Digitakt 1.04 Update

Published on Jul 30, 2017 cane creek

"Digitakt updated ok, just so you can see the screen if your having trouble with yours."

"Digitakt OS 1.04 Release Information

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Musical Instrument From Future - Robkoo Wind Synthesizer R1

video upload by Robkoo Official

"Wind Synthesizer R1 is now a proud finalist of 2022 MIDI Innovation Awards.

Behold the musical instrument from future! For the first time in history, a performer of music could bring light, directly and literally, to every audience vividly. This extra dimension of musical expression responds to your breathe, and glows over 60,000 colors of your choice.

Because of its intuitive panel design, one can easily learn in minutes and gig in 2 weeks. Explore motion control, customizable hotkeys, Bluetooth connectivity, and even onboard sound banks. R1 opens a new gate for both freshers and professionals.

As our city of Shanghai continues its quarantine, we are still unable to film, while we decided to put together this video for the MIDI Awards finals. It should help new friends know R1 better.

For the overseas version, we are talking to a number of KOCs/KOLs. Many features will make adjustments based on your feedback. If you find yourself willing to give comprehensive feedback, and are capable of making high-quality videos, you may contact us for collaboration.

To learn more about R1, please visit out website: https://official.robkoo.com/"

Wind Synthesizer R1 Concept Video | Robkoo

And the press release:

Robkoo’s revolutionary Wind Synthesizer R1 rocked as Commercial Hardware category finalist in the MIDI Association’s 2022 MIDI Innovation Awards Show


SHANGHAI, CHINA: fresh from making musical waves at The 2022 NAMM Show in Anaheim, California, USA, at the invitation of the MIDI Association, a non-profit community for both the companies who develop new MIDI (Musical Instrument Digital Interface) specifications and products and the people that create music and art with MIDI, digital art-facilitating software and hardware company Robkoo is proud to announce that its revolutionary Wind Synthesizer R1 — realised as a futuristic, cyber-like MIDI wind controller instrument with responsive RGB light bars, motion control, Bluetooth connectivity, customisable hotkeys, onboard sound banks, and a dedicated app allowing amateur and professional players alike to directly (and literally) light up their performances to audiences for the first time in history, having mastered its intuitive panel design in a matter of minutes and achieved gig-readiness within weeks of first musically making its acquaintance — rocked as a Commercial Hardware category finalist in the MIDI Association’s 2022 MIDI Innovation Awards Show, itself co-founded by music technologies learning platform Music Hackspace and the non-profit NAMM (National Association of Music Merchants), where it was displayed as taking third place…

It is true to say that the most distinguishing design feature of the Wind Synthesizer R1 is how much of its slimline body actually lights up. Ultimately, an extra dimension of musical expression responds to the player’s breath, glowing to the tune of over 60,000 colours — customisable in JamKoo, Robkoo’s popular performance app for iOS and Android that automatically detects (via Bluetooth) when a Wind Synthesizer R1 is nearby and awake to provide access to all settings on a larger screen, as well as a dummy-proof guide to learning — courtesy of two lengthy, patent-protected RGB light bars with which the futuristic, cyber-like MIDI wind controller instrument is equipped. It is also the only such instrument that can be played both vertically and horizontally, whether working with the (removable/replaceable) food-grade mouthpiece manufactured from the same material as a baby pacifier for utmost health protection or the new horizontal mouthpiece, making for a cyber-flute-like performance action.

Its inbuilt gyroscope lets Wind Synthesizer R1 players spice up their performance with pitch bend and vibrato by simply moving the MIDI wind controller instrument itself. Indeed, performing with it is simply a case of playing the seven touch-sensing performance keys (positioned on its topside) — themselves exhibiting minimal noise and maximum durability — that resemble an acoustic instrument to permit playing expressively in a realistic and graceful way while switching tones in an instant, ably assisted by an OLED (Organic Light Emitting Diode) screen that even helps with navigating in the dark. Delve instantly into wider octaves beyond the limitations of acoustic instruments thanks to the triple-octave (-1, 0, +1, +2) keys (on the underside of Wind Synthesizer R1), while a reliable and intuitive mechanical pitch wheel lets performers pitch freely with their thumb — also customisable to trigger other controls like portamento.

Put it this way: with onboard tones sampled from top performers from around the world — working with sound suppliers like Dynamix Audio (Serbia), Impact Soundworks (USA), Kong Audio (China), Sound Magic (China), and Versilian Studios (USA), Wind Synthesizer R1 could conceivably shave off 10 or even 20 years of practice when it comes to achieving a professional-sounding performance!

Whether wirelessly or cable connected to an applicable device, by also allowing for portamento and program change alongside breath control — as implied by name, Wind Synthesizer R1 is also a capable MIDI controller that sends so much more than just note information. Interestingly, it also supports MIDI input over USB MIDI (Type-C) and Bluetooth (BLE MIDI) — not bad going for a lightweight (450g) device with 67 cm (length), 4 cm (width), and 5 cm (height) measurements making for comfortable handling. However, its slimline design belies its impressive specification, also accommodating a 3.5 mm TRS headphone output, 6.35 mm TRS audio output, and Type-C USB port. But better still, Wind Synthesizer R1 boasts a (2600mAh) battery-running time of six hours (with the RGB light bars operating), extending to 10 hours (with the RGB light bars turned off).

On the face of it, Wind Synthesizer R1 represents a highly-capable package, one which helpfully comes complete with a dust bag, neck strap, mouthpiece cap, Type-C USB cable, quickstart guide, and user manual... little wonder, then, that Wind Synthesizer R1 rocked as a Commercial Hardware category finalist in the MIDI Association’s 2022 MIDI Innovation Awards Show — something Robkoo Business Developer Tianbang Zhuang far from takes lightly, as evidenced in his well-chosen words when speaking there: “It would be unfair to say that R1 is just a wind synth with lights, or just a wind synth with motion control, or just a wind synth with a horizontal mouthpiece option. They are eye-catching, for sure, but R1 has much more layers. When we started this project, we were here to solve the problems in instrument learning. We did not add lights just because we thought it was cool, or stack those features because we thought they were cool. We added features because they can be helpful to our goal. That’s why those features can be put together as an organic whole. Think about the experience we designed for the customer: you receive it at Christmas; you say, ‘Wow! It’s cool!’; you follow the user guide and learn about it with our [JamKoo] app; and in 15 minutes you suddenly know how to play a new instrument. After two weeks you went from being someone who knows nothing about musical instruments to a confident performer — with lights and style. We are changing peoples lives with something that has so many fancy features, but doesn’t feel overwhelming at all since it still appears to be a simple and intuitive instrument.”


While Wind Synthesizer R1 is already available to buy as a commercial product in mainland China for CN¥2,999.00 RMB, Robkoo is currently working with a number of KOL (Key Opinion Leaders)/KOC (Key Opinion Consumers) on overseas firmware and other adjustments (including sound banks) with a view to making it available worldwide with a projected price tag of around $500.00 USD later this year when it is likely to become available to buy from Robkoo’s website (http://www.robkoo.com/en/) and also some selected retailers.

For more in-depth information, please visit the dedicated Wind Synthesizer R1 webpage here: https://official.robkoo.com/#/wind-synthesizer-r1

CC+ Firmware Update for Rhodes Chroma

via David Clarke on the Rhodes Chroma list:

"Thank you all for your ongoing participation in the Chroma CPU Plus (CC+) project.

Firmware Release 217 (http://www.rhodeschroma.com/?id=cpuplusfirmware#217) has just been made available.

Based on user requests, the newly released version of firmware adds the following items:

* Native support for the SparkFun serial LCD controller
* Autotune failure information display [Set Split 40]
* User-defined MIDI velocity mapping
* Auto-send of patch parameters with a Program Change

Two elements are also changed in this release:

* Correction for the ‘reset’ issue noted here:
http://www.rhodeschroma.com/?id=2012&month=01#cpuplusfirmwarehiccup

* Update the MIDI Continuous Controller “Prog” Mode to allow automatic LCD decoding of patches from BCR2000, Enabler, iPad, etc.

Details and other notes are below:

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New Batch of Synthfest UK 23 Videos

video uploads by sonicstate

Playlist: (you can use the player controls to skip around)

1. Synthfest UK 23: Sequential - Trigon 6 Desktop

At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.

Trigon 6 Desktop Price: $2,499

https://www.sequential.com/

2. Synthfest UK 2023: Calc And the Prophet X

At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.

Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's

Looking for some more info on the Prophet X? Check out Sequential's official page: www.sequential.com/prophet-x/

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“MIDI Creators and Innovators” Panel Coming to NAMM

"MIDI Creators and Innovators Alan Parsons, Tom Oberheim, Dave Smith, Jordan Rudess, George Duke and Craig Anderton to Discuss Past, Present and Future of MIDI at 2013 NAMM Show H.O.T Zone Session

Who:

Alan Parsons is British-born audio engineer, musician, and record producer. Parsons has been involved with some of the biggest recordings of all time, including The Beatles Abbey Road and Let It Be, in addition to Pink Floyd's The Dark Side of the Moon. He has been involved in all aspects of the music business and is well known for his own work, The Alan Parson's Project. When not engineering and producing, Mr. Parson's is a highly sought after guest lecturer, product and technology consultant and is the co-creator of the highly- acclaimed educational DVD series called The Art & Science of Sound Recording.

Tom Oberheim is a synthesizer pioneer having created several legendary synths, effects processors, and drum machines as the founder of Oberheim Electronics, Marion Systems, and SeaSound. Oberheim was a key contributor to the original MIDI specification and was an early evangelist of the technology.

Dave Smith was the co-author of the original MIDI specification with Roland's CEO and founder Ikutaro Kakehashi. Mr. Smith was the founder of Sequential Circuits while developing the MIDI specification, and has since developed dozens of synthesizers, drum machines, and effects processors. His current company, Dave Smith Instruments, continues to develop cutting edge MIDI-based instruments that enjoy a worldwide following.

Jordan Rudess, is an American keyboardist, clinician, composer and software entrepreneur best known as the keyboardist in the band Dream Theater and the progressive rock supergroup Liquid Tension Experiment. Rudess is a graduate of the Julliard School of Music and is an extremely well respected consultant to many music instrument companies, and has his own music software company called Wizdom Music, which designs innovative tablet- based musical instruments.

George Duke is a legendary musician, keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. Duke has composed, produced, and played on dozens of gold and platinum records, received numerous GRAMMY awards, and has toured extensively as a band member, music director, and as a solo artist.

Craig Anderton, is a musician, author and music magazine editor/writer who is well known to anyone who has ever picked up a music technology magazine. As the editor of Electronic Musician and author of hundreds of articles on music technology, Anderton is an esteemed journalist and expert in all aspects of MIDI and MIDI technology.

Tom White, (MC) is the President of the MIDI Manufacturers Association, and a highly- regarded contributor and consultant to several industry trade and technology groups including but not limited to CES, USB, IEEE, AES, IASIG, and as long-standing president of the MMA. White has had a long career in the music industry, including a lengthy period in marketing and business development for Roland Corporation.

What: Panel discussion “MIDI Creators and Innovators” For 30 years, MIDI has been always been at the forefront of music technology even as musical trends changed. Come hear from a star-studded panel of MIDI creators and innovators -- stories and opinions about the past, present, and future of MIDI.

When: Sat. Jan. 26, 2013 11:30 a.m. – 1:00 p.m.

Where: The NAMM Show, Anaheim Convention Center Room 204B (Inside NAMM H.O.T. Zone)

Presented by the MMA

The MIDI Manufacturers Association (MMA) is a non-profit organization formed in 1985 to encourage companies implementing MIDI to make their products interoperable through compliance with MMA Recommended Practices. MMA publishes the official MIDI Specification, provides education about MIDI, licenses MIDI trademarks, and promotes the use of MIDI technology for new applications and in various industries. For more information, please visit www.midi.org"

TBX2 Microtonal Tuning Machine Box Handmade in Germany

Note: Auction links are affiliate links for which the site may be compensated.
2018 videos by Aaron Andrew Hunt. The TBX2 is from Hi-Pi Instruments. They also made a TBX1 MIDI Tuning Box.

Playlist:
TBX2 - The Instant Chromelodeon
TBX2 - Programming Sample Tunings
TBX2 unboxing 100 bare units
TBX2 rev3 3D Models

via this auction

Check out the foot pedal input label on back.

"Only 100 were manufactured several years ago. With this device you can plug into your computer (USB to USB) and play microtonal music after preloading your tunings.

TBX2 outperforms its predecessor (TBX1) in every way. This faster, smaller, sturdier second-generation device not only retunes GM (multichannel) synths, but also monophonic synths, MTS synths, and even proprietary sysex synths. If you thought the 512 tunings TBX1 offered was a lot, try 8,192. That's almost twice the size of the Scala Archive. Each input channel can be assigned to a unique tuning table, providing full compatibility with multichannel controllers like MIDI guitars and MIDI organs, as well as microtonal controllers like the Tonal Plexus, Microzone, Axis 64, and Terpstra keyboards. Supports both MIDI DIN input, and USB-MIDI input. Navigate 40 presets hands-free. Edit existing tunings or create your own with Universal Tuning Editor (UTE) cross-platform software (free license included). Set up your tunings, upload them to the unit, plug in your controller and synth, and start making music. Ready for the stage, its built-in rechargeable battery will run for days. Firmware is user-upgradable via UTE, so features can be improved or added at any time, and you never have to worry about swapping out a chip.

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CME Intros 4 New MIDI Solutions Shipping Now

via CME

"Following the successful launch of WIDI, the Bluetooth MIDI revelation, CME is introducing a new line of MIDI tools that are affordable yet give an extra edge.

As a contributing board member of the MIDI Association, the CME team is part of the latest developments in MIDI, including MPE, MIDI 2.0 and BLE MIDI.

With more than 30 years of professional experience, the new range is designed to operate without data errors, without signal loss and without dropouts.

Combining the best of both worlds with the latest components, they will appeal to all music makers. And at today's price point, they are accessible to all.

Finally, you can break down the barriers between smart devices and traditional MIDI hardware. Discover exciting new ways to work through a unique combination of high-precision wired and ultra-low latency wireless.

Buy directly from the people who make it with 30% off in November via the CME store."

Left:

CME U6MIDI Pro

Retail: US$ 49.99

Plug-and-play USB MIDI interface
Standalone 3-in-3-out MIDI interface
Advanced MIDI routing and filtering software

CME MIDI Thru5 WC

Retail: US$ 39.99

1-in-5-out MIDI Thru/Split
Optional Bluetooth MIDI via WIDI Core
Near-zero latency and jitter by using the best components

CME WIDI Core (N/XN)

Retail: US$ 29.99

BLE MIDI breakout board for DIY and MIDI developers
Ultra-low 3ms latency
20m/65ft plain sight range

CME WIDI Thru6 BT

Retail: US$ 69.99

2-in-6-out MIDI Thru/Split
1-in-5-out MIDI I/O + 1-in-1-out Bluetooth MIDI
Connect up to 10 devices

NAMM 2023 - AmeNote - ProtoZOA - MIDI 2.0

video upload by sonicstate

"MIDI 2.0 is set to revolutionize music technology in the coming years. AmeNote's Mike Kent told us about the four years of prototyping by the MIDI Association, which has been using a hardware development tool for Mini 2.0 called the ProtoZOA from AmeNote. Apple OS and Google Android already have MIDI 2.0 integrated into their operating systems and Mike showed us the MIDI 2.0 driver which is being developed by AmeNote for windows in operation.

According to Kent, MIDI 2.0 is expected to grow gradually over the next five years, with more products being released in 2024 and beyond. Kent emphasized that this gradual change is essential to ensure a smooth transition for users, and to account for the fact that not all manufacturers will be able to release MIDI 2.0 products instantly.

AmeNote will make ProtoZOA available to all non-member developers after the MIDI Association publishes MIDI 2.0 specification updates expected in June 2023 and then makes the github public.

Non-Member Developer Price: Standard ProtoZOA hardware with permissive license to source code for USB MIDI 2.0, MIDI-CI, MIDI 1.0/2.0 Translation, Universal MIDI Packet, UMP Endpoint, Function Blocks, and more: $290. With Ethernet expansion: $320. With Ethernet expansion and display: $350.

https://amenote.com/"

CME Unveils the C2MIDI Pro: The MIDI Cable Redefined

Press release follows:

[Amsterdam, 23 January 2025] – CME is excited to announce the launch of the C2MIDI Pro, a revolutionary dual-purpose USB-C MIDI cable that also functions as a standalone MIDI filter, mapper, and router. Designed for musicians, producers, and engineers, the C2MIDI Pro delivers groundbreaking performance and precision, redefining what a MIDI cable can do.

Innovative Features:
Dual-Functionality: Operates as a USB MIDI Interface or a Smart MIDI Cable.
Future-Proof Performance: Powered by a cutting-edge 32-bit processor, it ensures ultra-accurate transmission with high-speed optocouplers and four times the standard processing speed.
Advanced MIDI Tools: Includes free UxMIDI Tools software (compatible with Windows, macOS, iOS, and Android) to configure the C2MIDI Pro as a filter, mapper, or router.
Universal Compatibility: Works seamlessly with macOS, iOS, Windows, Android, Linux, and Chrome OS.
Ultimate Precision: Guarantees 100% exact transfer of dense MIDI data without latency, jitter, or dropouts.

“The C2MIDI Pro combines innovation, precision, and ease of use in a single cable. It’s not just a MIDI cable; it’s a game-changing tool for every MIDI enthusiast,” said Zhao Yitian, CEO of CME.

The C2MIDI Pro is designed to meet the needs of the modern music industry. With its retractable USB-C plug, dual-color MIDI connectors, and seamless integration with any MIDI setup, it empowers users to explore their creativity without limits.

Visit CME CEO Zhao Yitian at Booth #10302 of the MIDI Association.

Availability
The C2MIDI Pro will be open for presale and shipping at the beginning of February 2025. MAP: US$ 29.99

For additional details, visit our website: https://www.cme-pro.com/c2midi-pro/"

NAMM 2024: Midi Manufacturers Association

video upload by sonicstate

"At NAMM 2024, Pete from Microsoft discussed the progress of MIDI 2.0 integration with the Windows operating system. Microsoft is set to release a new MIDI stack with features such as multi-client support, app-to-app MIDI, virtual MIDI, and scriptable automation. They are also working on incorporating RTP MIDI and Network MIDI 2.0 into the stack. Pete showcased a monitoring tool that comes with the MIDI stack, which allows users to view and record notes, as well as send SysEx and individual messages. Microsoft is collaborating with companies like Bremers Audio and Steinberg to ensure MIDI 2.0 support on Windows. The MIDI 2.0 protocol offers high resolution and expressivity for musicians, with support from manufacturers and positive responses from users. The MIDI Association is actively engaging with companies and building specifications to enhance the musician's experience. Their goal is widespread adoption and the expansion of MIDI 2.0 capabilities in the industry.

https://midi.org/"

Synclavier Go! for the iPad Gets AUv3 Client Capability and Soundfile Support

via Synclavier Digital

"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.”

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Introducing the BomeBox - Versatile Hub for MIDI, Ethernet, Wifi and USB

"Bome Software announces the BomeBox, a versatile hub for connecting and mapping devices via MIDI, Ethernet, WiFi, and USB. Designed for stage and studio use, the box has all the power of the Bome MIDI Translator Pro software in a compact and solid case. “Many artists using MIDI controllers will finally be able to perform on stage without a computer,” says Florian Bomers, CEO of Bome Software. In particular, if different protocols and technologies need to interact, or many MIDI devices need to be connected, the BomeBox is the solution, for a fraction of the cost and size of a computer.

The BomeBox is configured via its user friendly web interface from a computer or smartphone. After loading a MIDI Translator project file into the box, it is self-contained and worry free: just plug it in and it will run the translations immediately. It delivers reliable performance and low latency while using extremely little power: a standard cell phone charger is sufficient, and it can run for days on a USB power bank. Optionally, users can choose Power over Ethernet (PoE), reducing cabling and adding the option to supply both power and connectivity to cascaded BomeBoxes via the second Ethernet port.

The BomeBox is “MMA HD ready,” so once the upcoming high definition standard of the MIDI Manufacturers Association is published, a firmware update will allow you to use it for transparent translations to and from the new HD protocol.

See the BomeBox in action at the NAMM Show 2015, booth #1086 (hall E). General availability is planned for spring 2015."

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Yamaha DX1

Click here for shots via this auction. Note the DX1 had poly-aftertouch.

Details:
"This is quite rare and hard to find, since they only made about 140 of this model.

The Yamaha DX1 Digital FM Synthesizer was a direct decendent of the original DX series prototype, the CSDX [also check out the FX-1] that I saw at a NAMM (National Association of Music Merchants) Convention in Anaheim, CA around 1983-84 in the Yamaha booth. Clark Spangler renowned composer and product specialist was demonstrating the instrument and had the room capitvated with the sounds of this prototype keyboard with a real Yamaha wooden keyboard action. He said to the crowd intently listening "this keyboard has to be felt to be believed". Of course, no one was allowed to touch it but him! Everyone was drooling. This thing was huge with beautiful Brazilian Rosewood sides, front and a front panel display that looked like the cockpit of a 747.

Everything about the DX1 is top shelf. It weighs 112.2 pounds (at least that's the weight listed in the owner's manual, it's very heavy), it has full length wooden keys and twice the polyphony of the Yamaha DX7 - the DX1 is 32 note polyphonic when in SINGLE MODE and features a DUAL MODE that layers the two 16 voice tone generators or a SPLIT MODE that puts a complete 16 voice polyphonic synthesizer on each half of the keyboard. This makes the DX1 one of only two of the DX series instruments to offer a full 32 notes of polyphony when using the sustain pedal and arpeggiating a large number of keys.

Many people think that the DX1 is merely two DX7's in a big wood case or a DX5 with 73 wood keys. NOT SO. The DX1 sounds better than ANY of the DX and TX series synthesizers, I've owned them all and played them side by side, there's no comparison. I always thought that the DX1 was the most "analog sounding" and warmest of the DX series. I realized that it wasn't just my opinion or my ears, I found out that Yamaha did make the DX1 using hand-picked components for it's top of the line instrument, so IT IS DIFFERENT than ALL the other DX series synths. It's cleaner and quieter than all the others, including the DX5 that was introduced as a lighter version of this magnificent beast. All DX7 cartridges can be used with this DX1. The classic DX FM pianos have a depth unlike any DX7. Brass and string sounds are much fuller and richer sounding since the two tone generators can be detuned and this detuning is one of many programmable parameters that a single DX7 can't duplicate.

Besides the sound (as if that's not enough alone) what makes the DX1 really special is it's control surface. The tiny LCD display that made the DX7 so hard to understand and program or edit, the DX1 finally makes programming FM synthesis easy to understand and FUN! The plethora of controls and LED displays this instrument has is incredible. Like it's little brother the DX7, the DX1 has the graphic representations of the 32 algorithms, unlike the DX7, they're larger, easier to see and more beautifully displayed over a blue lined background on the lexan/plexi front panel. Next to this are 13 LED windows that not only show the algorithm selected, but the position and relationships of the operators. There are small LED bars that link these windows together so that the algorithm is represented fully illuminated. Next to this display is another pair of LED windows that display the algorithm number and the mount of feedback (if there is any) for the designated oscillator. More than just a "pretty face" this section really lets you see all the information represented by the selected algorithm. The display also includes LED windows that show the frequency ratio, or if selected the fixed frequency, and the detune amount of the currently selected operator.

If you've ever tried to change the attack or decay times of the envelope generators on a DX7, you know how cryptic and tedious it can be stepping thru all the different individual envelope "pages" in that tiny display. The DX1 makes changing the envelopes a snap since it has eight numeric LEDs, showing the setting of each envelope parameter (00 to 99) and four 16 segment LEDs that display graphically the amplitude rates and levels. This display can be toggled to also show the pitch change rates and levels for the pitch envelope.

Other LED displays include the Keyboard Scaling panel, which again shows you all at once, the break point, depths and selected curves for the currently selected operator. The last LED windows on the right side of the panel show the velocity sensitivity, amplitude modulation, and output level for the selected operator. All of these displays are controlled with actual physical buttons unlike the DX7 that has all membrane switches. Many of the switches also have LEDs in them to indicate which button is selected as well, another great feature that "de-mystifies" the programming and editing of sounds. You can easily see which button is "ON or OFF". As you can see in the attached pics, the DX1 even has 6 dedicated switches for the operator selection and 6 buttons to turn the operator on/off making it very easy to hear how each adds to the resulting sound.

There are individual buttons for algorithm and feedback selection, operator mode and tuning that work with the previously mentioned LED display windows, as well as 8 individual buttons for all the rates and levels on the envelope generators, a toggle between the EG display and Pitch EG, 5 buttons for the Keyboard output level and rate scaling, Amplitude Modulation, Key Velocity, Operator Output level....just look at the pics.

The 32 voices are divided into two sections labelled "A" and "B". There are 32 patches for the "A" tone generator and 32 patches for the "B" tone generator. Each section has four banks of eight patches for a total of 64 programs in all. There are also two standard DX series ROM/RAM cartridge slots; one each for the "A" and "B" banks giving you a total of 128 programs available at once! There's also a nice large 40-character, two line, LCD dipslay, (again nothing like the tiny LCD on the DX7) which display the programs selected in Single, Dual or Split mode as well as LFO and other voice specific parameters when editing the programs. This LCD also shows you what you are editing in FUNCTION mode. There's a nice silkscreen right on the front panel to help you remember all of these additional functions such as Tuning, Performance Memory Parameters (how you combine the different programs in Dual and Split modes, detuning of the two tone generators, etc, etc, etc,.....), MIDI controls, and the parmeters that control the poly aftertouch that is unique to the DX1.

This keyboard not only has the standard mono aftertouch like the DX7 and most other syntheiszers for LFO and other modulation, but it also has poly aftertouch that can affect all the operators individually. The DX1 is the only DX synth with this feature. You can actually program the poly aftertouch to allow you to change the timbre and volume of an individual note within a chord!

The front panel also includes the master volume control, the A/B balance of the two tone generators, a dedicated portamento time slider (try changing that on the fly on a DX7), and the data entry controls which include both a continuous controller/slider and up/down buttons. There are the standard Pitch and Modulation wheels.... even these "feel" better than those on any other DX or KX keyboard (I've got both of them). The Mod wheel has a smooth, weighted feel to it and the spring loaded action on the pitch wheel is nicer than most.

The rear panel has 13 inputs and outputs. These include AC input, MIDI In/Out/Thru, continuous controller inputs for volume and modulation amount, footswitch inputs for sustain and portamento on/off. There are 6 audio outputs, three 1/4 inch outputs for a mono mix of both the "A" tone generator and "B" tone generator as well as individual outputs of both for stereo. These are also three XLR balanced outputs for mono mix, and the "A" tone generator and "B" tone generator . This Yamaha DX1 Digital FM Synthesizer has been in my smoke free studio since 1985. I'm the second owner. This is a Japanese 100 volt model that I have been using with a transformer that converts 110/120 volts to 100 volts. The transformer is included in the auction as well as the original Owners Manual, DX1 Performance Notes, a Control Pedal (for volume or modulation) and a sustain footswitch pedal (you can still buy new an additional Yamaha FC-7 foot control pedal as well as an additional Yamaha sustain type footswitch if you want total control of volume, modulation, sustain and portamento at the same time.

I'm also including the two impossible to find original Yamaha DX1 Data ROM Cartridges with the original factory programs made especially for the the DX1. I also have a road case for this DX1. (not an anvil case but one made by Bobadilla cases). The foam in the case has deteriorated and would need to be refoamed. One of the latches is missing it's folding handle so it has to be turned with pliers. This is not the red DX case on wheels that was seen in the Yamaha DX1 brochures. No stand is included. This instrument weighs 112.2 lbs."

via Johan.

The NAMM Show Announces Return to Anaheim in June 2022

via NAMM

"We are excited to announce that The NAMM Show, the annual 'family reunion' of the global music, sound, and entertainment technology industry, will reconvene in Anaheim, California at the Anaheim Convention Center on June 3–5, 2022.

Previously scheduled for January 20—23, the new dates will offer global industry leaders, buyers, sellers, music educators, artists, media, and music makers the opportunity to reconnect and renew their businesses while taking greater advantage of reimagined indoor and outdoor events, activations, professional development sessions, an expanded digital reach and more at the crossroads of business opportunity."

And the press release:

CLICK FOR MORE »

Soundmit 2017 Update - Final Details on Event Are In

The final details on Soundmit 2017 are in. Soundmit is the evolution of the Torino Synth Meeting, the largest synth event in Italy. The following are some details on the scope of the event:

"THE NUMBERS

The first edition of the Soundmit - International Sound Summit, the natural evolution of the Torino Synth Meeting, which has proved to be up to expectations, involving more than 180 industry operators, 800 visitors, over 100 workshop participants and a soldout for the talk held by the 3 sponsoring Universities, ended on Novembre 5th 2017.

THE EXHIBITORS

With more than 90 Brands exposed and exhibitors from all over Europe and not only, we had the presence of Nori Ubukata from Japan and Keen Association from Moscow, Soundmit is confirmed as the only Italian event highly specialized in electronic music instruments. Fertile land for exchanging ideas and for the birth of new partnerships as well as new friendships.

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NAMM 2025: MIDI Association's Network MIDI 2.0 Unveiled

video upload by sonicstate

"At NAMM 2025, the MIDI Association revealed significant updates regarding the implementation of *Network MIDI 2.0*. We caught up with Pete, who shared insights into how the new protocol has advanced from its predecessor, featuring no cable length restrictions and compatibility over both Wi-Fi and long wired connections.

A standout demonstration involved the Windows implementation of Network MIDI 2.0. Pete illustrated its application using Music Kraken on an iPad, seamlessly controlling a Windows PC running Multitrack Studio via Network MIDI 2.0. The setup, using a BomeBox and KissBox to manage older MIDI 1.0 devices, highlighted the simplicity and efficiency the new standard offers, making it easier for developers to integrate without extensive new requirements.

Noteworthy too, was a discussion about MIDI 2.0's Piano Profile, aiming for consistent performance standards. Pete reassured us that the implementation efforts are gaining pace, promising further integration within Windows soon."

DSI still Sequential Circuits

This one spotted by prophei. He downloaded the sysex for the three individual OSes for the DSI Poly Evolver Keyboard off of the DSI website. When he looked at the manufacture in the Mac OS X SysEx Librarian this is what he saw. Anyone confirm?

Update: another screen shot sent in and confirmations in the comments.

Update via wavedeforum via the comments: "The manufacturer ID is not IP that would get sold with Sequential Circuits. It is an ID issued by the MIDI Manufacturers Association. Usually a number is retired or recycled when a company ceases doing business.

Because of Dave Smith's role in getting MIDI going, he gets to keep his ID, which is 1.

It's the programs that interpret Sysex that lookup the ID and display an appropriate string that are at fault for still displaying Sequential Circuits. I would think that they should be revised to display DSI/Sequential or something similar."

also sent my way privately via Stephen via Synthwood. Pretty cool when you think of it. Dave Smith was THE man behind MIDI. SCI was first with the Prophet-600 followed by Roland with the JX-3P. I'm guessing Roland has ID #2, but I have yet to confirm this. Be sure to see the comments of this post for more.

Update via Dave Cornutt in the comments:
"Roland is not ID #2 because the IDs are divided into three groups, American, European, and Japanese. The American group starts with 1; the European group starts with 20 hex, and the Japanese group starts with 40 hex. Roland is assigned ID 41H; for reasons unknown to me Kawai was given 40H. Here's the whole original list, from "The Complete SCI MIDI", January 1984 edition (all numbers in hex):

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Cherry Audio Announces the Rebirth of the Long-Awaited Chroma Synthesizer

Playlist:

1. Cherry Audio | Chroma Synthesizer

2. Cherry Audio | Chroma Classics Preset Pack

Chroma Classics Preset Pack for Chroma features an additional 100 phenomenal presets by Cherry Audio's Director of Sound Design, James Terris, blending vintage tones with a contemporary feel.

https://store.cherryaudio.com/presets...

3. Cherry Audio | The Story of Chroma

"Dive into the captivating history of the Rhodes Chroma synthesizer with "The Story of Chroma," a documentary that traces its revolutionary path from the final days of ARP Instruments to its celebrated release by Rhodes in 1982. This compelling video brings to life the innovative spirit of the Chroma through the firsthand accounts of those who stood at the forefront of its creation. Hear from Dr. Tom Rhea, a renowned electronic music historian, Michael Brigida, a dedicated ARP and Rhodes product specialist, and Mary Lock, the esteemed service manager for both companies, as they recount the synthesizer's development, challenges, and triumphs. Featuring exclusive interviews and insights, this documentary not only explores the technical breakthroughs and musical possibilities the Chroma introduced but also celebrates its enduring legacy and the recent resurgence through Cherry Audio’s efforts. Witness the story of a musical marvel that continues to inspire innovation and creativity in the world of music.

Produced by Daniel Keller
Editing and graphics by Mal Meehan
Music by James Terris"

4. Cherry Audio | Introduction to Chroma Synthesizer

Synth designer Mitchell Sigman of Cherry Audio introduces Chroma, Cherry Audio's virtual instrument that emulates the 1982 Rhodes Chroma polyphonic analog synthesizer and its Expander unit.

Online User Guide at https://docs.cherryaudio.com/cherry-a...

0:10 Introduction
1:18 User Interface Basics
4:44 Voice Architecture and Patch Configuration
9:43 The Chroma Arpeggiator
11:37 Sweep Generators (the LFOs)
17:02 Envelope Generators
19:46 Chroma CPU Usage

Cherry Audio Chroma User Videos


1. Cherry Audio Chroma: A demo + tutorial of an elusive analog synth - CatSynth TV - Patreon

We take a deep dive into Cherry Audio's new Chroma, a meticulous recreation of the legendary and elusive Rhodes Chroma. It was a polyphonic analog synthesizer that came with some unique features, notably the ability to reconfigure the signal path among its oscillators, filters, and VCAs, opening up a wider range of sound possibilities. Cherry Audio's version combines these features with a modern user interface that allows direct manipulation of the parameters (unlike the original with a single data slider), and adds a full-featured effects section. We go over the expansive feature set of this instrument, showing you how each feature works and how to use them to make your own sounds.

00:00 Introduction
00:27 History of the Chroma synthesizer
01:38 Presenting the Cherry Audio Chroma
02:39 Oscillator features
06:56 Filter features
11:17 VCA features
12:42 Dual Layers configuration
16:49 Dual Layers + Oscillator Sync
18:47 Dual Layers + Ring Modulation
21:13 Filter FM
23:54 Parallel Filters
26:09 Parallel Filters + Oscillator Sync
27:04 Series Filters
31:44 Effects section
32:38 Factory Presets
39:41 Conclusion

2. Cherry Audio Chroma Expander Sounds of Chaos Beauty Virtual Synthesizer - Rik Marston Official - AhnyxianSoundDesign

3. Cherry Audio Chroma Expander Sounds of Light & Darkness Virtual Synthesizer VST - Rik Marston Official - AhnyxianSoundDesign

Press release follows:

May 14, 2024: Cherry Audio is excited to unveil Chroma, a groundbreaking virtual instrument that brings the legendary sounds of the 1982 Rhodes Chroma into the digital age.

CLICK FOR MORE »

Yves Usson - The Man Behind the Arturia MiniBrute

Marc-Henri aka RADIOKLOW, who has been featured on this site numerous times, sent in this image of Yves Usson's recent demonstration of the Arturia MiniBrute in Lyon, France. Yves is well respected in the synth community for his DIY work at http://yusynth.net, and most recently his work on the new MiniBrute.

I asked Marc-Henri if I could post the image and his words. Not only did he agree, but he sent some words from Yves Usson as well. Don't miss Marc-Henri's note on how design began in the modular realm.


Yves Usson on the birth of the MiniBrute: "I was contacted by Arturia in june 2010 to conceive and draw the whole chain of analogic sound production for the Mini Brute. I made a first model of the components. Then the engineers of Arturia created the transposition of the circuits into surface components, and their integration in product. Arturia developed the whole numeric control of the keyboard, of the Midi/Usb interface and of the arpeggiator. I took part in the integration process and creation of the successive prototypes until the final production was achieved. I also wrote several chapters in the user's guide, especially the didactic part about subtractive synthesis and the description of the Mini Brutes various functions."

Marc-Henri on the image, Yves Usson & the MiniBrute: "Here is a portrait of Yves Usson, the creator of the Mini Brute. He lives in Grenoble (one hour far from my city, Lyon) and is mainly a creator of modular synths (the one behind him is one of his unique pieces after various modules). Grenoble is also the home city of Arturia and this explains also why Yves Usson was asked to collaborate with this famous and beautiful label. I took this picture in my music store whose synths manager, a very good friend called Pascal, had organized the first french presentation of the Mini Brute last saturday. It was something great to face one of the six already built Mini Brutes ! Yves Usson explained us he started building the future Mini Brute in modular form before imagining its shape with the Arturia's engineers, because he is so familiar with this kind of system, it was for him the best way to conceive an analogue.

Yves Usson, as every great creator, is a very simple and passionate man, generous and open minded, and I think his instrument has the taste of genius. By pure chance, I discovered he is member of a small association of electronic music I belong to. This created a friendly connection between us. I will certainly have other opportunities to meet him in his studio and maybe try one of his fabulous self made modulars ! I love this kind of persons, highly creative with simplicity and generosity."

Note the MiniBrute filter is the Nyle Steiner filter, and I believe the physical controls and case was designed by Axel Hartmann also responsible for the designs by Access, Waldorf, Moog, and more - you can find the list on his designbox site here. Use the on-page scroll bar on the right to scroll through the list.

Big thanks to Marc-Henry and Yves Usson for this post!

Update: turns out the modular in the background is actually a custom MOS-LAB System 16.

New Music Technology Company Drops The Beat Thang

"Beat Kangz Electronics launches portable music production system

Nashville, TN - (July 13, 2009) - In the spirit of hip-hop, Beat Kangz Electronics has developed a new music production system and a virtual software package for music lovers and beat makers.

The Nashville-based independently owned company has created The Beat Thang mobile music production unit and The Beat Thang Virtual software application with a unique set of features designed to fit the needs of the urban music community.

Packed with over 3000 brand new sounds, these products integrate fully functioning Digital FX, a 16-track MIDI sequencer, sampling and waveform editing. Designed with the musician’s ear in mind, the products are loaded with live bass, strings, synthesizers, Latin and African percussion, electric guitar as well as popular chopped and screwed effects.

The Beat ThangFlexible and user-friendly, The Beat Thang touts a sleek, light-weight portable design and a rechargeable lithium ion battery with up to six hours of playing time allowing users to effortlessly move from the studio to the stage. The Beat Thang Virtual software application can be loaded onto a PC or Intel-based Mac.

Crowned as the founders of Beat Kangz Electronics, Luke “Boom BAP” Jackson, Reavis “Rev” Mitchell and Aja “A-J-A” Emmanuel inevitably met as they crossed paths on the music scene. From recording with independent and major artists of every genre to producing promos and jingles for international brands and large networks, the owners of Beat Kangz Electronics wanted to create a line of products that the music community could relate to.

“We asked ourselves what were the things we wished a beat machine could do. As independent artists and producers, we know what it’s like to create on a grassroots level. We wanted to actually make the products we used,” said Emmanuel.

Jackson believes the products can serve producers in all genres of music. "Although our products are mainly influenced by hip-hop, the three of us come from very eclectic musical backgrounds. As musicians, we recognize that hip-hop encompasses many different genres, therefore our products will serve many users,” he said.

During a preview of The Beat Thang at the Winter 2009 National Association of Music Merchants Show (NAMM), the team noticed the demand seemed to be much higher than they had anticipated.

“We’ve gotten such great feedback at NAMM shows. We already knew that the market was being underserved, but our interaction with all the users just confirmed how much of a void there was to be filled,” said Mitchell.

The Beat Thang mobile music production unit and The Beat Thang Virtual software application will be featured at the Summer NAMM convention July 17-19 in Nashville.

The Beat KangzCollectively, the triple threat admits to being techies by nature. Their first design concept, the critically acclaimed Zoom SB-246 Streetboxx released in 2006, has been a trusted favorite of underground and major label artists, producers, and deejays worldwide.

Equally impressed with the Streetboxx was legendary production guru and former Live Nation Recordings head Bob Ezrin. After a meeting with the owners, Ezrin found the revolutionary idea of a mobile music production unit and virtual software application, created by an African American company, and owned by talented musicians to be a movement he could support.

“As musicians, they know what they need to make their music. What they have done with this new product is far more profound than what any technologist can do. And when musicians design an instrument to be responsive to their own artistic and technical needs, you can expect it to be practical as well as innovative,” said Ezrin, co-founder of Nashville-based artist development company Bigger Picture Group and producer of both Jay-Z's 2004 film documentary "Fade To Black” and Pink Floyd’s legendary album The Wall.

“Putting so much horsepower into the hands of young music makers is bound to produce groundbreaking results,” declared Ezrin, who is now a partner in the company.

Additionally, the company enlisted Commissioner Gordon, a music engineer who has mixed for artists like Kanye West, The Roots, 50-Cent and KRS-ONE, to mix the final sounds for the The Playa Thang, a playback application for the iPhone and iPod Touch platforms featuring 20 production ready Beat Kangz beats.

Finishing touches are now in progress for The Playa Thang. Plans to make the application available for download from the Apple iStore are underway.

By July 17, The Beat Thang Virtual software system ($149.00) will be available for purchase on the company’s website and The Beat Thang mobile music production unit ($999.00) will be available for pre-order to ship in October.

For more information, visit www.beatkangz.com.

To view product demonstrations, visit www.youtube.com/beatkangz."