KORG Officially Introduces the New ARP 2600

ARP 2600 FS | Welcome Back Published on Jan 9, 2020 ARP

Follow-up to this post.

KORG ARP 2600 FS posts

User & Dealer videos:



Playlist:
The ARP 2600: The Story of a Legendary Synthesizer | Reverb Feature
Korg ARP 2600 FS Synthesizer - All Playing, No Talking! - Kraft Music
Korg ARP 2600 FS Synthesizer - Overview with Nick Kwas - - Kraft Music
Korg Arp 2600 - 1st Look - sonicstate
ARP 2600 Semi-modular Analog Synthesizer System Demo - Sweetwater
ARP 2600 Synthesizer | Overview and Demo - Guitar Center
NEW Korg ARP 2600! | Namm 2020 - GAK - previously posted

"The Total Package

More than a synthesizer, the ARP 2600 is a complete sound design studio. Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier – all of the building blocks of analog synthesis. But the ARP 2600 goes even further, with a spring reverb tank and even a pair of built in monitor speakers. Also present is much of the versatility of a vintage modular system, including a ring modulation, lag and voltage processors, an envelope follower, audio preamp, a clock-able switch, noise source, a sample & hold module, signal inverters, an auxiliary mixer, and even a set of parallel-wired/multi jacks.

The ARP 2600 FS reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, the co-founder of ARP Instruments, parts were carefully selected and every detail was adjusted to replicate the original unit's distinctive synthesis.

Profile of David Friend:
Co-founder of ARP Instruments, Inc. together with the founder Alan Robert Pearlman. In addition to designing the ARP 2600 and Odyssey, he was involved with the development of numerous products, and subsequently entered management, eventually becoming president of the company. His achievements as an entrepreneur have also been acclaimed, and in 2010 he received the "Entrepreneur of the Year" (Emerging Technology category) award from Ernst & Young. After serving as the President and CEO of Blue Archive, Inc., currently he serves as the President, CEO and Co-founder of Wasabi, as well as being a lecturer at MIT's Sloan School of Management. He is also an emeritus of the New England Conservatory and Berklee College of Music.

Normalled Pathways

Nearly every slider and switch on the ARP 2600 front panels is hard wired to specific control source. For example, the front panel controls allow the pitch of Oscillator 1 to be controlled by the keyboard (On/Off switch), the output of the Sample & Hold module (slider), the shape of the ADSR envelope generator (slider), and/or by the sine wave output of Oscillator 2 (slider), and each in varying amounts. These hardwired pathways provide massive amounts of immediate control that make excellent use of all the ARP 2600 has to offer, allowing the ARP 2600 to be played as is – no patching needed. In true modular fashion, inserting a patch cord into the jack associated with any hardwired control overrides that internal connection, letting you create a new signal path of your choosing. As a programming aid, the detailed panel graphics clearly show the available signal routings.

Patch Bay Precision

Unlike earlier modular synthesizers that relied on bulky 6.3mm (1/4") jacks and patch cords, the ARP 2600 uses a more streamlined 3.5mm (1/8”) jack that allows for more patch points to occupy the same amount of panel space, delivering more options and more versatility. Most of the patch points are arranged in a single row below the controls of the individual sound modules. This arrangement keeps the main panel clear and unobstructed for tweaking the controls during performance. Needless to say, these patchable connections and the onboard processors can be used to interact with nearly any modular or Eurorack synthesizer system.

3620 Keyboard

While faithful to the original design, the functionality of the 3620 Keyboard has been greatly enhanced for this limited ARP 2600 release. The 3620 Keyboard contains 49 full-size keys, aftertouch, portamento, and is also duophonic, allowing two keys to be played at once – Single or Multiple Triggering is available. In addition, the duophonic keyboard can use an optional foot switch to lock the interval between any two notes, without retuning the oscillators during performance. Vibrato can be added via a dedicated circuit controlled by aftertouch, or by the onboard LFO (Low Frequency Oscillator), using any of three available waveforms. Most noticeable is the addition of a flexible Arpeggiator that allows a user-defined pattern to be manually sequenced and played back. Still present are the original Pitch Bend knob and the Two Octave Up / Two Octave Down Transpose switch. Connecting the keyboard to the main unit now uses a secure eight-pin din cable.

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Vintage MOOG SIGNAL PROCESSORS

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

See the original advert for the set in this post.

via the seller: "THIS IS A ONCE IN A LIFETIME OPPORTUNITY FOR ANYONE TO OWN ALL THESE UNITS WITHOUT HAVING TO WAIT YEARS & YEARS TO FIND THEM ALL... IT TOOK ME MANY YEARS TO FIND THEM ALL AND SPENT LOTS OF MONEY ON THEM PLUS ALL THE ELECTRONIC MAINTENANCE I HAVE GIVEN TO EACH ONE OF THEM TO HAVE THEM WORK ALL 100%.

I have 5 units in a robust ATA Molded PE Shock w/ Rubber Shock Suspension (12U Space) Model: G-Shock-12L almost new with both front and back lid covers with it's own locking key as well... (REFER TO PHOTOS...) And the Moog Parametric Equalizer as a single unit because it didn't fit in the case unfortunately... But you get all 6 units shipped together as a complete set... NOTE: On the last picture the Bode Frequency Shifter, Bode Vocoder, and the second Moog Parametric EQ ARE NOT included in the bundle they are there just because that's where I had mounted both Parametric EQs but you only get one of the Parametric EQs and not 2 that are pictured there along with the other Bode stuff... Although the Bode Units are going for sale as well but are being sold separately so please refer to info description or ask questions if you're not sure. Thanks...

Here's what's included in the bundle:

- Moog 16 Channel Vocoder 327A - Model: MBVO - X 1 Unit
- Moog Custom Engineering String Filter - ( Fully Calibrated...) - X 1 Unit
- Moog Custom Engineering Dual VCO - ( Fully Calibrated As Well...) - X 1 Unit
- Moog 12 Stage Phaser - Model: MPKH - X 1 Unit
- Moog Three Band Parametric Equalizer 304A - Model: MKPE - X 1 Unit
- Moog Ten Band Graphic Equalizer - Model: MKGE - X 1 Unit

Here's some info you may want to know about each unit:

* Moog Dual VCO - The Moog Dual Voltage Controlled Oscillator was built in very limited quantities by the Moog Custom Engineering Department A.K.A. Modusonic which has 2 Ultra-Stable VCOs based on the 3rd Revision of the Minimoog 921A VCO With Temp Comp UA 726 Matched Differential Pair Transistors. SUPER FREAKING PHAT..!!! Personally I think it beats any Minimoog I've own... The waveforms are just "EARGASMIC"... =) You've got to hear it for yourself... The Moog Dual VCO was designed to add that extra two oscillator fatness to other Moog Synthesizers as the Multimoog, Micromoog and the Minimoog at the time; although the Minimoog required the addition of the Keyboard CV Output Modification so it could control the Moog Dual VCO's pitch and route it's output back into the Minimoog's External Audio Input... The Micromoog & Multimoog did not require this mod because they have already a Keyboard CV Output Jack as well as their respective audio input. So basically you can use the Moog Dual VCO with any Analog Synthesizer with a Keyboard CV Output (1 Volt/Oct.) and an External Audio Input to pass the Dual VCO's output signal back in it and voila two extra fat Moog Oscillators in your set up.

* Functions, Features & Input/Output Option:

- Master Tune - Controls overall tuning of both oscillators or one when only used as single...
- Pulse Width - Controls width of both oscillator's pulse waveforms when used either as single or dual.
- Octave Select Multi-Switch Knob with: LO, 32', 16', 8', 4', 2'. (Both Oscillator 1 & 2 have their own Multi-Switch Knob)
- Waveform Select Switch with: Up Ramp/Sawtooth, Triangle, Pulse, Sine.
- Oscillator On/Off Switch - Each Oscillator has it's own on/off switch to quickly add or subtract one oscillator while performing.
- Oscillator 2 Sync Switch - Automatically syncs both oscillators together by the flick of a switch.
- Oscillator 2 Tune Knob - To tune or detune oscillator 2 from 1 either while synced or un-synced.
- Output Level Knob - Controls overall output volume.
- Power Switch - Turns on/off unit.
- Oscillator 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 1 only.
- Both In 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators while oscillator 1 being the master controller.
- Oscillator 1 Output Jack 1/4" - Outputs signal of oscillator 1 only.
- Oscillator 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 2 only.
- Both In 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators.
- Oscillator 2 Output Jack 1/4" - Outputs signal of oscillator 2 only.
- X 4 Multiple Output Jacks 1/4" - Note: These are not connected whatsoever to any circuit inside the unit, they only serve to split any input or output signal you wish to multiply.
- Runs on 120 VAC Only.

* Moog 16 Channel Vocoder - The Moog 16 Channel Vocoder was designed by Genius Engineer and Pioneer In Electronic Music Instruments Harald Bode in the mid 70's about and first released in about 1977 under the "Bode Sound Company" Brand which was manufactured by Polyfusion under the name of Bode Vocoder 16 Channel Model 7702, and was then licensed to the Moog Synthesizer Brand in about 1978 which was then released as The Moog 16-Channel Vocoder 327A Model MBVO. Both Vocoders are almost identical in circuit design except for a few slight variations in the type of components that were used in each but functions and features are basically the same...

* Functions, Features & Input/Output Option:

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Introducing the New Dave Smith Instruments Sequential Prophet-6

Published on Jan 22, 2015 Dave Smith Instruments

Note the new Sequential branding and site vs. DSI or Sequential Circuits. Maybe they were afraid KORG would grab it. ;) SequentialCircuits.com appears to be owned by a fan site. There is Prophet-6 page at DSI as well.

Update: regarding the Sequential name: "In an unprecedented gesture of good will, Yamaha Corporation and its President, Takuya Nakata, have granted possession of the Sequential brand back to its original owner and company founder, Dave Smith. “To say that I’m grateful would be putting it mildly,” said Smith. “Generosity at this level is almost unheard of in today’s corporate climate.”

Video Description:

"Sequential is back! 100% analog signal path with discrete voltage controlled oscillators, filters, and amplifiers. More info at www.sequential.com

Vintage with a Modern Twist

The Prophet-6 is Dave Smith's tribute to the poly synth that started it all—the Sequential Prophet-5. But it’s not simply a reissue of a classic. Rather, as Dave puts it, “It’s the result of our effort to build the most awesome-sounding, modern analog poly synth possible.” The Prophet-6 takes the best qualities of the original Prophet-5—true voltage-controlled oscillators, filters, and amplifiers—and adds enhancements such as studio-quality effects, a polyphonic sequencer, an arpeggiator, and more. The result is pure, unadulterated analog tone with the stability and reliability of a state-of-the-art modern synth.

Classic Tone, Classic Vibe

Central to the warm, punchy sound of the Prophet-6 are its two newly-designed, discrete voltage-controlled oscillators (plus sub-oscillator) per voice. Continuously variable waveshapes provide the tonal palette with triangle, sawtooth, and variable-width pulse waves. There are two discrete filters per voice—a four-pole, resonant, low-pass inspired by the original Prophet-5 filter, and a two-pole, resonant, high-pass filter. Voltage-controlled amplifiers complete the all-analog signal path.

Dual Effects

The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus and phase shifter. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path. There's also an independent stereo distortion effect, which is 100% analog.

Poly Mod and Poly Step Sequencing

Also present from its classic predecessor is a Poly Mod section, with enhancements. True to the original, modulation sources are filter envelope and oscillator 2 (both with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, low-pass filter cutoff, and high-pass filter cutoff. Another welcome reprise is Unison mode, which features configurable voice count (1-6 voices) and key modes. The polyphonic step sequencer allows up to 64 steps and up to 6 notes per step. You can create sequences polyphonically, with rests and sync to an external MIDI clock. The full-featured arpeggiator can be synced to external MIDI clock as well.

Easy to Program

The knob-per-function front panel offers instant access to virtually all Prophet-6 functions. Included are 500 permanent factory programs in 10 banks of 100 programs. In addition to these, you can create and save up to 500 user programs of your own. Toggling off the Preset button enables live panel mode, in which the sound of the Prophet-6 switches to the current settings of its knobs and switches. In this state, what you see is what you hear.

Easy to Play

All of this awe-inspiring sound is packed into a four octave, semi-weighted keyboard with velocity and channel aftertouch that's an ideal combination portability and power for the project studio or the gigging musician.

Special thanks to Peter Dyer! www.peterdyer.net"


Specs

OSCILLATORS
Continuously variable wave shape (triangle, sawtooth, pulse, square) per oscillator
Pulse width per oscillator
Hard sync: oscillator 1 syncs to oscillator 2
Triangle sub-octave generator (oscillator 1) per voice
Low frequency mode (oscillator 2)
Keyboard tracking on/off (oscillator 2)
Oscillator slop amount for increased tuning instability, from subtle to extreme

MIXER
Oscillator 1 amount
Oscillator 1 sub-octave amount
Oscillator 2 amount
White noise amount

HIGH-PASS FILTER
2-pole, resonant, high-pass filter per voice
Bi-polar filter envelope amount
Velocity modulation of envelope amount
Keyboard tracking: off, half, full

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Modified Minimoog

via this auction. Details on mods:

"It is a modified one, but very professionally modded by a Company I don’t know anything about, in “ancient times”... The mods look almost factory-made, considering the quality of wood cutting and added printed metal written panels. You’ll find the logo of the company in the picture of the modulation panel. If you can provide any historical info about this matter, you're welcome! This Mini has A LOT OF ADDITIONAL FEATURES, compared to a standard one, adding more versatility and interfaceability to the analogue realm! It can be used as a good controller for other Moog, ARP, Oberheim, Roland CV/Gate controlled analogue / modular synthesizers."

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MOOG Sonic Six

Click here for shots via this auction.

"The Moog Sonic 6 (also Sonic VI and Sonic Six) is a duophonic analog synthesizer that was manufactured by Moog Music from 1974 to 1979. The Sonic 6 is the result of Moog Music's acquisition of the company Musonics, which had previously made a synthesizer called the Sonic V.

The Sonic 6 is mounted in its own briefcase; the upper control panel folds and latches over the keyboard to ease transportation and storage. This feature was used by a number of synthesizer manufacturers of the time, however the Sonic 6 was Moog Music's only product that incorporated this into its design. The Sonic 6 is also the only Moog synthesizer that featured built-in speakers rather than requiring the user to use an external amplifier.

The Sonic 6 features two VCOs with changeable waveform (sawtooth, triangle, square, pulse), one low-pass VCF, a VCA, two multimode LFOs for modulation and a 49-note keyboard.

The Sonic Six is an uncommon Moog of wonderful sound and amazing versatility. It very definitely has a “discrete” analog sound, despite the fact that it is most likely an IC synth like most of the synths of the seventies. It's very warm and buzzy and reminiscent of early seventies monosynths.

The Sonic Six was based on Waytena's Musonics Sonic V. When Musonics bought Moog, they sold the Sonic V as a Moog for awhile, and then redesigned it with some castoff Minimoog case designs, and called it the Sonic Six in 1972. It was intended to be the “educational Moog” which is why everything is labeled so bizarrely. Bob Moog himself used to tote one of these around for demonstrations. It is the first non-modular duophonic synth.

The Sonic Six is a two-oscillator duophonic synth. You can set it up so that it is duophonic, (two notes at a time... one oscillator takes high-note priority and one oscillator takes low note priority), monophonic (both oscs), or monophonic with a drone (one osc changes pitch, one does not). Available waveshapes are pulse (variable), saw, and triangle. The pitch of each oscillator can be controlled by dual LFO, one by contour, and the other by the other oscillator. You can adjust the temperament of the Sonic Six, to play scales that have less than 12 notes per octave! The Sonic Six has pink or white noise available with level adjustment.

The Dual LFO is AMAZING. You have control over the balance between the two LFOs. Each LFO has saw, reverse saw, triangle, and square waves available, driven by Envelope or the master LFO slider. Having two LFOs makes a lot of modulation and triggering possibilities available.

The Sonic Six has a genuine ring modulator which allows you to choose between OSC1 and the LFO for source. The ring modulator has a mix knob, and a direct out. The ring modulator and can create more than just the standard sound. It can generate surprisingly guitar-like distortion. Audio signals can be routed through the Moog filter and ring modulator via an external input.

Ah, the contour generator. If there was one weaker spot in the Moog Sonic Six design, this is it. It is simply a modified AR envelope generator. Decay is provided by a switch, offering long or short decay. Where the contour generator becomes cool again (and perhaps cooler than most) is when it allows you to choose what triggers the envelope. You can choose between the keyboard, LFO 1, or LFO 2... or any combination. This function allows you to do many cool things... especially when you've set the LFOs to trigger the synth, and have them on different waveforms at different frequencies. If you turn down the oscillators, turn up the noise generator, and get creative with the filter settings, you can create your own analog drum machine/loop generator.

The filter is a delightfully rich Moog filter with filter cutoff, resonance, KYBD switch, Env amount, and dual-LFO amount. Having the dual LFOs control the filter is a great sound.....you can easily generate unique sample and hold type effects.

The Sonic Six has direct oscillator/ring mod out control knobs. Basically, you can add a direct line from the oscillator to the final output, which REALLY fattens up the sound. Sadly, these outputs don't go through the ENV generator, so they are always on if you have them on, but still... it is a very useful tool for effects and fattening.

The Sonic Six has “glissando” which is actually portamento. This can be assigned to both oscillators or just one, depending on the setting. The Sonic Six has a built in speaker, as well as normal output. The speaker sounds great, and has its own distinctive sound. Many mic the built in speakers! It features control voltage inputs for VCO, VCF, and VCA. Of course, it has a pitch wheel, as well."

EMS Synthi AKS & Extras

Note: Auction links are affiliate links for which the site may be compensated.

via this listing

"Rare transition example that has been used but very well looked after - supplied serviced and ready for use. Recent extensive servicing and modifications by Europe's premier EMS tech to create what we consider to be the ultimate Synthi AKS. All features are fully working and expertly calibrated. Includes many extras and upgrades (see description for full details). This is the AKS to buy if you want the maximum possible sonic options...

EMS Synthi AKS for sale in perfect working order - highly modified to be the ultimate AKS with an even greater range of sonic possiblities over a standard Synthi.

It comes complete with the following accessories:

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Superbooth 2023: Raw Yaw Media - Dizigo Digitial Oscillator Taurus looper, Monolith reverb

video upload by sonicstate

"At Superbooth 2023, Sonicstate.com spoke to Chris Barth, representing Raw Yaw Media, about the three modules the company has on show. First up is the Dizigo, a digital oscillator with two voices - one based on square wave FM synthesis and the other on sine wave phase modulation. It has a modulation depth knob for different pitch shifting and a frequency knob that affects the FM modulator oscillator. The second module is Taurus, an overdub looper that is currently in beta. It features pattern chaining behaviors, different pitch shifting techniques, and a harmonic knob that influences the recorded buffer. Taurus supports up to 16 note steps, with the harmonic knob allowing users to play those notes at different speeds. It also offers clock in and out, reset gate out, and up to an 8x clock multiplier. Lastly, Monolith is a digital reverb with pitch shifting based on exponential FM.

More info: Rawyawmedia.com"

dizygote is an a-side/b-side digital oscillator with a built-in envelope generator. the a-side builds harmonies with a square waveform and frequency modulation. the b-side distorts a sine waveform with phase modulation.

Input:
trig - button and gate in to trigger oscillator amplitude envelopes switch - button and gate in for toggling between the a and b sides length - knob and cv in for changing the envelope length mod - knob and cv in for changing the phase and fm modulation amounts mfreq - knob and cv in for changing the phase and fm modulation frequencies freq - knob for setting the oscillator frequency v/oct - voltage per octave cv for modulating the oscillator frequency

Output:
out l and out r - audio output env - cv envelope out

100 mA +12V 40 mA -12V
10 HP 35 mm deep

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SERGE Medusa Comes to Eurorack

video upload by Serge Modular | Random*Source

"Teo takes the Medusa for Eurorack for a (long) spin, here's the full recording used for the IG teaser ... #sergemodular"

Press release follows:

Introducing the Serge MEDUSA Subharmonic Oscillator for Eurorack: Unleashing New Depths in Modular Synthesis

Frankfurt, 1 November 2024 — Serge Modular proudly announces the launch of the Serge Medusa Subharmonic Oscillator for the Eurorack modular synthesizer format. This groundbreaking module designed by Serge Tcherepnin brings orchestral clusters, coveted undertones and rich harmonic complexity to the Eurorack format.

A Revolution in Sound Design

The Subharmonic Oscillator is one of Serge’s latest inventions and one of his most extraordinary designs. 7 accurate analog VCOs tied at the waist—in unison, yet their frequencies can open like a fan, creating complex clusters. Each voice generates a pulse wave. It is temperature compensated and follows exceptional 1V/Octave tracking. 
In addition, each voice provides (voltage controlled) pulse width modulation or subharmonic division as well as an individual output. By producing mathematically related lower frequencies, it enables the creation of complex and evolving soundscapes that were previously difficult to achieve within the Eurorack environment.
The precision of these voices in combination with a global Spread control and various FM inputs opens an enormous sonic range from massive unisono sounds to dissonant, orchestra-style textures. The ODD and EVEN outputs enable the use as a stereo oscillator.

Key Features:

• Original Serge 2023 design
• 100% analog
• Seven simultaneous subharmonic VCOs with individual Outputs, PWM and variable divisions
• Wide Range Frequency Control: Precisely dial in frequencies from deep bass to soaring highs, all synchronized to the master oscillator.
• Voltage-Controlled Parameters: Extensive CV inputs allow for modulation of pulse width and frequency divisions, enabling expressive performance potential.
• Odd and Even outputs for independent processing / Stereo use.
• Global Spread Control (manual and VC)
• Linear and Exponential FM
• Eurorack format (3U), 42 hp
• Power consumption: 220mA @ +12V, 200mA @ -12V
• Skiff-friendly: depth less than 25mm (1")

“This is my version of a cluster generator. Clusters are part of the contemporary music arsenal of effects. The Subharmonic Oscillator has a total, tracking, V/octave range that is the same as all our VCOs, however, it outputs only pulse waves. Pulse-width operates from instantaneous -> square wave > 1st sub-harmonic > 2nd sub-harmonic ...> Nth sub-harmonic. You guessed it, this is one VCO that sounds like a symphony orchestra playing Atmosphères by György Ligeti.”
Serge Tcherepnin, 18 October 2023

Unmatched Versatility

Designed for both traditional musicians and experimental artists, the Serge Subharmonic Oscillator excels in a variety of applications:

• Bass Enhancement: Generate powerful sub-bass frequencies to add weight to your mixes.
• Polyphonic Textures: Create rich, chord-like structures from a single note input.
• Rhythmic Modulation: Utilize subharmonics to produce complex rhythmic patterns and sequences.
• Sound Exploration: Dive into uncharted sonic territories with modulations and cross-patching.

Availability

The Serge Subharmonic Oscillator will be available starting November 1st, 2024 through Serge Modular / Random*Source and authorized dealers worldwide.

The Story behind Medusa

“I was sitting on a bench recovering from a bike ride at the edge of Fontainebleau forest, when a swarm of crows - some 30-40 of them, suddenly erupted in the sky above the large forest trees facing me.  They swirled in a large arc, emitting a few caws-caws, disappearing and reappearing wildly in the sky in front of me.  
And here is what this made me realize about my electronics: Drones have been part of my musical consciousness from the very beginning, thanks to LaMonte Young and the many examples of drones in Indian classical music.  One of my first electronic circuits was a 3 oscillator 9V operated shruti box. Maryanne Amacher, Eliane Radigue, Charlemagne Palestine, are drone masters I helped and fostered.  Charlemagne still uses the console of ultra stable drone oscillators that I designed for him more than 50 years ago.   
Drones and clusters, in fact.  Clusters, thanks to the marvelous composer Henry Cowell who coined the word for music. The fruit of all this, was me deciding on designing electronics for the creation of drones and clusters.   MEDUSA is the result of this project.

But what do a swarm of crows swirling in the sky above a forest have to do with drones and clusters??

EVERYTHING

MEDUSA is the perfect module for letting fly a swarm of semi independent musical notes, swirling in and out of unison, clusters, or chords, capable to scaling the entire range of frequencies, from sub-sonic to inaudible. MEDUSA gives wings to drones :)”

About Serge Modular
Serge Tcherepnin is an American composer, musician and electronic mastermind of Russian and Chinese descent who grew up in France and in Chicago. In 1970 he joined the music faculty at Cal-Arts where he developed the idea and design of the first “Serge” modules. He founded his company, Serge Modular Music Systems, in Hollywood, in 1975.
Random*Source was founded by Ralf Hoffmann in 2015 with a mission to carry on and extend the work of synth pioneers Serge Tcherepnin and Jürgen Haible. Since the beginning Random*Source has been working in close cooperation with Serge on a new generation of the Serge system. In 2018 Serge became Chief Innovation Officer and is leading the development under the Serge Modular brand.

New Dove Audio WTF Oscillator

It looks like Paula Maddox of Modal Electronics and vacoloco has a new brand and a new module in the works. Dove Audio is the brand and the WTF Oscillator is the module, currently on Kickstarter.

DivKid captured the following demo at this year's Brighton Modular Meet:
Dove Audio WTF Oscillator at Brighton Modular Meet 2018

Published on Jul 10, 2018 DivKidVideo

"Here's a patch from Paula Anne Maddox with her new WTF oscillator and company Dove Audio. It's a new unique take on working with waveforms and oscillators and will be launched on Kickstarter here - http://bit.ly/wtfvco.

This footage is from the Brighton Modular Meet on the 1st of July 2018. The event is held at the Attenborough Centre for the Arts at the University of Sussex. More information here - http://brightonmodularmeet.co.uk"

Some details on the new module from the Kickstarter campaign, for the archives:


"What is a WTF Oscillator?

WTF stands for Window Transform Function and this oscillator gives the owner a new and unique way to morph between waveforms. It's designed to fit in your modular synthesiser, either in Euro-rack format or MU format.

How Does it Work?
Remember when you used to go to the dentist and the receptionist had a sliding hatch that would open and say "Mrs Smith to see the Dr in room 3 please"? Well this is much the same, the "front" wave is represented by the panes of glass on that window, the rear wave is the cheery receptionist.

As you slide open the window in the front wave the rear wave can be seen in that window. You can open and close this window with CV control.

Here's an example waveform.

This creates a totally new waveform that could, for example, start with a sawtooth, then change to a square wave part way through, then go back to a sawtooth for the remainder of the waveform cycle.
All this can be done with full CV control, allowing you to route your existing LFOs, EGs and sequencers to any or all of the parameters.

Features
32 Waveforms + Noise
There are 32 waveforms plus noise in the module and you can morph between any two. There are of course the usual suspects - sawtooth, sine wave, triangle wave and square wave. The remaining 28 waveforms are all newly created to mimic certain types of sounds, like vocal formants, distorted waves, metallic sounds and many more.
You can select the front and rear waveforms with independent control voltages enabling you to create incredibly rich sonic textures.

Tuneable Noise
The noise is tuneable, when you enable noise for the rear wave you can adjust the frequency the noise is generated at, allowing you to go from a white noise to a retro 8 bit game console style noise.

Advanced 'PWM'
You can also set the rear window to be a DC level giving you the ability to create PWM like sounds with any of the 32 waveforms.

Wave Inversion
You can also invert the rear waveform which adds a whole new level of sonic capability to the WTF oscillator.

Dual Window Mode
We've also added a 'dual' mode to the window function, so you can change between a single window opening and closing or a dual window.

CV Control of Waveforms
Finally, we've added the ability to change both the front and rear waveforms using control voltages, used in conjunction with a sequencer this gives you an incredibly powerful sound source full of previously unheard of sonic power."

See the Kickstarter campaign for additional videos and audio demos.

The History of EMS Part 1

via Bitexion on VSE

"This is copied off the Analogue Systems user manual, since they have two cloned EMS modules in their line, the filter and trapezoid. Not written by me. Part 2 comes later, it's 10 pages of tightly written text.

The most interesting parts are the part about the awful control voltage scheme internally, and the quirky DK1 keyboard. Here you go. This part deals with the VCS3 and why it is said to be an effects machine. The next parts will deal with the success and fall of the company, no time to write all that down now.

THE EMS STORY

IN THE BEGINNING
------------------
Peter Zinovieff was born in London in 1933. A geologist who filled his home with samples (rocks, not audio) he was fascinated by electronic music, and used his wealth to develop a huge voltage controlled studio that occupied an entire room at his home in Putney.

When this became too unwieldy, he enlisted the help of engineer Dave Cockerell and programmer Peter Grogno, who helped him design an enhanced system. This used two DEC PDP-8 minicomputers to control the voltage-controlled modules of Zinovieff's early synthesizers. Their "MUSYS" system proved reasonably user-friendly,with a QWERTY keyboard and a velocity sensitive piano-style keyboard, much like today's computer-based studios.

Zinovieff's ideas and instruments were incredible. Twenty years before modern computing and sequencing packages, Zinovieff's PDP-8s could store and replay compositions, complete with sound shaping parameters. His software was even capable of twisting the music into bizarre new sounds and effects. In 1968, Zinovieff and Cockerell also invented a form of computer-controlled spectral (or 'additive') synthesis, using a system of 60 resonant filters that could analyse sounds and resynthesize them.

In 1969, when MUSYS became too expensive for Zinovieff alone, he decided to offer it 'to the nation' as a free resource for the arts. To this end, he placed an advertisement in The Times. Fortunately, a gentleman named Don Banks misunderstood this offer and, in return for a cheque for £50, he asked Zinovieff to "make me a synthesizer". So, together with Tristram Cary, a composer for electronic music for TV series such as "Dr Who", Zinovieff and Cockerell created a new company, Electronic Music Studios Ltd, and produced its first synthesizer. Cockerell's "VCS1" was a hand-built rackmount unit with two oscillators, one filter and one envelope. In an era when any synthesizer was, almost by default, a huge modular, this was not thought to be adequate, so the partners enhanced Cockerell's initial ideas, designing an instrument that was small, but powerful and flexible. It was the Voltage Controlled Studios no.3- The VCS3

THE VCS3
--------------
The VCS3 is, essentially, a modular synth that comes in two parts. The synth itself - nicknamed "The Putney" because EMS was located in that part of London - contains the bulk of the audio modules. It also incorporates two power amplifiers and speakers, making it a self-contained sound-effects generator.

Oscillators 1 and 2 are the primary sound sources, and these produce a remarkable range of frequencies, from below 1Hz to around 10KHz. Osc1 produces sine and sawtooth waveforms with a form of rectifying waveshaping for the sine wave. Independent level controls allow you to select the amounts of each waveform in the oscillator's output. The second VCO also produces two simultaneous waveforms, and again it offers independent level controls for each. This time, the waveforms are pulse and triangle waves, with simultaneous waveshaping from 0% to 100% on the former, and from sawtooth to ramp wave on the latter. It's a shame that, on an unmodified VCS3, none of the waveshapers can be voltage controlled, because this would introduce many forms of PWM and dramatically increase the range of sounds available. But there it is... Once selected, a waveform is static. A third VCO is similar to VCO 2, with pulse and triangle waveforms, but its frequency range is concentrated further down the spectrum, lying between 0.025Hz and 500Hz.

An independant section on the panel contains a noise generator, with a level control and a 'colour' control that varies from predominantly low frequencies (red) through 'white' noise, and up to predominantly high frequency (blue) noise. Another section contains the Ring Modulator which, as you would expect, offers just an output level control.

Many players and writers have described the VCS3's filter as a conventional lowpass filter with an 18dB/octave slope, but they are - to some extent - wrong. For one thing, the VCS3 filter exhibits a 'knee' in its cutoff profile; the first octave above the cutoff frequency rolls off at 12dB/octave, but the slope increases to 18dB/octave at frequencies above that. Furthermore, any amount of filter resonance significantly depresses the low frequency gain, so EMS described it as a combined low-pass/band-pass device. At high Response (the EMS term for 'resonance') the filter self-oscillates. This was mind-boggling stuff in the late 60's.

If the filter is unusual, the envelope generator (which EMS called a 'shaper') and its associated VCA are positively arcane. It has six controls. The first is straightforward enough - it's the Attack, which has a range about 2ms to 1s. So far, so good. The next control is laballed "ON", but nowadays we would call this a ustain level "Hold" because it determines the length of time the envelope stays 'high' after you release the gate. Control number three is more recognizable - it's a Decay rate, with a claimed range of 3ms to around 15 seconds. The fourth knob is labelled "OFF" and it determines the delay before autoretriggering of the envelope cycle. Until you understand that this must be in the '10' position (called 'Manual') to play the VCS3 conventionally, things can get very confusing. Indeed, the envelope will auto-repeat at frequencies of up to 60Hz, which is well inside the audio range, so the 'Shaper' can also act as an LFO or even as a deep bass oscillator.

The envelope has two outputs with independent level controls. The first (and the fifrth in the 'shaper' section) is the one that confuses most people: it's the "Trapezoid" level. To understand this, just picture an envelope produced by an AHD (attack/hold/decay) contour generator. This is a shape called a trapezoid. So the Trapezoid Level simply determine the level of the envelope CV. The second level control (the sixth shaper control) is the signal level, and this controls the loudness of any signal passing through the Shaper. There is a lso a large, red ATTACK button, which we would nowadays describe as a manual Gate.

The VCS3 also provides a spring reverb with Mix and Level controls. This is a simple dual-spring device, with a maximum reverberation time of approx. 2 seconds. Unfortunately, when using the VCS3's internal speakers, the reverb howls uncontrollably before the mix gets very dense, and you can only use it to its full potential with external amplification and speakers.

It may not be obvious at first sight, but the VCS3 is a stereo synthesizer with independent output channels A and B that drive the left and right speakers respectively. These have independent level controls, panning controls, and output filter that, depending upon position, attenuate the bass or trable, or porivde a flat response.

Performance controls are limited to the enormous X/Y joystick. This has two controls that govern the X and Y ranges but, unfortunately, its maximum range is about +/-2V, so it's not often that you can plumb the extremes of any parameters it controls. There is also a
voltmeter that allows you to measure any control voltages (which are close to DC) or signal levels (which are AC) within your patches. You can even connect an oscilloscope to a dedicated 1/4" output on the rear.

THE DK1 KEYBOARD
---------------------
The separate DK1 keyboard - known as "The Cricklewood", because that was where Cockerell worked - was as radical as the VCS3 it controlled. Of course, it was monophonic (there were no poly synths in 1969) but it was velocity sensitive, allowing players to add expression in a
way that had hitherto been impossible.

You connect the DK1 to the VCS3 using a dedicated 8-way cable that provides two power rails, two CVs and a Gate pulse for the envelope shaper. To the left of the keyboard itself, two switches control the two output CVs (called 'Channels') produced by the DK1. The first of these has 'Signal' and 'CV1' positions. We'll come to signal in a moment...for now, simply understand that CV1 was what we would now call pitch CV. Hang on... doesn't CV1, and therefore channel 1, produce the same thing? Yes it does, so there's no point in having both switches set to 'CV'.

Now, let's return to that 'Signal' position. The DK1 has a built-in sawtooth oscillator and an associated VCA with frequency, 'spread, level and dynamic range controls. This is a godsend because, with the spread set to '10' the oscillator tracks the keyboard in a conventional 1:1 relationship. In other words, you can play the keyboard and, with everything else set up appropriately, you'll hear the notes that you would expect. This is not necessarily the case when you use the keyboard CV channels. This is because the keyboard CV channels enter the VCS3 through two input level controls marked, sensibly enough, Channel 1 and Channel 2. The problem arises because the 1:1 keytracking occurs somewhere between '6' and '7' on the knobs, and the exact position can fluctuate wildly with the oscillators' temperature, the time of day, and the FTSE100 index. This makes it very tricky to use the VCS3's internal oscillators for correctly pitched melodies. Every time you play the thing, and even after an hour of 'warming up'm you are constantly trimming the tuning and scaling the Channels.

Furthermore, the VCS3 doesn't confirm to either 1V/octave or Hz/V standards used by every other manufacturer, before and after. It uses internal voltages of 0.32V/octave for oscillators 1 and 2, 0.26V/octave for oscillator 3, and 0.20V/octave for the self-oscillating filter. However, because there are CV amplifiers on the internal module inputs, you need to double these figures to 0.64V/octave, 0.52V/octave and 0.40V/octave respectively for external CV sources. Argghhh!!!!

Likewise, the usual 10V peak-to-peak signal levels are eschewed in favour of 3V, 4V and 6V for the oscillators (depending on waveform), 5V for the filter, 3V for the noise generator... and so on. There was nothing about the VCS3 that we would now regard as conventional.

You might think that this is enough of the VCS3's and DK1's oddities, but you would be mistaken. This is because yet discussed its most notable characteristic: the patch matrix.

ENTER THE MATRIX
-----------------
The most important thing to note here is that the VCS3 will remain forever silent unless you stick some pins into the matrix. This is because none of the devices described are connected to eachother unless you use the matrix to determine which signal goes where. Fortunately, the 16x16 matrix allows you to connect any of the VCS3's modules to eachother. For example, let's say that you want to direct the output of oscillator 1 to output channel 1. Since the signal generated by oscillator 1 emerges from the list of sources in row 3, and the input to channel 1 is column A, you simple stick a patch pin in position A3, and the connection is made. Of course, this doesnæt preclude you from sticking more pins in row 3, and yet more in column A, so patches can become very complex, very quickly. Indeed, you can stick 256 pins into all 256 available sockets, but i doubt that it would create a sound. Also, you must remember that, at this point, you have only made a set of connections between modules. Whether you hear a sound, or whether it's a useable one, still depends on the positions on the front panel controls.

Unfortunately, there are three problems with the matrix. The first two are simple to avoid: if mistreated it can become unreliable; and it's very expensive to replace. The third is more fundamental...

The matrix is not "buffered", and this means that, every time you insert a pin into an existing patch, the actions of other patch connections will change to some degree. Let's suppose that you've spent an hour creating a complex patch and getting every knob exactly as you want it. You the decide that you want to add, say, oscillator 2 to the filter input. You insert the appropriate pin - and everything else changes. As you can imagine, this is infuriating.

Now let's turn to the patch pins themselves. These are not simple metal connectors that short between the row and column rails. They are resistors, and there are three types of these in common use. White ones (with a resistance of 2.7kOhm) are the most common, and you can use them for almost anything. However, because the resistors in the pins have a wide (5%) tolerance, they are not suitable for some jobs. In particular, two white pins inserted into I8 and J8 (CV Channel A connected to the pitch CV inputs of VCO1 and 2) will often be sufficiently different to make the oscillators track differently. To overcome this, EMS supplied red pins, also 2.7KOhm, but with 2% tolerance. The third of the common pin colours is green. These pins have a higher resistance than the others, thus reducing the amplitude of a signal considerably. Most often, you use these when you want to attenuate a control signal, such as applying a delicate amount of modulation to a pitch CV input.

If you read some of the conversations flying around the Internet, you might be forgiven for thinking that the VCS3 is no more than a glorified effects unit. In part, this is because few casual users have the patience or knowledge to squeeze conventional musical signals from the instrument. But perhaps more significantly, it's because the VCS3 has four 1/4" inputs on the rear panel - two for microphones, two for line level signals - routed to the Channel 1 and Channel 2 rows on the patch matrix. Because the VCS3 is modular, this is a far more powerful arrangement than the signal inputs on pre-patched monosynths, allowing you to use an external signal as an extra module, maybe as an audio source, a CV source, or even a Gate.

There's another reason why the VCS3 is often regarded as a sound mangler. Because its internal oscillators are so unstable, using external signals (such as generated by the DK1) is often the only way that you can play conventional melodies. So, in many ways, the VCS3's status as an "effects generator extraordinaire" is a classic case of making a virtue out of a necessity."

Scroll through these posts for more history on EMS and of course check out the EMS label below for more.

Waldorf Music Announces New "Kernel" Synth Engine for the Quantum V 2.0 Update

Update: You might have to read the following press release more than once to fully grasp the update. In short, it sounds like for each of the three Quantum oscillators, there will be a fifth waveform option from Vision 4 Instruments (note this post is also an introduction to Vision 4 Instruments) that allows you to stack up to six new oscillator types. They can then be cross modulated in various ways within each of the three oscillators. Based on the following press release I do not believe this update includes the ability to extend cross mod functionality to the existing Qantum oscillator types, or across the three separate oscillators. The kernal modulations appear to happen within each oscillator. It's like having three new synth engines within each oscillator.


The press release follows:

"Waldorf Music makes major update for flagship Quantum Synthesizer statement with new venture Vision 4 Instruments

REMAGEN, GERMANY: having turned heads and opened ears at The 2018 NAMM Show with its innovative Quantum Synthesizer flagship, this time high-quality synthesizer developer Waldorf Music makes a return trip to announce an upcoming update to the Quantum Synthesizer’s firmware, focused around a new synthesis capability created in close collaboration with fellow German company Vision 4 Instruments — itself a new and exciting venture, providing future-facing hard- and software platforms for electronic musical instruments — at The 2019 NAMM Show, January 24-27, in Anaheim, California…

The latest (version 2.0) free firmware for the flagship Quantum Synthesizer incorporates new venture Vision 4 Instruments’ future- facing Kernel synthesis engine. Extending capabilities above and beyond the four — Wavetable, Waveform, Resonator, and Particle (classic and granular sampling) — synthesis engines already available at the Quantum Synthesizer’s super-creative core, Kernel provides a fifth option for each of the three oscillators in its oscillator section.

So what, exactly is Kernel synthesis? Simply speaking, it is a modular approach in which up to six audio kernels can be freely combined into a single oscillator. Effectively, each kernel is an oscillator in its own right, realising a whole range of timbres — from using sine and classic waveforms via wavetables through to samples and noise. For example, users could combine three wavetables with a sample, a sine wave, and noise within a single Quantum Synthesizer oscillator.

CLICK FOR MORE »

NAMM: Our First NAMM Teaser of the Year Comes from Casio

Click on the bottom two pics and zoom in. Some things to take from the images:

1. Four Assignable knobs

2. Two rows with LEVEL labels

3. First LEVEL Row: (my guess) SYNTH1, SYNTH2, PCM1, PCM2, ???, ???, ??? New Section with ASSIGN1, ASSIGN2?

4. Second LEVEL Row: (my guess) LAYER1, LAYER2, LAYER3, LAYER4, LAYER5, LAYER6, New Section with ASSIGN1, ASSIGN2?

5. Below the LEVEL sections appear to be numbers and/or letters? Maybe tempo settings?

6. There is another section to the right of the knob controller section with buttons.

7. Note what looks like a KORG MS20, laptop and mixer on the table of the concert image. The image along with "The Beginning of a New Era" implies a new audience and new market for Casio.

What do you think?

Update: the two bottom shots joined together and blown up a little:

If you are on a Mac and try to do a screen grab with Command Shift 4 and select the whole image, you will see it brighten up, and you can see some of the additional controls on the far right. I captured a MATRIXSYNTH ghost in there BTW. I really need to invest in Photoshop.

Update: and a new teaser pic spotted on ComputerMusicGuide

The XW-P1 Performance Synthesizer

Update 1.12.12:

"A Mono solo section with up to six oscillators: two virtual analog, two PCM, noise, and external audio. Poly section with wide variety of gig- ready sounds. Drawbar organ mode. Six-way HexTone multis. Nine-track step sequencer with dedicated drum track."

Rumored price for the Casio XW-P1 is $699.

via this HC thread, via Computer Music Guide.

 


Update 1/19/12: Details are in:

Click each pic for the super size shot.  Details on each section below.

STEP SEQUENCER

Providing everything from pulsing dance grooves to animated synth textures and arpeggios, the Step Sequencer in both the XW-P1 and XW-G1 is the first of its kind. With nine tracks for drums, basses, synths and chordal parts, four controller tracks for adding panning, filter changes and other animation to existing parts and eight patterns make up each sequence; the user can build and mix their performance on the fly. Sequences can even transpose live from the keyboard, providing a completely interactive experience.

DRAWBAR ORGAN

In addition to the solo synth and HexLayers, the XW-P1 performance synthesizer is armed with an arsenal of gig ready sounds like stereo pianos, vintage electric pianos, strings, brass, guitars, basses, drums and more. It also has a new drawbar organ mode. Utilizing the nine sliders on the XW-P1 you have full range control over each drawbar. The XW-P1 even has dedicated controls for key percussion and rotary speaker while also providing vibrato, distortion and more for the ultimate drawbar organ experience.

SOLO SYNTH

Utilizing Casio’s exclusive (HPSS) Hybrid Processing Sound Source, a six oscillator monophonic solo synth is just one of the amazing sound engines in both the XW-P1 and XW-G1. The solo synth has the power to deliver classic analog sounds and sounds with an aggressive edge unlike anything else. Two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs can be combined to make up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to master resonant filter. With impressive modulation and control capabilities at your fingertips, the solo synth is capable of a wide range of sounds and expression.

HEXLAYER

In addition to the solo synth, the XW-P1 also features HexLayer tones. A HexLayer is a single sound comprised of up to 6 components, allowing complex layers, splits and velocity switched sounds. The sliders on the XW-P1 can be used to mix sounds on the fly to create evolving pads and rich synth textures while key velocity can be used to create dynamic velocity switched orchestral sounds and more.

ARPEGGIATOR AND PHRASE SEQUENCER

The XW-P1 and XW-G1 both have powerful Arpeggiators. In addition to typical arpeggio patterns, this Arpeggiator can create polyphonic synth gated patterns, acoustic instrument emulations and is even fully programmable allowing you to create your own unique sounds. An additional phrase sequencer allows you to quickly capture any riff that you play on the keyboard and have it available on a front panel switch or triggered and transposed live from a range of notes on the keyboard. The combination of the Step Sequencer, Arpeggiator and Phrase Sequencer provides an endless array of sound possibilities.

CONTROL

The XW-P1 and XW-G1 have 4 real- time controller knobs, pitch bend and modulation wheels, along with 9 sliders to provide control over internal sounds and external devices. Through standard MIDI ports and with a class-compliant USB port the keyboard can be used as a controller for other instruments, including computer software and iPad® based software applications. It also includes an audio input allowing you to monitor an MP3 player, computer or other device without the need for a mixer.

TECH SPECS
6 Oscillator Monophonic Solo Synthesizer (Both)
Sample Looper - Up to 19 Seconds of sampling time (XW-G1)
Sample Player - 10 user tones with up to 5 samples each can be stored in Flash Memory for instant recall (XW-G1)
HexLayer - A single sound made up of 6 components for gig ready splits and layers (XW-P1)
Drawbar Organ Mode with 9 sliders, adjustable rotary speaker, key click, vibrato and percussion (XW-P1)
Fully editable PCM based sounds like stereo pianos, vintage electric pianos, strings, guitars,
drums and more. (400 XW-P1) 300 (XW-G1)
13 Track Step Sequencer (Both)
16 step programmable Arpeggiator (Both)
Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases (Both)
4 real-time controller knobs (Both)
Phrase sequencer to record and playback your riffs (Both)
Stereo 1/8" line input to connect an MP3 player, laptop or tablet (Both)
USB and MIDI ports (Both)
1/4" Line Outputs (Both)
Included Power Supply (Both)
Can operate on 6 D batteries (Both)

http://casiomusicgear.com/home/index.html

Update 10:07 1/19/12: The Official Press Release with pricing:

"NEW YEAR, NEW ERA, NEW PROFESSIONAL SYNTHESIZERS INTRODUCED BY CASIO

Synthesizers built with Innovative and Interactive Features for Performing and Recording Musicians

ANAHEIM, CA, January 19, 2012 —Casio America, Inc. and its parent company Casio Computer, Ltd. today unveiled two new professional Synthesizers. Casio's roots were cultivated from the CZ-series synthesizers over 25 years ago. Recognizing that today’s professional musician wants more, Casio has re-entered the professional synthesizer market with two products which are the ideal tools for performing and recording artists. The XW-P1 is a 61 key performance synthesizer with Casio’s exclusive (HPSS) Hybrid Processing Sound Source. Providing screaming virtual analog monophonic leads and basses, drawbar organs, complex layers, stereo pianos, drums and more, the XW-P1 has the sounds and real-time control the performing musician needs. While the XW-G1 groove synthesizer is designed for the DJ and club performer providing an interactive step sequencer and a sample looper for digitally capturing performance patterns and external instruments. Both will be on display at the 2012 Winter NAMM Show, beginning today through January 22nd at the Anaheim Convention Center in Anaheim, California, booth # 5900, Hall B.

“The XW series are not just new keyboards, they represent a new direction for Casio in the musical instrument business” said Mike Martin, general manager of Casio’s Electronic Musical Instrument Division. “Casio’s formula of value and quality that has been the foundation of award winning instruments like Privia has been applied to a new product category, and the XW-P1 and XW-G1 are just the beginning.”

A six oscillator monophonic solo synth is just one of the amazing sound engines in both the XW-P1 and XW-G1. Two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs can be combined to make up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to master resonant filter.

“The solo synth has an incredibly deep and powerful design. Among countless others, the oscillators even have access to waveforms from Casio’s original CZ synthesizers. It can create a variety of classic analog sounds, but also has the power to deliver sounds with an aggressive edge” said Mike Martin. “Everyone is going to be surprised by the expressiveness and range of sounds the solo synth can create, but that is just one aspect of these products.”

In addition to the solo synth the XW-P1 performance synthesizer is armed with an arsenal of gig ready sounds like stereo pianos, vintage electric pianos, strings, brass, guitars, basses, drums and more. It also has a new drawbar organ mode providing nine steps for each drawbar, vibrato, percussion and rotary speaker control. Rounding out the XW-P1’s sound-set are HexLayer; a HexLayer is a single sound comprised of 6 components, allowing complex layers, splits and velocity switched sounds.

The XW-G1 groove synthesizer is geared for the club DJ and dance music performer. In addition to 420 built-in sounds, solo synth and PCM based sounds, the XW-G1 also has the ability to sample. A 19-second sample looper captures internal sounds as well as external instruments allowing the performer to create layers and overdub sounds on the fly. Sampled sounds can even be saved in Flash ROM so they remain in memory after the keyboard has been powered off.

Providing everything from pulsing dance grooves to animated synth textures and arpeggios, the Step Sequencer in both the XW-P1 and XW-G1 is the first of its kind. With nine tracks for drums, basses, synths and chordal parts, four controller tracks for adding panning, filter changes and other animation to existing parts and eight patterns make up each sequence; the user can build and mix their performance on the fly. Sequences can even transpose live from the keyboard, providing a completely interactive experience.

Furthermore, both the XW-P1 and XW-G1 have 4 real-time controller knobs, pitch bend and modulation wheels, along with 9 sliders to provide control over internal sounds and external devices. Through standard MIDI ports and with a class-compliant USB port the keyboard can be used as a controller for other instruments, including computer software and iPad® based software applications. It also includes an audio input allowing you to monitor an MP3 player, computer or other device without the need for a mixer.

The XW-P1 will be available in March 2012 for an MSRP of $699.00 and the XW-G1 will be available in April 2012 for an MSRP of $799.00.

For more information, visit www.casiomusicgear.com

XW-P1 Features
• 6 Oscillator Monophonic Solo Synthesizer
• HexLayer – A single sound made up of 6 components for gig ready splits and layers
• Drawbar Organ Mode with 9 sliders, adjustable rotary speaker, key click, vibrato and percussion
• 400 fully editable PCM based sounds like stereo pianos, vintage electric pianos, strings, guitars, drums and more.
• Step Sequencer with 9 instrument tracks and 4 controller tracks
• 16 step programmable Arpeggiator
• Phrase sequencer to record and playback your riffs
• Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases
• 4 real-time controller knobs
• Pitch and Modulation Wheels
• ¼” Mic and Line puts to process your voice or other instruments
• Stereo 1/8” line input to connect an MP3 player, laptop or tablet
• USB and MIDI ports
• ¼” Line Outputs
• Included Power Supply
• Can operate on 6 D batteries

XW-G1 Features
• 6 Oscillator Monophonic Solo Synthesizer
• Sample Looper – Up to 19 Seconds of sampling time
• Sample Player – 10 user tones with up to 5 samples each can be stored in Flash Memory for instant recall
• 300 fully editable PCM based sounds
• Step Sequencer with 9 instrument tracks and 4 controller tracks
• 16 step programmable Arpeggiator
• Phrase sequencer to record and playback your riffs
• Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases
• 4 real-time controller knobs
• Pitch and Modulation Wheels
• ¼” Mic and Line puts to process your voice or other instruments
• Stereo 1/8” line input to connect an MP3 player, laptop or tablet
• USB and MIDI ports
• ¼” Line Outputs
• Included Power Supply
• Can operate on 6 D batteries

###

About Casio America, Inc.
Casio America, Inc., Dover, N.J., is the U.S. subsidiary of Casio Computer Co., Ltd., Tokyo, Japan, one of the world’s leading manufacturers of consumer electronics and business equipment solutions, established in 1957. Casio America, Inc. markets calculators, keyboards, digital cameras, mobile presentation devices, disc titles and label printers, watches, cash registers and other consumer electronic products. Casio has strived to fulfill its corporate creed of “creativity and contribution” through the introduction of innovative and imaginative products. For more information, visit www.casiousa.com."

Ionic Performer Analog Synthesizer EMS Synthi AKS Synth

via this auction

be sure to see the Ionic label below for more. Details from the auction:

"Many know the EMS Synthi AKS as THE synth used in Pink Floyd's Dark Side of the Moon. The low bass sequence loop in "On The Run" is the Synthi. The Synthi AKS is one of the most coveted, rare and expensive analogs of yore. Few know of the Ionic Performer.

Quote Found on the internet: "Somewhere in my collection of EMS material I have a lurid photo of the Ionic Performer you mention. I remember attending a NAMM show in Chicago in the early seventies where Ionic Industries had a small booth and were exhibiting the Performer. You are correct that it was a repackaged VCS3 with an integral keyboard. Instead of the pin matrix it had rows of rectangular push-button switches - like an early ryhthm box. What really struck me about it was the publicity leaflet which brazenly announced 'No skill required' in its operation, before expanding further on this theme. It still had the familiar vernier dials for tuning the oscillators. I spoke to Steve Mayer on the stand but no Alfred. Dealings with Ionic were soon curtailed and from about 1972 the US side of the business was handled by Dr. Everett Hafner and his company EMSA from Amherst, Mass."

The left block contains the keyboard oscillator - frequency, tuning spread (distance between notes), level, octave divider and doubler, and whether the keyboard dynamics or voltage were routed to the modification rails. Also on the block are the left and right output level controls, and their pan positions (affecting only the line output).

There are two main oscillators (sine/triangle and square/triangle) and one square with an extended low range (to .01 Hz -- a direct-coupled output that caused Killer to regularly blow up my transistorized Dynaco power amps). The shape (duty cycle) is adjustable as is the relative level of the waveform pairs. Below is the external input level control (line or microphone could be modified as well as the oscillators) and the routing of the keyboard oscillator as a source. The last source in the group is white noise.
Each source can be modified by an envelope, ring modulator (modulated from any other source), filter, and reverb, and be routed to either or both output amp directly. Note that the filter (either with modified output or ringing at the Q point) could also be a source, as well as the keyboard oscillator, external inputs, and white noise. To make sure the player knew which oscillators were in use, there are four green lights (one for the oscillators, one for any other source).

Beginning at the bottom is the reverb (spring reverb), with a nice, rich dry/wet mix. To the right is an Attack/Duration/Decay envelope. The automatic envelope trigger control is to the right. The switches at the top patch the output of one device to the input of another. Only the oscillators and filter can't be patched to themselves, and the white noise has no input. But you could create some pretty unbelievable sounds with this matrix! Note the three items first introduced here, the trapezoid controller (actually the envelope used as a voltage source) and the two "sticks" (pseudo-joysticks).

The filter allows adjustment of frequency, response (Q, right to the feedback point so it could be used as another oscillator), and output level. The trapezoid (envelope) level is also adjustable. The "sticks" adjust two "axes" -- assignable to any device, and adjustable (using the two limit sliders) from no effect to full range. The sticks make this one heck of a microtonal machine. The system is +/-18 volts, so the limit range is extensive. Power and speaker on/off switches are at the top. To the right is the "Z axis" (auto pan/phase) pullswitch and level control. A manual envelope trigger is available, and trigger was normally routed to the keyboard in every case.

The right keyboard block controls final output functions. The two channels can be assigned portamento (which worked quite well) with adjustable pitch slide speed that makes Midi look positively amateur, fuzz, tremolo (triangle controller) and repeat (square controller). The latter two could be given a different variable rate for each channel, and combined with the Z-axis auto-pan, zowdy! These buttons are illuminated.

The designers had ergonomics down before IBM invented the term. Color-coding and logical layout made the instrument performable in near-darkness.

For the most detailed information on this EXTREMELY RARE SYNTH, please see the website: link"

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