"Synclavier Digital re-engineers original knob from Synclavier® II as standalone Synclavier KNOB for iconic instrument iOS apps
NOVA SCOTIA, CANADA: Synclavier Digital is proud to announce availability of the standalone Synclavier KNOB — a re- engineered re-creation of the original knob central to the seminal Synclavier® II Digital Synthesizer’s speedy control surface, specially commissioned by co-inventor Cameron Jones as a USB device designed to perfectly compliment the newly- created Canadian corporation’s creation of a next-generation Synclavier, recently released as awe-inspiring Synclavier Go! and Synclavier Pocket! iOS apps fit for today’s owners of Apple’s inescapable iPad and iPhone/iPod Touch platforms, putting all the famed FM (Frequency Modulation) and Additive (harmonic) synthesis capabilities of the iconic instrument as well as its intuitive panels of easy-to-touch red backlit buttons in anyone’s hands (and pockets) at an affordable fraction of the trailblazing original’s prohibitive pricing — as of April 24…
"Synclavier Digital releases regenerated Synclavier® II trailblazer as timeless Regen desktop synthesizer bolstered by present-day DSP developments
NOVA SCOTIA, CANADA: soft-launched late last year to widespread critical acclaim at the Synthplex® synthesizer expo and electronic music festival hosted at the Marriott Convention Center in Burbank, CA, USA with pre-orders opening for fulfilment in 2023, timeless synthesis product manufacturer Synclavier Digital is proud to announce wider availability of Regen — released as a desktop synthesizer that is, in short, a real regeneration of New England Digital’s seminal Synclavier® II digital synthesizer that took the pro audio industry by storm when introduced in its initial incarnation in 1980 (evolving beyond that to blaze more technological trails with polyphonic sampling and, ultimately, DAW — Digital Audio Workstation — capabilities well before that term was invented, even), extended and enhanced to take advantage of the increased computing power available today to make it as compelling in a modern setting as the prohibitively pricey original did during its time (finding favour with top-tier film composers, record producers, and recording artists), while the considerable cost and size reductions associated with Regen’s present-day design criteria conversely position it well within reach of (almost) anyone — as of June 29…
"Synclavier Digital advances acclaimed Synclavier Go! iPad instrument app with welcomed AUv3 client capability and Soundfile support
NOVA SCOTIA, CANADA: launched last year to widespread critical acclaim at The 2019 NAMM Show, Synclavier Digital is proud to announce continued advancement of Synclavier Go! — its innovative iPad instrument app directly descended from the codebase of New England Digital’s seminal Synclavier® II Digital Synthesizer, spearheaded by original co-inventor Cameron Warner Jones as a faithful recreation of the high-flying hit-making mega machine — at an even more pocket-friendly price for Version 1.30 (with welcomed AUv3 client capability, Soundfile support, and more), available as of March 12…
“Part of my decision to embark on development of an iPad version was to introduce my instrument to a wider audience,” asserts Cameron Warner Jones, justifying faithfully recreating the seriously-priced seminal Synclavier® II Digital Synthesizer secured by a privileged few — forever stamping its influence on music technology throughout a lengthy lifespan, ever evolving from its early Eighties entrance to an enforced exit as the cutting edge eventually became more mainstream — at a much more pocket-friendly price on Apple’s all-conquering tablet computer. Continues Cameron Warner Jones: “In this vein, we have decided to drop the price to $19.99 USD for the time being. We want as many people as possible to be given the opportunity to own a world-class instrument. If we can inspire the next Stevie Wonder or Suzanne Ciani, we have achieved our aim. And if there are price concerns with Synclavier Go! then we hope that this $10.00 USD reduction will mean more young, aspiring musicians will now have access to this professional music-making tool.”
NOVA SCOTIA, CANADA: having turned heads and opened ears with a show-stopping showcase at The 2019 NAMM Show in Southern California, January 24-27, newly-formed Synclavier Digital is proud to announce availability of Synclavier Go! and Synclavier Pocket! — placing a re-creation of the seminal Synclavier® II Digital Synthesizer’s sound engine from which they take their names into the respective hands of iPad and iPhone/iPod Touch owners as awe-inspiring iOS apps, allowing all the famed FM (Frequency Modulation) and Additive (harmonic) synthesis capabilities to be brought forward forty years for all to musically marvel, at a fraction of the original’s prohibitive pricing thanks to today’s technology, while also effectively emulating the iconic instrument’s intuitive panels of easy-to-touch red backlit buttons and iconic control knob in easy-to-use user interfaces — as of March 5…
Put it this way: while the still-highly-coveted brand of Synclavier® — synonymous with high-end audio production technology that blazed a trail through the Seventies and Eighties before stalling in the Nineties — is in the midst of a galactic reboot, thanks to Nova Scotia-registered Canadian Corporation Synclavier Digital, established in 2018 to re-create a modern iOS-based version of the Synclavier® Digital Audio System, Synclavier Go!, its inaugural iPad offering, is far from being a clone, however... to all intents and purposes, it is a Synclavier®!
So how, exactly, did yesteryear’s trailblazing technology that commanded a princely six-figure sum end up available on Apple’s pocket-friendly iOS platform in true needs of the many outweighing the needs of the few style? Simply speaking, when New England Digital (NED) went bankrupt in the Nineties, technology finally having caught up with the cutting-edge company concerned, co-founder Cameron Jones — co-inventor of the Synclavier® — bought the intellectual propriety rights to the trailblazing series of synthesizers and digital audio systems sharing the notable name.
"Synclavier V has been updated to version 2.0. Now featuring a powerful resynthesis engine, vintage sample playback, all-new presets, and a great sample library to explore."
Synclavier V Tutorial Update 2
Published on Oct 12, 2018
"Get a quick overview of some of the most important new features found in Synclavier V update 2.0. In this video, Guy covers the new sampling capabilities, the resynthesis engine, and some of the new grid features."
"Originally released in 2016 as part of V Collection 5, Synclavier V gave a whole new generation of musicians access to the ground breaking sound and features of the revolutionary late-70s digital synth. Developed in partnership with the original instrument’s inventor, Cameron Jones, Synclavier V went above and beyond the capabilities of the hardware produced between the late 70s and early 90s.
However, New England Digital also produced many optional add-ons for the Synclavier, such as a sample playback module and a resynthesis engine, that were not emulated in Arturia’s release of Synclavier V 2.
Today, that changes.
With the release of Synclavier V 2, alongside many other workflow enhancements and improvements, Arturia and Cameron Jones are proud to announce that Synclavier now includes sampling capabilities and an exciting resynthesis engine for musicians, producers, and sound designers to explore.
Synclavier V 2 is available as a free upgrade to all owners of Synclavier V, or Arturia’s V Collection 5 and V Collection 6.
Synclavier Digital is proud to announce its new product, Synclavier Regen. Drawing on the rich history of the Synclavier, while simultaneously breaking new ground in what’s possible in a desktop synthesizer. Stop dreaming, start creating. Synclavier Regen is waiting to be your new companion for sound. Additive synthesis, subtractive synthesis, and sampling have all been given equal reverence in this unique hardware Synclavier .
The new buck in the Synclavier stable Synclavier Regen is the newest in an auspicious line of Digital FM synthesizers. Designed for desktop use, it contains the power of the Synclavier II DSP engine, enhanced and optimised. Full colour screen, liquid-like touch controls, high fidelity audio output coupled with a sound design powerhouse makes this the synth you always dreamed of.
Regen supports additive synthesis for full control of 24 harmonics. We’ve now added subtractive synthesis to the Synclavier synthesis engine, especially for Regen, allowing creation of super saws, PCM square waves, and noise generation. Or you can use samples for your carrier waveform.
And these different waveform generators can be mixed. You have up to 12 partials to use in your sound design creation with crossfades assignable to inputs such as velocity, pressure, mod wheel, and of course, keyboard.
Regen is loaded with content to get you inspired fast. There are over 250 timbre presets including 6 newly-commisioned artist timbre libraries. On top of that, there are 2 exclusive sample libraries with over 300 new samples and one mega library with over 700 original samples from the NED era.
When you’re done exploring the factory content, you’ll have fun with the sound design possibilities. You can layer up to 12 partials with different sound generators (additive, subtractive, samples) then apply dynamic effects per partial. It’s truly an expressive instrument, both to program and to play. Polyphonic aftertouch and MPE is fully-supported and there’s a sophisticated modulators section where you can apply responsive curves to properties driven by pressure, velocity, mod wheel position, and so on.
The Daddy of digital synthesis is back with a punch. Results are immediate. The DC-coupled audio outputs really kick on basslines and percussion. The pad sounds shine with that satisfying FM that is so unique on Synclavier. And now there’s a bunch of other effects, such as reverb and bit crush to play with.
Features 255 Regen timbre presets 700+ samples of royalty-free factory content Additive waveforms, subtractive waveform generator and multi-sample patchlists 12 partials to build your sounds. 12 tracks for multi-timbral playback or stacking (layering) of sounds. 4 USB ports for keyboards and other peripherals plus one USB port for connection to DAW. And 5-pin MIDI standard (TRS). 2 full-colour high resolution screens Senstive liquid-like touch swiper and 12 selector pads. Multiple effects per track, including chorus, reverb, vibrato, tremolo, arpeggiator, bit crush, and multi-mode filter. High fidelity DC-coupled audio out (stereo XLR or TS) with 130dB of dynamic range. Patent Pending
"In this video, I visit and talk with former New England Digital Synclavier Product Specialist Kevin Maloney while surrounded by his two Synclavier Digital Music Systems.
Together, we present a complete history of the Synclavier with a stories and examples of how we used it on some massive hit records and films.
First, we listen to a track on the the original blue vinyl record titled
'The Incredible Sounds of the Synclavier II Demonstration Record'
that was the original source sound for the intro to Michael Jackson's 'Beat It'.Kevin's talks about sitting next to Michael while working on the Bad" album.He'll show us a complete breakdown of the components that make up the "Smooth Criminal" bass sound and a recreation of the sampled drum part.Then you'll see, in real time, how Synclavier's unique sequencer can drastically and quickly manipulate (or even transform) the recreated "Smooth Criminal" track.Kevin tells us how he worked closely with producer Quincy Jones to create the intro to "We Are the World". Quincy wasn't satisfied with silver bells, so Kevin turned silver bells into gold bells. Quincy said, he wanted to “send out bells to call all the people of the world to come and hear this song”. We delve into the Synclavier's one-of-a-kind ability to analyze samples (recordings of instruments or sounds) in order to create a series of short frames that each consist of a static wavetable. By cross fading the frames the user is able to recreate the complexity of a sample with a synthesizer sound. This process is called Resynthesis. The user is now able to manipulate the synthesizer sound in many more ways than can ever be done with a sample. We then heavily distort some vocal sounds that were generated using Resynthesis to show the level of control that is possible. We take a look at some preset sampled sounds from the original Synclavier Orchestral library including the string sounds used by Mark Knopfler in Rob Reiner's "The Princess Bride". Anthony talks about how he created a flute sound generated from Resynthesis and later used it to perform practically every cue in the film "Stand by Me" which is another Rob Reiner hit. We take you through the evolution of the Synclavier that includes: The Synclavier I, the Synclavier II with it's original keyboard, the addition of the velocity and polyphonic keyboard, The expanded track sequencer, the addition of more buttons and secondary functions accessed by double clicking the buttons to send them into "blinking mode". BTW - These buttons were originally designed for the B-52 bomber.
We cover MIDI, SMPTE, polyphonic sampling voices and more memory (at a cost of $4500 per megabyte) that were available to add to your system.
We highlight the reason why the Synclavier cost so much and how New England Digital managed to integrate cutting edge 3rd party technology that all worked perfectly together in one unified music system. Finally we review the far more accessible versions of the Synclavier like the Synclavier V by Arturia, Synclavier Go! and Synclavier Pocket! and the most recent addition to the family - Synclavier Regen which actually has unlimited FM synthesis and sampler voices along with the long awaited... resonant Multimode FILTERS!!! The evolution of Synclavier is filled with a plethora of breath-taking features that were nowhere to be found on any other single instrument and it includes a discography of legendary proportion. It's also a history that's deeply personal to me because it ran parallel with my evolution as a composer, songwriter, arranger and programmer. The Synclavier is alive and well in 2023!
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
"Who wrote the intro to "Beat It"? Michael Jackson?
Let's find out...
One correction: I misspelt Jon Appleton in the video, apologies to Jon.
Root Studio's Synclavier demo video mentioned:"
NED Synclavier I Demo
video by rootstudio
"This rare New England Digital Synclavier Model I plays from its internal sequencer what is probably a factory demo.
To find out more about this instrument, watch my history video:"
Synclavier I - the first digital synthesizer you could buy
video by rootstudio
"One of the rarest musical instruments, this historic computer controlled synthesizer is as flexible as you want it to be and sounds like nothing else. Video includes high definition close ups of the insides and demo sounds.
Update via gridsleep in the comments: "Triadex Muse was released in 1972, five years before the Synclavier."
And you could buy it. The Synclavier 1 would be the first *programmable* digital synth you could purchase, but only via the included DEC VT100. via 120years.net: "The synclavier 1 was an FM synthesis based keyboard-less sound module, and was only programmable via a DEC VT100 computer supplied with the system."
So I guess it depends on how you define a synthesizer - programmable or not. Note there were at least two earlier digital "synths". See The First Synth To post for more.
"The story behind the creation, collapse and rebirth of the greatest sampler of all time, featuring Cameron Jones and Craig Phillips of Synclavier Digital. 🎙✨ // Please consider supporting production of Why We Bleep on Patreon: https://www.patreon.com/mylarmelodies
THANKS TO SPONSORS
▶︎ https://www.signalsounds.com/ - for all kinds of gear
▶︎ https://www.thonk.co.uk/ - for easy synth DIY, new customers can take advantage of the offer code before October 31st 2023.
If you enjoyed this episode, please share it!
One of the pics looks very close to this listing from 2015. Similar description as well, but updated.
"Note: Perfect condition, tested today and working perfectly, no broken switches. I've checked this over 10/2/2020 and tested it with a Synclavier II mini-system, all the switches are working properly and everything has tested good. There are absolutely NO scratches or scuffs on this one. It is absolutely as new.
Absolute mint condition, see the photos, it is stunning.
This listing includes the HOP control panel box with built-in cable, interface card to plug into the computer bin of the Synclavier, and an anti-static protective bag to hold the card when not installed in a slot.
The rarest and most sought after piece of Synclavier hardware is the HOP hand-operated processor. Originally designed for internal company use debugging new software and designing new interface cards, it later proved to be indispensable for anyone trying to maintain Synclaviers and troubleshoot Synclavier problems. Any Synclavier technician must have one of these at all times. TRY2FIND1.
"After many months of waiting my Synclavier II system finally arrived! As you will see it was an almost complete refurbish of the 1982 Synclavier II system. Its amazing how warm the Synclavier sounds when you consider its 8bit digital synthesis. Other FM synths of the time that were more available to us mere mortals really sound nothing like it.
I asked for the Keyboard to be left in its bare wood state I will finish this with danish oil very soon (might put a clip up on me doing this if anyone is interested ?)
Changing things up a little I have decided to do a few clips in series on the Sync, There seems to be a absence of Synclavier videos on Youtube! Clip 1 is focused on the Additive Synthesis, #2 will be focused on FM and #3 hopefully with be making a track. Would anyone be interested an a Synclavier II v Artiriua Synclavier V comparison also maybe ?
If anyone is still reading ... I would be interested to know if you prefer the text over the clip as I work to continue or would you rather I talked more about what I was doing and my intensions as I make patches ? Let me know your thoughts! I see a lot of synth videos with "NO TALKING" as a selling/advertising point... is this really a thing ?"
Please watch the full demo of all 20 sessions recorded directly from the regen to the inputs of my audio interface with NO external processing. Please note all presets make use of Poly AT hence why I am using the Hydrasynth Deluxe as a controller. No sound in this demo is produced from the Hydrasynth. If you are interested in presets for the Hydrasynth please search my youtube channel or visit my website www.marcbarnessounds.com.
A HUGE thank you to everyone at Synclavier Digital for lending me this inspiring (and valuable) synthesizer.
Introductory Price £7.99 until 31st January 2024 - RRP £9.99
Synclavier Regen - First 5 Custom Timbres by Marc Barnes
"So the lovely people at Synclavier DIgital have kindly let me borrow a demo unit of their fantastic Synclavier Regen. I've now had a good few hours with it so here are my first 5 single timbre presets. So far I have only been using the Subtractive, Additive and FM engines. I will explore the other engines in due course and and put together some sessions. (multi-layer performances)
Although I found it slightly confusing at the start the interface is actually very logical and easy to get around. I'm really looking forward to delving deeper into this excellent synth.
A friend of mine asked me what the first digital synth was. To my surprise I wasn't sure. We all know it was the Yamaha DX7 (1983) that changed the landscape from analog to digital, but it clearly wasn't the first. The NED Synclavier (1975) and the Crumar/DKI GDS (197x?) and Synergy (1982) predate it. If anyone out there knows for sure, feel free to comment. Image of the Crumar/DKI GDS via synthony.
Snip on the GDS via Synthmuseum.com:
"'The GDS came out of some early research at Bell Laboratories in the early '70s,' explains Mercer 'Stoney' Stockell, who himself shared in developing the GDS and Synergy. 'Hal Alles, a researcher there, designed the high-speed additive engine that was put into the GDS and later systems. He was a very bright man. The work originally came out of some stuff he was supposed to be doing for echo-cancellation on telephone lines.'"
BTW, regarding the DX7, be sure to check out this post on the Yamaha FX1.
Update via adam s in the comments:
"The Dartmouth Digital Synthesizer is the Synclavier's ancestor. This is recognized as the first digital synthesizer existing as a self-contained instrument, closed system or whathaveyou. Of course, the first digital synthesizer (that is, first digital device to synthesize sound for the sake of music), is the IBM 704 Mainframe computer, on which Max Matthews created Music I in 1957. It's amazing how far computer synthesis predates 'digital synthesizers'. I'm sure that in that almost 20 year span, plently of people had developed (successfully or not) digital synthesizers, especially during the early 70's microprocessor boom."
"Syntronik 2 sets the new standard in modern virtual synthesizers. IK’s advanced sampling techniques, combined with a hybrid sample and modeling synthesis engine, power a comprehensive collection of rare and sought-after synths with stunning sonic accuracy and the deepest editing.
This is a massive update to the previous release, adding 11 new synths, exciting new, advanced, and much-requested functionality, and a huge number of all-new presets for the 22 original synths taking advantage of all these new features."
"Syntronik 2 features
33 powerful synths with familiar panel designs and easy-to-use controls
A collection of 54 iconic hardware synthesizers and string machines
Multi-sampled oscillators for ultimate authenticity
4 classic types of circuit-modeled filters to shape sounds
DRIFT™ technology for realism of subtle oscillator variations
Mix and match oscillators with filters for new original sounds
True 4-part synth to create rich sounds with Multis and splits
4 dynamic arpeggiators and new step sequencer for complex rhythmic textures
71 high-quality effects derived from T-RackS, MixBox and AmpliTube
More than 200 GB of sounds with disk streaming and over 5,500 presets
Browser search by category or keyword to find sounds in seconds
Optimized resizable interface and “lunchbox-style” effects panel
Load Syntronik sounds into SampleTank 4* for more expandability
Works as a 64-bit plug-in or standalone instrument for Mac/PC
Fully functional free Syntronik CS version also available"
New models.
The CATO captures the distinctive analog sounds of the Octave Cat SRM and its SSM filter. The pure-analog tonality of this synth is huge, and its modulation capabilities allow for truly unique and stylized timbres. Able to create gigantic Moog-style basses, the CAT can also go in its own sonic direction with its clever oscillator sync implementation.
Update: The new home for this list is now here. You can add to the list there or comment here and I will update both lists. Note that the complete list however will be there as I do not plan on updating this list with updates made there. That would be too much work and would compete with me being able to put up new posts here. Can't let that happen. : ) Related but separate from that list also see https://120years.net. That said...
If you are going to add to the list in the comments, use the same format.
Year - Manufacturer - Model - First at 1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. 1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer 1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite Both were researched as a way to transmit speech over copper wires (id est, telephone lines) 1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer 1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Worstation (electromechanical) and the Electronum - first sequencer. 1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music 1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' 1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. See Laurie Spiegel with one here. 1963/64 - Buchla - model 100 modular - 1st "modern" modular synth 1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth. 1969 - EMS - Synthi VCS-3 - first non-modular mini-synth 1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular) 1971 - Tonus/Arp - Soloist - 1st preset mono synth 1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX-7. 1972 - Triadex Muse - first digital synth ""is the first digital musical instrument and was produced in 1972. It was designed by Edward Fredkin and Marvin Minsky at MIT. It is an algorithmic music generator: it uses digital logic circuits to produce a sequence of notes based on the settings of various parameters. It has four small sliders in that control Volume, Tempo, Pitch, and Fine Pitch. It is not known how many were made, but they are considered extremely rare. The Muse is the subject of U. S. Patent 3610801" 1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synthclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year." 1973 - Dartmouth Digital Synthesizer - NED - Synclavier prototype - first digital synth 1974 - Roland - SH-3A - first commercial additive synth 1974 - RMI - Harmonic Synthesizer - first commercial additive synth
1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.
1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the Buchla 502 or FVS was released first.
1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth with patch memory (this, along with the model 1020, might have been the 1st synths to use DCO's as well) 1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers with the CS80 to be the first synth with poly aftertouch 1977 (late) - Oberheim - OB-1 - 1st commercial programmable mono synth with patch memory 1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth 1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff 1979 - NED - Synclavier - First FM 1979 - Fairlight CMI - First Sampler, First Workstation 1980 - Performance Music Systems - Syntar - First self contained keytar 1982 - Sequential Circuits - Prophet 600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI) 1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream 1983 - OSC - OSCar - First real-time additive with analog filters 1984 - Sequential Circuits - SixTrak - first multitimbral 1985 - Casio - CZ-101 - First battery-powered all digital mini-synth 1987 - Kawai K5 and Technos Axcel - first additive synths 1989 - E-Mu Systems - Proteus - First dedicated ROMpler 1992 - Seer Systems - first host-based software synthesizer in 1992 1994 - Yamaha - VL1 - first physical modelling synth 1995 - Clavia - Nord Lead - 1st Virtual Analog 1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality. 1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously 1997 - Seer Systems - Reality - First Modular Soft Synth 2002 - Hartmann Neuron - first neuronal synth 2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your head.
I thought it might be fun to have a "first synth to..." post. There's been a lot of buzz over Sonic State's Top 20 Synths of All Time with good reason. What exactly is a "top synth?" Is it it's influence on the music scene? It's rarity and lust appeal? The number of synths sold? According to Sonic State their list was the result of Sonic State reader's voting for their favorite synths. Blame the voters if you don't like what you see. Based on what has come up on the list so far, the E-Mu Proteus and Roland JV-1080 for example as well as the Roland Jupiter 8 not even making the top ten, I'm guessing a bit of it has to do with the vote and... possibly the most influential/ground breaking synths for their time. The JV1080 and Proteus? Not super sexy in this day and age, but what they offered in their time? Who knows. It's obviously subjective. But there is something that isn't. The most influential synths of all time not because they were super sexy or utilitarian, but because they offered something that was not previously available.
I thought what might be interesting to create a list of the first synths to feature a particular technology or feature. For example what was the fist synth to bring FM to the table? Was it the DX7 or a predecessor? What was the first digital synth and when? The first additive synth? I have a good idea and could probably look it all up, but that wouldn't be any fun, so.... You tell me. I am going to make this an open post that will live over time. You get to participate by putting an entry in the comments. I will update the list and when I do I will change the time stamp of the post to keep it current. That said, for the archives, this post went up with a time stamp of 4/11/07 7:20 PM PST. I'll start the list (btw, do correct me on the MOOG, what model should we be talking about here? The A, B, C or D or all of them?).
Year - Manufacturer - Model - First at 1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular) 1978 - Sequential Circuits - Prophet 5 - 1st Programmable Polyphonic Analog ... List continues above.
"This is an extremely rare Synclavier Digital Audio System. This system belonged to Jim Johnston (Composer for the WWE) and was used in his recording studio. The Synclavier is completely functional and in very clean condition overall. This machine is interfaced using two Apple towers and monitoring screen. The Synclavier also includes an extensive sound library full of some of the best samples ever recorded of a large range of instruments, from orchestral, synthesizers, vocals, percussion and foley sounds. There are a few extra cables and rack panels that we are bundling into this lot as extra options for the next owner. Selling this at local pickup only. The purchaser can give this set up a complete test in person to see everything working."
"Arturia dubs the Synclavier V (its softsynth emulation of the New England Digital Synclavier) a digital dream synthesizer. Here I play some sounds that stood out to me from the patch banks of this VST synth that is part of the current Arturia V Collection.
#digitalsynthesizer #arturia #synclavier
Note: I am not affiliated with Arturia. I bought Synclavier-V with my own money.
"The specifications listed below (on either system) are based on either the first hand knowledge of Mitch Marcoulier on PSMT Tower #1 and/or his review of pictures supplied from me to Mitch on PSMT Tower #2 and I cannot be held responsible for misclassification and/or any errors in his assessment of these two machines (which I highly doubt..). Both VPK Keyboards power on and have flight cases but their foam needs to be replaced.
