTAL POLYPHONY
A significant upgrade from the original MONTAGE’s 256 notes, MONTAGE M offers up to 400 notes of polyphony across its three engines:

･128 notes for AWM2 Preset Waveform Parts

･128 notes for AWM2 User Waveform Parts

･128 notes for FM-X Parts

･16 notes for AN-X Parts

And more about sound
AND MORE
[PRESET WAVE AND FLASH MEMORY UPGRADE] MONTAGE M offers twice the memory over its predecessor with an increase from 5.67GB to 9.97GB of Preset Wave memory, and an increase from 1.75 to 3.8GB of User flash memory. Plus, you’ll find a host of new sounds and instruments, including pianos, orchestral instruments, drums, and more!

[FM-X] MONTAGE M rekindles the Yamaha legacy of expressive and dynamic FM Synthesis with its 8-operator FM-X engine, offering a wide variety of diverse tones: from crisp and bell-like, to edgy and aggressive, to mellow and evolving. This is an excellent complement to the AWM2 and AN-X engines.

[VCM ROTARY AND DRAWBAR BEHAVIOR] Using sophisticated modeling technology, the VCM Rotary Speaker effect simulates the rich and enveloping motion of a classic rotary speaker cabinet. Plus, the new organ drawbar fader setting simulates the vintage “pull out” drawbar organ behavior.

[16 LIBRARY LOCATIONS] With 16 Library slots at your disposal, you can house up to 10,240 additional Performances (that’s in addition to the over 2,700 performances in the presets), facilitating quick searches by Category, Name and Attributes.

[PURE ANALOG CIRCUIT 2] The upgraded Pure Analog Circuit included in MONTAGE M reduces noise and improves the dynamic range, crosstalk, low-frequency phase, and distortion rate, resulting in clearer sound at all volumes. You’ll also find the sound has more detailed low-mids and presence.

GEX ACTION WITH POLYPHONIC AFTERTOUCH (MONTAGE M8x ONLY)
Available exclusively on MONTAGE M8x, GEX Action elevates your performance and sound creation with Polyphonic Aftertouch – a revered synth control found in the legendary CS-80 and DX1. Polyphonic Aftertouch allows you to individual modulate held notes with pressure. GEX also provides key repetition behavior typically found in grand pianos.

NEW PERFORMANCE CONTROLS
MONTAGE M introduces new performance controls: a 5-segment ribbon controller with dedicated HOLD button, a new KEYBOARD HOLD button for sustaining chords while using knobs to edit, and a Portamento on/off button and dedicated Portamento time knob.

DEDICATED KEYBOARD, PART AND SCENE CONTROL
You’ll find dedicated Keyboard, Part and Scene Control buttons to control 16 Parts per Performance. This intuitive control, particularly beneficial for live performances, improves overall usability and adds dimension to each Performance.

AND MORE
[HIGH-RESOLUTION CONTROL] All the Performance Controls – from the Keyboard and Faders to the Super Knob and Sustain, as well as the Sound Engine, are now in High Resolution. Because of the fine resolution, you’ll find the MONTAGE M behaves in a smoother and more “analog” way.

[MOTION CONTROL SYNTHESIS ENGINE]This groundbreaking engine allows you to interact with sounds in a variety of ways, including Motion Sequences, which dynamically automate synth and effect parameters, and can even be synchronized to tempo; the Super Knob, which controls dozens of modulations in a single gesture; the Envelope Follower, which modulates sound from the A/D input or another Part; and many, many more ways!

[NEW AND IMPROVED LED LIGHTS AND COLORS] Enhanced LED lights and colors on MONTAGE M faders, Performance, Live Set and Category Search offer visible, instant feedback, vastly improving the user interface.

WORKFLOW
Expanded Creativity

EXPANDED SOFTSYNTH PLUGIN (E.S.P.) (COMING EARLY 2024)
A game-changer for musicians, the Expanded Softsynth Plugin (E.S.P.) replicates the MONTAGE M in your favorite Digital Workstation (DAW). Free for all registered MONTAGE M owners, E.S.P. allows you to create, edit and mix MONTAGE M Performances anywhere you happen to be – without the hardware – offering an unprecedented level of stage and studio integration. We are planning on releasing E.S.P. in Early 2024. The first version will have all the MONTAGE M sound while being limited to basic editing. The full version will be available in Summer 2024.

FASTER, MORE INTUITIVE NAVIGATION
Upgraded navigation enables quick, intuitive sound editing and operation. You’ll find features like a new 512 x 64 LCD screen, 6 touchscreen display knobs, and a PAGE JUMP button that moves what’s in the LCD screen over to the larger 7” TFT Color touchscreen for deeper editing. And the dedicated Navigation button shows an overview of a Performance. Just touch a graphical object in the screen to jump to that parameter for deeper editing. The dedicated Navigation button allows you go directly from the “surface” of a sound to the deepest part.

USB MIDI AND MULTICHANNEL AUDIO INTERFACE
Simplifying your studio setup, MONTAGE M offers a USB MIDI and multichannel 32 output/6 input audio interface. Streamline MIDI recording, virtual instrument monitoring, and multi-track audio recording through a single USB cable, so you can spend more time being creative.

AND MORE
[FASTER UI] MONTAGE M’s UI is significantly speedier than the previous generation. Plus, the overall look is cleaner and easier to see.

[CATEGORY SEARCH] Search for Performances by Category (Piano, Keyboard, etc.), Sub Category (Acoustic, Vintage, etc.),Name, and Attributes (AWM2, FM-X, AN-X, etc.).

[TWO USB-TO-DEVICE PORTS] Allows simultaneous connection of a flash drive (or drives!) and USB MIDI controllers.

[DEDICATED DAW REMOTE BUTTON] Use your MONTAGE M as a hardware controller for DAWs such as Cubase, Logic, ProTools and Live. Control the mixer, transport, softsynth plugins and more.

[NEW SHIFT BUTTONS] Two new Shift buttons make it effortless to access secondary functions, increasing overall functionality.

[COLOR-CODED BUTTONS and SLIDER LAMPS] Backlit LIVE SET and CATEGORY buttons are colored differently and clearly show mode function. New slider lamps show red LED value increments, while active Parts are illuminated in blue.

Click the pics to zoom in.

CLICK FOR MORE »

[diy] LIL' MONO SYNTH meets a (weird) sequencer...

video by planeteatrr

"Just some sounds from my new analog diy synthesizer. It is a odd but lovely little device. Maybe the most interesting thing about it is the fact that I will make the gerber files and all other necessary documents available so people can build one of those little weirdos themselves...

Sorry for the annoying sequence of notes. I will make a better video soon :)

I made that midi sequencer patch in Pure Data and used the Arturia Microfreak as a midi2cv interface...

More information here: https://www.muffwiggler.com/forum/vie...​"

"Since a year or so I fantasize about developing a series of small analog synthesizers, that will fit in guitar pedal or other types of enclosures, with frontpanels made of FR-4 pcb material. The synthesizer I am about to describe is basically the archetype and prototype for the more advanced synths. The next one will be based around Electric Druids VCDCO and TAPLFO chips and another one will include the famous CEM3340 vco ic paired up with a vcf that is a weird mixture between a Wasp vcf and an Oberheim Sem vcf.

But let's have a look on the first one of these synths. The main goal for me was that it can fit into a small aluminium die cast enclosure, without the need to use smt componentes or small 1/8 watt resistors. This meant I needed to have a low parts count. The result is that I used the most basic circuits for each individual function and merge them together into one circuit. I really did not expect much from it, but I am actually very suprised that the output of this progress is much more versatile and interesting (but with a nice and big "oddness-factor") than I thought.

CLICK FOR MORE »

Expressive E & Haken Audio's Osmose Arrives

Published on Nov 20, 2019 Expressive E

The new controller with EaganMatrix sound engine from Haken Audio and Expressive E first announced here has arrived.

"Osmose embeds Haken Audio’s unique EaganMatrix sound engine: From virtual analog to FM synthesis, physical modeling and everything in between, never has a synth engine provided so much potential for expressive control. Explore an infinite landscape of incredible acoustic and electronic sounds.

Unlock the true potential of your favourite hardware and software synthesizers when you combine them with the amazing expressive capacity of Osmose. Even if your synthesizer does not respond to polyphonic aftertouch or MPE, Osmose can still control it.

Piano Mode
Osmose is perfectly playable as a classic keyboard controller, sending simple velocity messages.

Poly Aftertouch and Global Pitch Bend
Control your synth with Osmose’s Initial Pressure dimension and with polyphonic aftertouch. Every key can also control the global pitch bend of your synth.

Multichannel, MPE, MPE+
Osmose is fully compatible with the major MIDI protocol addition for polyphonic expression. Use MPE+ for the most advanced and accurate response.

Standalone Configuration
Your MIDI configuration can be set up directly from the in-built screen, without the need to connect to a computer."

Playlist:

Discover Osmose
Discover Osmose I Artist play session
Expressive E - Discovering Osmose with J3PO (prototype unit)
Expressive E - Discovering Osmose with Virtual Riot (prototype unit)
Expressive E - Discovering Osmose with Jordan Rudess (prototype unit)
Using Osmose as MIDI controller
Osmose gestures video (played with a prototype)

"Osmose is one of the most expressive synthesizers ever created. It is a complete stand-alone polyphonic synthesizer featuring our patented A.K.A. © mechanism, where the keybed responds polyphonically to pressure, aftertouch and note bend. It features a deep modular sound design engine, containing hundreds of incredible sounds ready to explore right out of the box, and can also be used as an advanced controller for hardware and software synthesizers..."

CLICK FOR MORE »

SUMMER OF SYNTHS SEQUENTIAL PRO 3

video upload by SUMMER OF SYNTHS

Pioneer DJ Debuts TORAIZ SP-16 Sampler/Sequencer with Dave Smith Filters

Pioneer DJ TORAIZ SP-16 Official Introduction

Published on Apr 5, 2016 Pioneer DJ

Dave Smith : The Interview

We now know what this was. The following is the official press release followed by key features. Be sure to click on the images to the left for the full size shots.

"New DJ Live-Performance Instrument Features Filters Adapted from Prophet-6 Synth

San Francisco, CA—April 5, 2016—Dave Smith Instruments today announced that it has collaborated with Pioneer DJ, the market leader in DJ equipment and software, to provide analog filters for the company’s TORAIZ SP-16 sampler/sequencer. Boasting a 16-step sequencer, 16-voice polyphony, and 2GB of pre-loaded samples and loops, the new instrument allows DJs to trigger loops, one-shots, and electronic percussion live with its 16 multi-colored performance pads and other real-time controls.

Said Dave Smith: 'When Pioneer DJ approached us about collaborating on one of their products, we were very excited. Given their expertise and deep knowledge of the DJ market, we knew that it was bound to be interesting.' Added Smith: 'And when they asked us to adapt our filters from the Prophet-6, we immediately saw that it was going to be a great fit.'

The TORAIZ SP-16 features two discrete voltage-controlled filters developed by Dave Smith Instruments: a four-pole, resonant, low-pass inspired by the original 1970’s-era Sequential Circuits Prophet-5 filter, and a two-pole high-pass filter. 'The Prophet filters add real analog warmth to the TORAIZ SP-16. They also allow a lot of creative sound manipulation when you use the live-performance controls of the instrument,' explained Smith. 'DJs will put them to good use, I’m sure.'

The TORAIZ SP-16 features a 7-inch color touch screen for accessing its factory sound library and viewing sound and performance parameters. The 16-step sequencer can store up to 256 patterns. Sixteen sequence step buttons allow color coding of sounds. Patterns can be saved as “scenes” for instant recall in the studio or on stage. When the instrument is connected to a Pioneer DJ CDJ or XDJ DJ Deck using Pioneer DJ’s Pro DJ Link, the system synchronizes its loops and one-shots to the beat of a master deck. (Users will need to update the TORAIZ SP-16 to the latest firmware to use this feature.) MIDI clock support allows users to connect and synchronize other devices.

The TORAIZ SP-16 is manufactured and sold by Pioneer DJ Corporation. It will be available in summer of 2016. Price and specifications subject to change.

About Dave Smith Instruments LLC
Launched in 2002, Dave Smith Instruments LLC is helmed by legendary musical instrument designer and Grammy® award winner Dave Smith. Dave’s many accomplishments include the creation of the Prophet-5—the world’s first fully programmable polyphonic synthesizer—and his legacy as the primary driving force behind MIDI (Musical Instrument Digital Interface). Dave Smith Instruments’ products are used by an ever-growing roster of well-known musicians and are available from music retailers worldwide. Instruments include the Prophet-6, Pro 2, Prophet 12, Prophet ‘08, Mopho x4, and the Tempest analog drum machine. Dave Smith Instruments is based in San Francisco, where the instruments are also manufactured. For more information, visit www.davesmithinstruments.com.

About Pioneer DJ
Pioneer DJ Corporation is a privately held company headquartered in Yokohama, Japan. Pioneer DJ Europe Ltd. and Pioneer DJ Americas, Inc. are subsidiaries responsible for sales and marketing in EMEA, the United States, Canada, and Latin America. For more than 20 years, Pioneer DJ has been a market leader in the design and production of innovative DJ equipment and software. The company works closely with DJs and clubs to deliver next generation products that inspire and shape the global dance music community. Its portfolio includes brands such as Pioneer Professional Audio and Pioneer DJ Radio as well as social platforms KUVO and DJsounds."

KEY FEATURES

1. Create up to 256 patterns using the 16-step sequencer

Drop sounds into the sequencer to create your own 16-step loops and use the six dials to modulate the sounds. The multicoloured buttons reflect the colours you’ve assigned each sound: for example, kick drums in red. You can save your patterns then play them back instantly in the booth or on stage.

2. 7-inch full-colour touch screen with detailed sample information

The large touch screen puts all the information you need in your line of sight. Quickly browse and load samples, and allocate colours to them for a visual guide. Or see real-time waveforms and full details of the sample’s characteristics, and use the dials underneath to manipulate a variety of parameters.

3. Multicoloured Performance Pads with Velocity Mode

The Performance Pads are taken from our DJ controllers to give you a truly tactile experience. Load up to 16 samples to the pads, then finger drum freely to layer sounds on-the-fly. The lights reflect the colours you’ve assigned to each sound, while Velocity Mode lets you control the volume of the sample with how hard you hit the pad.

4. 8GB of flash memory and real-time processing for non-stop music production

The TORAIZ SP-16 delivers 16-voice polyphony so you can play all 16 samples at once – even when you’re using time stretch or editing the sound using the touch screen amp envelope. The 8GB of flash memory means you’ve got plenty of space – and you can use it as a stand-alone unit, with no need for a laptop.

5. Analogue filters from Dave Smith Instruments' Prophet-6 synthesiser

We've collaborated with Dave Smith to add the analogue filters from his iconic Prophet-6 synthesiser to the TORAIZ SP-16. Use the dials to sculpt your sound – manipulating Drive, Cut Off and Resonance – and add true analogue warmth and presence.

6. Pro DJ Link and MIDI clock mean you’ll never miss a beat

Add the TORAIZ SP-16 to your CDJ or XDJ set-up using Pro DJ Link and the sampler will snap your one-shots and loops to the beat of the master deck. So you can layer multiple sounds over your tracks and they’ll always be in sync. It also has a MIDI clock so you can connect other devices via USB and stay in sync, and we’ll be adding connectivity with DAWs and synths at a later date.

7. Other features:

Use the touch strip to control various parameters

Comes with Loopmasters samples already on board

Input ports Phone x 2
Output ports Phone x 8, Headphones
Other ports USB, LAN, MIDI
Max external dimension 436.5 x 261.2 x 74.3 mm (W x D x H)
Weight 3.2 kg

[diy] LIL' MONO SYNTH - A proper introduction

video upload by planeteatrr

"You can find more information on this little oddball over here: https://modwiggler.com/forum/viewtopi...

All the files for having the circuitboard and the frontpanel produced will be made available soon. If you can solder you can easily build this on one sunday. Complete production costs for one unit are around 70€/$ or less. I will add a link to the production files in some weeks.

Cheers
Sebastian"

Additional details:

"Since a year or so I fantasize about developing a series of small analog synthesizers, that will fit in guitar pedal or other types of enclosures, with frontpanels made of FR-4 pcb material. The synthesizer I am about to describe is basically the archetype and prototype for the more advanced synths. The next one will be based around Electric Druids VCDCO and TAPLFO chips and another one will include the famous CEM3340 vco ic paired up with a vcf that is a weird mixture between a Wasp vcf and an Oberheim Sem vcf.

But let's have a look on the first one of these synths. The main goal for me was that it can fit into a small aluminium die cast enclosure, without the need to use smt componentes or small 1/8 watt resistors. This meant I needed to have a low parts count. The result is that I used the most basic circuits for each individual function and merge them together into one circuit. I really did not expect much from it, but I am actually very suprised that the output of this progress is much more versatile and interesting (but with a nice and big "oddness-factor") than I thought.

Though I took my HEF4046 (The IC needs to be a Philips/NXP or Motorola, TI ICs will track very poorly, those HEF/MC ICs are obsolete as through hole parts but they are available in hugh quantities at e.g. ebay) vco design and built all the other stuff around it. I decided to take the most simple vca design I know which is the infamous single diode "vca", that is often used in lunetta-type synths. I was suprised that it is actually working with sawtooth waves aswell. It gets a bit weird and distorted when the envelopes fade in or fade out, but I really like the sound of it. Since my vco design has a sawtooth output that is one octave higher than the squarewave output, the squarewave output can be used as suboscillator. Both waveforms are mixed together and send in to the vca, which comes before the vcf. The vcf should actually have been a twin-t notch filter, but I left out the highpass part and it became a (sort of bridged T) low pass filter, which has quite some similarity to tim escobedos q&d vcf. This thing sounds dirty but when you use the right values for the components it can be tamed and can sound quite creamy at high resonant settings. For the envelope generator I actually planned to use a 555 timer ic, but that would have had to many components. Though I decided to build the most simple envelope generator that just contains a comparator at the input and a buffer at the output. It's not perfect, but it works just fine. There is no modulation for the vcf beside the envelope modulation, but this alone sounds quite nice (there will be a jack for cv).

There are some downsides to this simple circuit:
* The "vca" is not a real vca and distorts the signal (which I actually like)
* The "vca" has a little bit of signal bleedthrough, which is completly gone when using the env mod
* The vco is not very precise, but works solid over 2 to 3 octaves or even 4 octaves (you need to live with some tuning error, somehow it depends alot on the used cv-interface, actually the cv inputs needs to be buffered :roll:)
* The envelope generator is not that good but if you are aware of its sweetspots it can do a good enough job
* There is an overall oddness to some controls, but it works much better than I expected
* It has no midi connection (only cv inputs)

The pros are:
* The gerber files will be available for free
* It will be very small for a fully functioning, east coast style analog synth. It is literally half the size of a korg volca device
* It has a suboscillator
* The output is actually quite powerful and it "sounds big"
* It sounds unique and quite versatile
* It can be hooked to other (semi)-modular devices.
* You can play it polyphonic when using several of those synths and a multichannel midi2cv interface
* Built cost will be under 50€($)
* I developed the synth in 5 evening sessions or so ;)

There are some issues in the initial schematics, but I will update them soon...

Gerber files will be uploaded in spring/summer and I will most likely sell some pcbs and frontpanels."