via Hispasonic, translated to Googlish from Spanish:
"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.
Features in detail
There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:
* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.
Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).
It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.
Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.
The first thing to note is the mini keyboards on these are optional. They are all desktop synths and the front panel can be angled to different degrees including flat when mounted to the keyboard. Each is a four voice synth but can be chained to add an additional 4 voices per unit. Each can run on batteries and has a built-in speaker. The keyboard is purchased separately. Details and pics on each follow.
"Roland JP-08 Synthesizer Module
The legendary Jupiter-8 synth is back - as a limited-edition module no bigger than a book. Part of the Roland Boutique series, the JP-08 is all about hands-on control and that iconic Jupiter sound. With an array of 36 knobs and sliders from the original Jupiter-8 front panel, the 4-voice JP-08 is highly programmable and encourages sonic experimentation, especially with the built-in speaker and battery operation. Using Roland's acclaimed Analog Circuit Behavior (ACB) technology the JP-08 faithfully reproduces the original Jupiter-8 sounds and adds a few new twists in the form of extra LFOs and expanded VCO range. You can even slide the JP-08 into the K-25m keyboard unit (not included) for a self-contained, go-anywhere synth experience.
Huge Synth. Small Package.
The Jupiter-8 was a big synth in every way; physically imposing with loads of knobs and sliders, and most importantly, a huge sound. The JP-08 retains the big sound of the Jupiter-8 but shrinks everything else - including the price - into a module measuring under 12" across.
Hands-on control
With such an expressive sound engine, you'll want to shape the sounds to match your mood. With 36 of the original parameters accessible from the front panel, the JP-08 is all about hands-on control, and even users of the Jupiter-8 will quickly feel at home as the user interface and programming 'feel' is highly reminiscent of the original.
New Sound-Shaping Options
Even though the JP-08 is an authentic recreation of the Jupiter-8, Roland also included a few extras. The JP-08 adds several new waveforms to the original architecture, including TRI and NOISE for the LFO and SIN for VCO-1, and both VCOs have an expanded range for even more sound shaping potential.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"
Arturia announces the Synclavier V
Published on May 19, 2016 ARTURIA
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
Not specifically a synth event, but some of you might be interested in this. If you are unfamiliar with 4DSOUND, see this previous post featuring a couple of videos from Ableton. Also filing this one in the Art Installations channel. The following is the official press release on the event. You'll find the event site here.
"4DSOUND: CIRCADIAN
PREMIERE AT TODAYSART FESTIVAL IN THE HAGUE, NL 24-27th SEPTEMBER 2015
AT THE ELECTRICITEITSFABRIEK
4DSOUND unveils a new 24-hour programme of interactive spatial sound performances featuring Lisa Park, Marco Donnarumma, Kazuya Nagaya, Oscar Mulero, the overnight A/V meditation proj- ect Noqturnl by John Connell and Florence To, and more to be announced...
• 4DSOUND: Circadian investigates how spatial listening influences conscious states through- out the day and night
• Performances explore how to physically connect the listener with the surrounding space through movement, bio-physical media and psycho-acoustic stimulation
• Program features sound and movement workshops, immersive sonic meditation, participa- tive spatial performances, overnight collective dreamstate and an opening conference
4DSOUND is a laboratory and cultural collective exploring Spatial Sound as a medium. Since 2008, it has developed an innovative Spatial Sound technology that has significantly improved and ex- panded the possibilities to create, perform and experience sound spatially. 4DSOUND is a fully omnidirectional sound environment, where the listener can appreciate Spatial Sound images in a virtually unlimited spatial continuum. Sound can move infinitely distant or intimately close to the listener: it moves around, as well as above, beneath, in between or right through them.
A 4DSOUND environment allows for a natural reproduction of sound sources in a spatial environ- ment. The loudspeakers are completely transparent: instead of listening to speakers, one is listening to space.
Over the last two years 4DSOUND has developed a following through its acclaimed Artist Residency series and showcases at festivals such as Berlin Atonal and ADE, developing work with artists such as Vladislav Delay, Dasha Rush, Pantha du Prince, Murcof, Biosphere and the experimental imprint Raster-Noton. 4DSOUND has also given lectures and talks on the applications and implications of Spatial Sound at interdisciplinary festivals and symposiums such as CTM Berlin, IX Symposium Montreal and Gaudeamus Music Festival.
4DSOUND is at the forefront of researching and demonstrating how Spatial Sound is becoming intertwined with a broader cultural movement that propagates self-awareness, social cohesion and sustainability. Spatial Sound is at the heart of a development leading to an Ecology of Listening – influencing the quality of the listening environment to enhance our mental and physical state.
Inspired by the circadian rhythms that govern our wake-sleep cycle, the 4DSOUND: Circadian programme will investigate how spatial sound influences our states of consciousness over a 24- hour period, by exploring new ways to physically connect the listener with the surrounding space. Through a series of interactive spatial sound performances, workshops and talks, 4DSOUND seeks to embody the range of conscious states of the listener throughout the day, encouraging height- ened awareness of environment, mind-body connection, personal insight, creative expression, empathic sensitivity and social interaction.
Premiering at TodaysArt 2015, the festival for contemporary art and music in The Hague, Nether- lands, 4DSOUND: Circadian presents interdisciplinary work from a diverse set of artists - all created exclusively with and for 4DSOUND.
New York-based artist Lisa Park has developed a series of performances using biosensors (brain- wave and heart-rate devices) as a vehicle for manifesting her inner states. Lisa’s recent works “Eunoia” and “Eunoia II” involved using a commercial brainwave (EEG) headset as a self-moni- toring tool to measure her physical and psychological states. These performances obtained re- al-time feedback of her emotional reactions- an investigation into a new form of expression and trans-sensory experience by visually and audibly reflecting her inner states into tangible forms.
For 4DSOUND: Circadian, Lisa will engage with participants in a new interactive performance that works with spatialised sound derived from neurofeedback, participant interaction and manipulation of physical space to explore boundaries of intimacy, fear and social connection.
Marco Donnarumma is a performance artist, sound artist, musician and writer whose work in the last six years has focused on how to configure human bodies and machines through sound. He uses biotechnologies, software algorithms and body sensors to create intensely physical perfor- mances, concerts and live installations. For 4DSOUND: Circadian, he will invite visitors to take part in a communal, visceral experience of sound and light. Using the Xth Sense, his biowearable musi- cal instrument, vibrations from the visitors' bodies will be turned into physical sonic constructions that will grow and fall apart through time, space and frequency: a total space of networked bodies.
Robert Jan Liethoff is a Berlin-based actor, dramaturgist and voice movement teacher. His work draws on aspects of voice physiology as a departure point for the development of sound-oriented bodywork. He is fascinated by the body’s own intelligence: his compositions often begin from the concept of a raw, or formless space-state, from where they begin to move towards clearer specif- ic forms and structures. Robert will host a sound and movement class and lecture for 4DSOUND: Circadian inviting participants to explore a ‘physical’ listening practice, investigating how we per- ceive sound composition: what the body considers a ‘healthy’ sound texture, our ability to perceive sound internally as well as externally, and the influence this has on our spatial awareness- of space both internal and external, and the sense of physical self that emerges from this understanding.
Kazuya Nagaya is a Japanese artist who creates immersive, ritualised compositions through the use of bronze bells, gongs and singing bowls. Since releasing his first album ‘Utsuho’ in 1999, he has composed music for a range of projects, ranging from collaborations with Tibetan Buddhist monks to a remix for Plastikman. His performance for 4DSOUND will be a sonic immersion working with gong and beat tones tuned to specific frequencies, to induce deep meditative state.
Techno Is Space is an experimental project exploring the spatial forms and energetic movements within techno. 4DSOUND will showcase succesful performances from our recent Artist Residency series in Amsterdam that integrate wearable tactile bass technology from SubPac with 4DSOUND’s spatial system. Veteran Spanish DJ and producer Oscar Mulero will perform a highly charged spa- tial reworking of his acclaimed album ‘Muscle and Mind’ on Pole Group, while Berlin-based duo Cassegrain delve further into the spatially sensitive psycho-techno of their powerful recent LP ‘Centres of Distraction’ on Prologue.
Visual artist and art director Florence To creates light installations using the identity of first space, then sound, exploring the emotional depth of the audience’s perception. Her work with visual space translates how organized elements in architecture can create either tension or harmony in consideration of motion and adaption through live performance. Florence will collaborate with sound designer and 4DSOUND’s Creative Director, John Connell to present Noqturnl, an overnight audiovisual meditation exploring collective dreamstate. Noqturnl will take listeners through a series of ‘rooms’ as they drift between waking and dreaming states. Conveyed through shifting sound- scapes, these rooms contain individual dream scenarios with distinct environments and moods, encounters and interactions. Beginning with a short meditation, Noqturnl offers participants the chance for self-reflection, processing of memories and perceived mental and physical blockages and, ultimately, a dialogue with non-ordinary states of self-awareness at a deeper level."
Many of you will be familiar with the Access Virus compositions by Marc-Henri from previous RADIOKLOW posts. Marc-Henri bridges the gap between electronic music and other forms of art. His most recent work is a poem in tribute to Pierre Henry accompanied by the Access Virus. The tribute is hosted on La poésie au cœur des arts : le Blogart which translates to "Poetry at the core of arts". Click through and click on the Access Virus image to get to the piece.
via Marc-Henri:
"This site called 'Poetry at the core of arts' is the net the extension of a book of the same title, an anthology of poetry published by the french publisher : Editions Bruno Doucey. The book contains a poem I wrote about electronic music. The site was conceived to developp an exploration for some of the poets and artists of the book. I am one of them for, poetry , music and painting.
You will find the poem I wrote for the book, three pieces of music composed in january 2014, four poems by other authors of the anthology, three improvisations performed in early february 2014, a former composition called De Haute Vallée you have seen in the form a video in late 2012, an interview in french and some photographs taken at my flat when I was interviewed."
The following is Marc-Henri's poem translated into English:
"Orpheus veil"
Fly down into Orpheus ear,
Where roll clockworks
Of the forbidden stars
And voices shreds seeking vision.
Listen at the well of walls
Echoes of illuminated faces
In their bronze palaces.
Pavings, folds of roses,
The naked heels
Playing the freshness game
With embers
And the childhood kisses.
Travelling back to horizon,
In the limestone of nights,
Is now the prophecy of the spices,
With its tissue gifted with red
And the sobbings of an initiation.
Marc-Henri Arfeux - 2013
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Update: the following an English translation of the interview with Marc-Henri Arfeux on "Poetry at the core of arts". It is a fascinating read and reminds me of why I initially got into synths. My first synth was a brand new Oberheim Matrix-6 back in 1986. When I first started exploring the Matrix-6 I had no idea what the parameters did, so I just dived in. For me it was an exploration of sound for the sake of sound and a fascination in creating musical instruments never heard before. The focus was on that exploration rather than the attempt to mimic real world instruments. Much of this spirit is covered in the world of musique concrete and is captured in the interview below. Do not miss the part on the short wave radio. Truly fascinating and an inspiration for sonic exploration.
Playlist:
1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave
'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion. The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.
A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG
Patch notes: Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels. Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.
2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet
This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet
This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.
"Mike Hosker presents to you a tutorial video of the iMini, Arturia's first application for Ipad.
iMini is an application recreating the classic Minimoog™ synthesizer that is based on the TAE™ technology found in Arturia award winning Mini V software.
iMini is designed to allow users the classic sound, look and feel of this iconic synthesizer.
iMini endorsers include Stephan Bodzin, Richard Devine, Banco de Gaia"
"COMPATIBILITY
iMini is compatible with iPAD 2, iPAD 3 and IPAD Mini
DESCRIPTION
iMini is a recreation of the classic 1971 Minimoog™ synthesizer, one of most iconic synthesizers of all time.
Based on the TAE® technology found in our award winning Mini V software, iMini offers a level of sound quality never before found on the iPAD as well as over 500 sounds by leading sound designers.
We have also partnered with the Bob Moog Foundation so that a portion of each sale goes to support their work in music education via the Dr. Bob Sound school program, making available the archives of Dr. Bob Moog and funding the dream to build the Moogseum.
The Minimoog™ synthesizer was made famous by artists and bands such as Stevie Wonder, Depeche Mode, Kraftwerk, Keith Emerson, Devo, Jean Michel Jarre and more. We now bring the features and sound of this classic to the iOS platform.
The iMini not only recreates the look and feel of the most legendary synthesizer, it does it with unparalleled sound quality. iMini is based on the award winning Arturia Mini V software that was created in partnership with Dr. Robert Moog himself, back in 2003. Thanks to this heritage, continuous research and refinements over the years, iMini comes with amazing sound quality and a large collection of preset sounds created by top sound designers such as Klaus Schulze (Tangerine Dream) and Geoff Downes (Asia).
What will you do with it?
First you can play the iMini’s numerous sounds from the iPad keyboard. You can create your own sounds and start building your personal sound palette.
If you are an owner of the Arturia Mini V software on your Mac or PC, you can import and export sounds between your laptop or desktop Mini V and iMini.
You can also control iMini from a MIDI keyboard via CoreMIDI and integrate it into your studio or live performances.
But this is not all; iMini is ‘Tabletop Ready’. Tabletop is a free iPad application that allows you to integrate iMini into a full studio of devices. With Tabletop you can build an entire song, with drum machines, FX's, sequencers... and of course the inimitable Minimoog™ sound.
Tabletop Ready™
The connect page is also your avenue to open up a whole new world of possibilities with iMini via Retronyms Tabletop application.
Tabletop™ is a free app for your iPAD that allows you to integrate iMini into a complete studio environment. In Tabletop you can use multiple instances of iMini; record your performance into a real-time sequencer; automate any of the parameters; add effects; process other modules through the iMini filters, etc. Tabletop also features number of in app purchase options to add more effects and instruments from other 3rd party companies.
Features include
Classic Minimoog™ sound.
3 Oscillators
24db per octave filter.
Simulated headphone jack/external input feedback.
2 Assignable XY pads
Chromatic or tuned scale keyboard modes
Polyphonic mode
Full featured arpeggiator
Repeat
HOLD and MEMORY latch modes
Octave span
5 note order modes
Speed and sync controls
Virtual Analog Chorus
Virtual Analog Delay
Owners of both the iMini and Mini V software apps can transfer sounds from one platform to the other via iTunes.
Full user MIDI mapping of panel controls.
Supports WIST sync with other iOS devices.
‘Tabletop Ready’
Soundcloud seeder (via Tabletop)
Render to .wav file (via Tabletop)
‘Audiocopy’ to paste your audio into another iPAD application. (via Tabletop)
The Minimoog™ name used here is a trademark of the respective owners, which are in no way associated or affiliated with Arturia. These trademarks are used solely to identify the products whose sound and features were modeled during the development process."
"Arturia advances history-making Minimoog to iPad musical masses!
"The iMini turned my iPad into an ‘old skool’ analogue bass monster! Its sound is irresistibly ‘phat’ and very close to the original. If you want that typical dirty Moog sound then the iMini is all you’ll ever need. It’s by far the most powerful and hypnotising synth app on the market.”
- Stefan Bodzin, 2013 (DJ/producer, remixer of Depeche Mode, Booka Shade, and more)
GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of iMini, an authentic recreation of the all-time classic Minimoog monosynth for Apple’s all-conquering iPad, as of February 27...
iMini is based on the TAE® (True Analog Emulation) synthesis technology found in Arturia’s award-winning Mini V soft synth, meticulously modelling the distinctive tones and analogue nuances of the legendary Seventies-vintage Minimoog Model D monosynth. Moog changed the musical world with the Minimoog and Arturia helped change the music software world with the Mini V.
Arturia now brings the still-sought-after classic Minimoog sound to the musical masses, transforming any iPad mini, iPad 2, or iPad with Retina display into the ultimate analogue synth emulation! Those timeless three oscillators and that 24dB per octave fabled filter are all present and accounted for in iMini. It also successfully sports the look and feel of Dr Bob Moog’s namesake iconic synthesizer for all to see (and hear). But being a game-changing iPad app for 2013 and not an analogue synth design dating back to 1970 means there’s a whole lot more to iMini than first meets the eye...
Any serious synthesizer connoisseur will instantly recognise the MAIN mode screen as an eye-catching rendering of the Minimoog Model D front panel, albeit with welcome additional ‘analogue’ CHORUS AMT. and DELAY AMT. level controls, as well as a POLY switch for playing polyphonically — impossible in 1970, obviously! Other subtle supplements include a gearwheel icon above the keyboard — press to reveal GLIDE, DECAY, LEGATO, and SCROLL switches for performance keyboard control, plus a SCALE function to choose from no fewer than 26 different scales and modes. Meanwhile, iMini comes complete with hundreds of superb sounds showcasing its supreme sonic versatility; press LOAD from the menu bar and choose from sound designer or category — couldn’t be simpler!
But ‘behind’ that familiar-looking MAIN screen lies a wealth of truly 21st Century audio action: the PERFORMANCE page accesses an arpeggiator with two latch modes and two assignable XY pads for creating all kinds of patterns and real-time morphing sounds; the FX page provides iMini with the same wide-ranging CHORUS and accurate ANALOG DELAY models found in the above-mentioned Mini V software — subtle sound thickening to wildly modulated effects (chorus) and sync to external tempo (stereo delay) possibilities abound here! Handily, all onscreen knobs and switches in each iMini page can easily be assigned to MIDI CC allowing automation from any external MIDI source. The default MIDI map will automatically work with Arturia MiniLab or Analog Player 25 Universal MIDI Controller keyboards!
And that’s not all: the CONNECT page is the gateway to making iMini talk to the outside world (using the Apple iPad Camera Connection Kit) — use WIST (Wireless Sync Start Technology) to sync the arpeggiator and delay to other iPad or iPhone apps, and integrate iMini into a complete studio environment via Retronyms Tabletop. This free iPad app allows multiple iMini instances to be simultaneously run; real-time performance recording into a sequencer; parameter automation; processing of third-party, Tabletop-ready apps through the iMini filter, and more. “iMini is an ideal Tabletop-ready app,” says Retronyms Co-Founder John-Paul Walton. “It’s a fresh take on a legendary synth, and comes packed with a ton of amazing presets — everything from retro space sounds to contemporary bass noise.”
Thanks to iMini, today there’s really no excuse for not taking that history-making Minimoog sound anywhere anytime. And in recognition of the groundbreaking instrument to which it owes its very existence, for every iMini sold, Arturia will make a donation to The Bob Moog Foundation, whose Executive Director, Michelle Moog-Koussa, kindly adds: “We are grateful to Arturia and Retronyms for donating part of the proceeds from the iMini in support of our mission to ignite creativity at the intersection of music, science, history, and innovation. A portion of this funding will go to support our educational initiative, Dr Bob’s SoundSchool, which teaches children the science of sound through the magic of music.”
For Frédéric Brun, Arturia’s President, the feeling is mutual: “We are delighted to donate to The Bob Moog Foundation and acknowledge our gratitude to Robert Moog, who helped us when we released our first virtual instrument, the Modular Moog V, back in 2003. We are also thrilled to work with Retronyms, who are a great company and a force to be reckoned with when it comes to iOS. The iMini sets a new standard for what a virtual instrument should sound like on an iPad.”
So let’s make music and help history come alive with iMini in more ways than one, and also support the dream of building the Moogseum (Bob Moog Museum), the convergence of The Bob Moog Foundation’s goals of inspiring and educating people through electronic music.
Appropriate iPad owners can purchase iMini directly from Apple’s App Store during a three-week introductory launch pricing period for €8.99 EURO/$9.99 USD (rising to €19.99 EURO/$21.99 USD thereafter)."
And the official pics & details from Strymon for the archives:
"Five modules in one.
Not only does Generalissimo allow you to create an abundance of warm, gooey, and saturated tape soundscapes, it provides a huge amount of utility and versatility, giving you the functions of five separate modules in one.
Four Head Tape Echo. Sound on Sound Looper. Spring Reverb. Clock Multiplier. Self-Oscillator.
Combining musically inspiring hands-on and voltage-controlled parameters with uncompromising sonic quality, Generalissimo will launch your modular performances into uncharted interstellar space. Generalissimo gives you the deep, luscious sounds of our Four Head dTape Echo machine, with extensive control over tape characteristics and machine health.
You also get a truly playable sound-on-sound looper with instant tape splice and loop triggering. With 1-to-1 dedicated hardware controls for all functions, CV control for multiple parameters, plus tape speed control independent of tempo, Generalissimo allows you to incorporate the warm, inviting sounds of tape into your modular rig in limitlessly creative and expressive ways.
Generalissimo provides you with a complete four-head tape echo machine, with detailed tape warmth, character, and artifacts that can be tweaked with a host of dedicated controls. Adjust the health and specs of the machine with Wow & Flutter, Record Level, and Low Cut. Change the quality of the tape with Tape Age and Crinkle. Go from a brand new machine with new tape to a worn out unit overflowing with mangled magnetics. You get individual level controls for each of the four play heads, a master feedback control, and individual feedback tap switches for switching each play head in or out of the feedback circuit.
When you’ve already traveled to the edge of the galaxy in Echo mode, Sound on Sound mode will take you far beyond. In Sound on Sound mode, the fourth head works as the Sound on Sound recording head. While you’re loop recording with the fourth head, you’ve still got an active three-head delay in front of that! With feedback active, this is a living, breathing system with a life of its own. There’s also a Sound on Sound Trigger CV input that seamlessly takes you back to loop start.
Generalissimo’s independent spring reverb allows for reverb-only operation, independent of delay playback levels. The reverb is dripping with character and voiced with inspiration taken from the darker sounds of the spring verbs found in some of the vintage tape echo machines. It pairs perfectly with the tape head echoes to provide an extra dimension of space and sound.
Generalissmo’s four heads are aligned so that the fourth head is the ‘quarter-note’ head, determined by the tapped tempo or clock input. The other heads are spaced at selectable subdivisions from equally-spaced sixteenth notes, triplet rhythm, or uneven spacing. Each head has it’s own CLOCK OUT jack, providing sub-divided clock signals determined by the selected spacing. Send a trigger to align the clock edges, or let them run free.
With the Feedback turned up, Generalissimo will easily self-oscillate, even with no input applied. The Speed knob acts as a pitch control, allowing you to use the Generalissimo as a slightly unpredictable sound source, as the speed, filtering, and frequencies present in the tape oscillation work in harmony to find the most willing harmonic content to keep the party going. Add the Reverb to this madness, and you enter into uncharted sci-fi soundscapes.
Generalissimo’s Speed knob is the fun performance tool, calibrated in a very musical and playable way so that it’s easy to hit octaves when adjusting the pitch. The Tap button sets the delay time, effectively determining the tempo by setting the tape head distance. The Tap control is entirely independent of the Speed setting, and this independence is key to the huge impact Generalissimo will have on your sound and creativity."
First we have a new software model of the TR-808 from the original developers of the 808:
"The RC-808 'Re-Create the 808' emulates the original TR-808 sound with analog manner synthesis. As the name implies, it is with respect to the original 808 sounds which is a criterion for sound synthesis as a vintage. Starting from this criterion, explore the multiverse of sounds, stretch out your vectors, to find out new criterion of your own. Yes, it can take you to the new sonic worlds that are completely different and yet so close and familiar to you.
Hence it is not a drum machine but is a drum synthesizer. No samples nor effects processing are being used, just genuine synthesis only, all in analog manner.
The sound source employs DCO which is in this case Down Chirp Oscillator, combined with a noise source that outputs various kinds of noises including metallic noises. There is also a infinite point wave shaper, a variable filter bank, infinite point envelope generators etc. With maximum 8 partials per voice, it allows sound designing in subtractive synthesis manner which is familiar to all and yet still with vast space beckoning to be discovered.
Thanks to this flexible architecture, all instruments can have Open and Close variations just like Hi-Hats or cymbal choke performance. Coupled with piano-roll sequencer utility this brings new expressions with gate time programming, that you don’t see on a drum sequencer..."
Second, the following is some info on the people behind the RC-808 (pictured above) via Vector808:
"We the Analog Mafia, lead by Tadao Kikumoto, is the original R&D staffs who developed the Mid-O Series from Roland Corporation. We would like to express full gratitude and respect to all the people who were in Roland, and supported us at that time.
In above photo, from left to right, we the Analog Mafia are:
Jun-ichi Kadoya: Roland 1977 - 1983, Mid-O Series software / hardware engineer, still is a programmer
Hisanori Matsuoka: Roland 1979 - 1995, Mid-O Series software / hardware engineer, still is an engineer
Kyokazu Fujiwara: Roland 1978 - 1981, Mid-O Series sound source, now a general manager of a software maker
Tadao Kikumoto: Roland 1977 - 2009, Mid-O and V-Series R&D, now Silent Street Music concept maker and promotion
Yoshiro O-e: Roland 1978 - 1988, System-700 and Mid-O Series R&D, now operating a chemical company
Also are:
Hiro Nakamura: Roland 1975 - 2000, CR-68, CR-78, TR-808 sound sources, engineer
Atsushi Hoshiai: Roland 1982 - present, sampling for TR-909, engineer
We all are still analog manias ;)
Because we are independent from Roland Corporation, they nor we can not answer to any kind of inquiries about us and our deliverables including this website. Thank you so much for your understanding and cooperation for everything.
Tadao Kikumoto is currently also working busy on another equally innovative project, called SSM - Silent Street Music. It is multi-channel concurrent streaming and listening technology that allows zapping through multiple music or lecture sources instantly. Join us on its exclusive introduction website (at the moment the website is only in Japanese language)"
Third, vector808 has a fascinating historical account covering the development of the Roland TR-808 starting with the x0x series, or as the original Roland developers referred to them, "The Mid-O" series. The following are three excerpts followed by a link to the full article. Note how they perceived the TR-808 was a failure compared to the LinnDrum in the second excerpt.
One:
"The Beginning
In 1983, a number of instruments were released with MIDI, the standard that I was involved in. After the tough times with all the difficulties of development, Roland launched the TR-909 the successor model of TR-808. Yamaha made debut of the ground breaking DX7, a serious digital synthesizer and again with MIDI. It was the opening of the new chapter in the electronic musical instruments, the dawn of full digital synthesis.
Roland then was still a new emerging enterprise, and did not have enough resources to pursue digital technology. To combat the situation, the Fundamental Research and Development Department was established."
Two:
"To meet the low target price, I employed oscillation technique of pulse wave modulating the simple T-network bandpass filter. By short circuiting the resistors in the T-type network for the certain initial duration with transistors, it was possible to raise the frequency. This allowed us to enforce the attack sound compared with conventional rhythm boxes.
But the initial reputation of the 808 was nothing but crippled as it was compared with the Linn products. Furthermore, the sound had insufficient impact or punch at the beginning, which resulted to have pronounced fundamental frequency 60 Hz. But then again, it was this prominent fundamental which attracted the attention of later time hip-hop and EDM artists, and they gave a name to it as “Deep Decay”. This led to the rediscovery of Mid-O Series. The long decay sound was made possible by decay parameter that I added to show at least as a sign or as an evidence of the 808 being a synthesizer. Even inside the company this was regarded as going too far, but later it became one of vital identities of the 808.“
Three:
"If you liken it in the picture art world, the TR-808 sounds are simple line drawings and illustrations so to speak. It puts more weight on showing essence simply rather than realistic photography. The traditional painting of Japan known as Ukiyo-e is a pictorial method and manner that is primarily made of outlines derived from specification of printing and paints. This manner has its own limits, and hence is a vector of criterion. Katsushika-Hokusai, famous for his Mr Fuji pictures, created The Great Wave off Kanagawa（神奈川南沖浪浦 Kanagawa Minami Oki Nami Ura）. In that piece of work, he threw off the photographic details into abstraction that boldly enhanced the great waves by outlines, and made contrast with a pointed Mt Fuji. This manner derived from its own limits is something impossible with realistic paintings that put priorities on details.
The inventor of the bass drum must have done trial and errors like enlarging the diameter or making the membrane thicker to produce fat low sound. Large portion of the beater strike energy to the skin however must have been consumed by uneven fractional vibration or parasite vibrations, resulting unwanted muddy sound. Also, the drummer spends a long time doing a lot of work on damping with blankets and else in order to suppress the unnecessary resonance with the body or with other drums. But once adequately used, this dirt will become important part of the sound, its identity, reality, and criterion.
The TR-808 bass drum was without the reality of the drums but was like an enhanced great wave depicted in the Hokusai’s picture. It is with abstraction of the details, but then again, also with dynamic and ideal low sound. It lacks with the attack impact and the release decay of sampling drum reality, but the artists chose its ideality."
"PC3K8 Overview [via] The PC3 introduced the world to a new generation of ground-breaking Kurzweil technology, having a synthesis architecture that remains unparalleled in depth and flexibility, combined with a staggering amount of effects processing power. The PC3 sound set, which encompasses everything from the traditional to the cutting edge, has been widely acknowledged as second to none.
And now the PC3's successor has arrived. The Kurzweil PC3K is the pinnacle of our PC3 line, bridging the gap between Kurzweil's past successes and present innovations. An Old Friend
The PC3K, already loaded up with the many impressive features and sounds of the PC3, allows users to tap into the massive wealth of samples and programs developed for our legendary K Series over the past 18 years. Capable of loading .KRZ/25/26 sample files, WAVE and AIFF files, as well as most of the K Series programs and setups, the PC3K presents a whole new world of choices to players, and once again underscores our commitment to the concept of non-obsolescence by design. You can choose to delve into the extensive libraries of existing K Series samples or decide to fill the PC3K's flash memory with your own signature samples. In either case, you'll have the most powerful version of Kurzweil's V.A.S.T technology ever developed at your fingertips to help sculpt your sounds and attain a level of detail and expressiveness truly worthy of your music. Sample files can be loaded via USB from a thumb-drive or directly from a computer. Esto Immortalis
~ "Let it be lasting, immortal" (Latin)
User samples that do not "go away" when a keyboard is powered off - this is a feature that's been requested by keyboardists since the introduction of digital sampling in the early '80s. Clearly demonstrating the virtue of enduring quality, the PC3K offers 128 megabytes of user sample memory and compatibility with K Series files, while also taking an enormous leap forward by allowing user samples to remain intact while power is off. Once samples are loaded into the PC3K's flash memory, there is zero load time for those samples when powering on the instrument.
Advanced program, keymap and sample editing features allow you to customize your sounds with surgical precision. You're able to map any sample to any key, tune individual samples, change the start, alt start, loop point and end point of samples and even assign a controller to adjust sample start point in real-time. Light Years Ahead
Under the hood of the PC3X is simply the most powerful synthesis engine ever created by Kurzweil. Dynamic V.A.S.T. picks up where the K series left off. Having up to 32 layers per program means that emulations of real instruments can be extremely detailed and accurate, while the synthesized sounds can be extraordinarily large and complex.
Expanding upon our V.A.S.T. architecture, the PC3X's new architecture delivers more power and flexibility combined with unprecedented ease of use. Users can now create and store their own DSP algorithms, with nearly limitless possibilities for routing.
In another huge development, we've resurrected the VA-1 Virtual Analog Synthesizer, having built it's synthesis engine right into the new system. Hear the VA-1's power-shaped, anti-aliasing oscillators (including supersaw, triplesaw, and hard sync oscillators) combined with a newer, larger set of V.A.S.T. filters (like the classic-style 4pole low pass w/ resonance) and non-linear processors and you'll understand why the internet is buzzing about this feature. It's The Sound
The PC3 Series's advanced synthesis architecture, along with its painstakingly-edited sample ROM, allowed us to create a sound set that is both broad and deep, with no compromises on sound quality. Referred to by some in the music industry as "the solid gold Swiss army knife", the PC3 line has become well known for having covered all the bases when it comes to presets. Whether it's the famous Kurzweil grand piano, the wide array of deadly-accurate vintage keys emulations, KB3 Mode, VA virtual analog sounds or the hundreds of world-class orchestral and string section programs, the PC3K provides over 900 presets that let you know that it does everything and does it well. Plug And Play
Saving, loading and updating the OS are all made easy on the PC3K with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. Samples and OS updates can be loaded from a thumb-drive or directly from your computer, and of course the PC3K sends and receives MIDI over USB. Finishing Touch
In a nod to the design of classic synths and keyboard instruments from years past, the PC3K, the top of our PC3 line, has been fitted with handsomely crafted wooden end-caps, adding an element of luxury and refinement that beautifully complements the awesome technology at the heart of every Kurzweil keyboard.
""PC3LE6 Overview [via] The Best Sounds, The Best Features, The Right Price First Things First...
Fantastic sounds, reliable performance, musical expressiveness, ease of use; these are the things we believe are essential to the design of an affordable keyboard instrument. Kurzweil's new PC3LE6 combines the amazing sound quality and performance control features of our enormously successful PC3 with a new streamlined, intelligent user interface, providing an interactive experience that is bound to inspire creativity. It's The Sound...
Under the hood, the PC3LE features the same groundbreaking chip technology that has made the PC3 the most talked about keyboard in recent years. All of the PC3's sounds are included - the famous Kurzweil grand piano, vintage electric pianos, Clavinets and Mellotrons, dazzling Orchestral and Strings collections, stunning VA virtual analog synths, KB3 organs, realistic basses, drums, guitars, percussion and horns, General MIDI, plus nearly 200 new programs developed specifically for the LE; over 1050 programs in all. We've improved the method for navigating through such a massive sound set; programs in the LE can be viewed and selected with a new set of Category buttons. Select "Leads" and you'll see a list of all the synth leads in the machine, grouped together. Same goes for the other 20 categories, everything from Synth Bass to Mallets to Guitars.
These programs take advantage of our V.A.S.T. synthesis engine, using pristine samples paired with detailed programming of literally hundreds of synth and effects parameters. Whether it's the rosin of a bowed string instrument, the resonant harmonics of a piano's damper pedal, or the thumps and squeaks of an electromechanical keyboard, we've done our homework and provided a level of detail and realism that can only be found in a Kurzweil. Which means you can focus on the important business of making music.
The PC3LE6 comes equipped with over 700 onboard effects chains from which to choose, all with real-time controllers already assigned to relevant parameters. With world class reverbs that decay into complete silence, warm, classic sounding phasers, flangers and choruses, and burning, saturated distortions, you'll have everything you need to make your music sound like a polished, finished product from the outset. The PC3LE6's architecture provides up to 10 insert effects, which can be distributed among 10 channels, with an available auxiliary effect as well. Interactive...
In the PC3, we introduced the "INFO" feature, a soft button-press that allows the user to see which controllers have been assigned to parameters within a program. For the LE, we've taken this to the next level, with an interactive user interface that communicates directly with you whenever you move a real-time controller. Turn a knob, hit a button or move a wheel and the LE's screen will display the controller, its real-time value and the parameter being affected. An example would be moving the modwheel on an organ program - you would see the following: "Modwheel 79 Distortion Drive". This system never breaks down - you can change effect chains freely and all of this info remains intact, updated to reflect the new chain you've selected. Also, this info is transferred seamlessly to Setup Mode - you can see whatever controllers have been assigned to programs used in any zone of a setup. Customizing Your Sound...
Prefer to spend your time playing over sound-programming? Think of the LE as the preset-player version of the original PC3. All the sound, no deep programming necessary.
At the same time, we wanted to give users the quickest, simplest possible way to adjust the PC3LE's sounds to suit individual tastes and needs. In any given program or effects chain, select relevant parameters have been pre-assigned real-time controllers for easy access. Move a controller and hit the SAVE button - no menus, no pages with endless parameters - and you get one touch sound customization.
Also, we understand that flexibility is important when it comes to customizing your sound. Don't want filter frequency control on a knob? Prefer to have it assigned to the modwheel? No problem. The PARAMETERS page allows you to re-assign any controller to any available* parameter. You can save your custom sounds to the user bank, with over 1000 ID slots.
*available parameters are predetermined and vary per program A Different Drummer...
With the PC3LE6, we're introducing a new set of dynamic physical controllers - 8 backlit, velocity-sensitive drum pads that can be used to trigger sounds, sequences, chords and arpeggiations. Every program in the machine has a drum kit assigned to the pads, so you'll always have access to a rhythm track when you need it. As a bonus, we've included a set of over 100 new drum programs, with acoustic brush kits, slammin' rock kits and a number of heavily effected techno/electronic kits, in addition to the 24 existing kits from the PC3. Just as we put a great deal of effort into making sure that our keyboard action feels just right, the drum pads were implemented with precision and care, with utmost attention given to how they feel when played. After all, this is a musical instrument and not just a piece of technology. Everything Else You'd Expect...
Complimenting the LE's new features are a few old familiar Kurzweil favorites; Setup Mode, Quick Access Mode and Song Mode, all taken directly from the PC3.
Setup Mode enables the LE to act as a powerful MIDI controller as well as providing 16 simultaneous, independent, fully programmable arpeggiators, with factory and user-programmable patterns. On top of that, each setup can have up to 16 simultaneous Riffs - sequences that can be triggered by buttons, drum pads or notes on the keyboard. While Setup Mode, with up to 16 zones each with its own program, is still as powerful as ever, we've added a Split/Layer button to make the creation of simple setups quick and easy.
Quick Access Mode allows you to create custom banks of 10 sounds that can be accessed by a single button-press. And Song Mode delivers a full-featured 16 track sequencer with all of the powerful editing features that you'd find in a high end workstation - event editing, swing, controller scaling, input quantize, input filter, and chasing controls. User memory provides over 1000 ID slots each for your own QA banks, Setups and Songs. Connectivity...
Saving, loading and updating the OS are all made easy on the LE with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. OS updates can be loaded from a thumb-drive or directly from your computer, and of course the LE sends and receives MIDI over USB. Standard MIDI jacks are also included for In, Out and Thru. For audio, the PC3LE6 features high-quality, hum-canceling, stereo balanced analog outputs, with 24-bit DACs as well as a 24-bit stereo S/PDIF digital output at 48K.
Suggested Retail Price: $1695
All specifications subject to change without notice."
""SP4-7 Overview [via] Kurzweil's SP4-7 is the modern successor to our best selling SP76, which famously combined world-class Kurzweil sound quality with previously unheard of affordability and portability. The updated SP4-7 makes available to more players than ever the same sound set featured in our hugely successful PC3 line of professional keyboards, in an instrument that is slim, lightweight and extremely easy to use. Good Things Come In Small Packages
Here at Kurzweil, we realize that many musicians have the need for a keyboard instrument that is both compact and lightweight. The SP4-7's enclosure is slender, elegant and easy to lift; once set up it leaves the smallest possible footprint, which means that you, not your keyboard, will be in the spotlight. Up And Running In Record Time
With a user interface that's intelligently designed to make things as easy for you as possible, the SP4-7 provides the features that are most important, right where you'd want them. Create splits and layers with the touch of a button; select presets and setups from easy to access category and program buttons; quickly adjust effects parameters; everything is laid out so that you can be up and running and making music right out of the box. No Compromises
While the SP4-7 is the most affordable keyboard that we currently offer, no compromises were made, no corners were cut, when it comes to its sounds. Featuring 128 hand-picked programs taken directly from our acclaimed PC3 line, the SP4-7 delivers the best of the best in every category of sound, with our famous Triple Strike Grand Piano, classic electric pianos and lush strings and orchestral instruments, along with top notch basses, guitars, winds, brass, percussion and drums. Its 16-part multitimbral architecture makes the SP4-7 a powerful tool for writing and recording music in conjunction with an external sequencer or Desktop Audio Workstation. Icing On The Cake
In addition to utilizing programs from the PC3, the SP4-7 also features dozens of the PC3's professional quality effect chains. Everything from flawless concert hall reverbs and crisp delays to powerful distortion and amp simulation effects add another layer of depth and realism that can only be found in a Kurzweil. The most relevant effects parameters have been mapped to the SP's Timbre knob, so you can customize your sound without having to dive into menus or manuals.
via Hispasonic, translated to Googlish from Spanish:
* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
