Top 20 Greatest Synths - Episode 5

Title link takes you there.

Yamaha DX1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

via Johan.

Access Virus Bing Bada Bling

Remember the Goldfilter? Well, here's a couple shots of it in the flesh. The Goldfilter is a one-off, Limited Edition Access Virus TI. Title link takes you to a site the winner set up with more shots and info. The owner will be auctioning it off starting May 31st. This will be a fun one to watch. I'll put up a post if I see it in my Ebay feed, but if I miss it, feel free to shoot me an email. Via one of the anonymous in the comments of this post.

CLICK FOR MORE »

Jan on 606

flickr by exebechay. via Alex.

ARP Pro Soloist Interfacing

The ARP Pro Soloist keyboard has a 6 bit output; 4 bits chose one of 12 pitches, and the remaining 2 bits control the octave. The voice selector card for both the Pro Soloist and the Pro-DGX output a 5 bit code that selects one of the 31 presets, or "Off". Finally, there is an op-amp that buffers a voltage proportional to the output of the aftertouch sensor, and subbing a CV for this output will work even if the resistive strip is dried out and dead. Thus, your MIDI to CV converter should generate a 6 bit code for note-on/off, a 5 bit code for program change, and a CV for aftertouch, and the only thing on the ARP you'll have to touch to play it are the aftertouch destination routings, the vibrato/repeat rate knob, and the portamento on/off switch.

David Hillel Wilson
Curator
New England Synthesizer Museum."

Sequential Circuits Pro One

Title link takes you to shots via this auction. This one is good enough for your mama.
Details:
"This is the original Sequential Circuits Pro-One. You could compare it to the Minimoog or the Arp odyssey but why? The three are the trinity of analog mono-synths. They often sit along side one another, but never do they replace each other.... The most common problem with the Pro-One is the goofy, clunky keyboard. The keys go out of alignment and become uneven. This one is no exception. This IS a snaggle toothed Pro-One. There are also two stickers on the back. One is "Tony Banks" and the other is "Le Car". They are really cool stickers and show that you are musically diverse. Photo Sharing and Video Hosting at PhotobucketI draw close attention to these flaws so they do not surprise you, but when you look at it you really see a beautiful, classic, good-looking synth that you would be proud to show off to your mom."

More Messe via Gearwire

Cwejman, Doepfer, Vermona


Cwejman

Roland MC-4b, MTR-100, and OP8

Title link takes you to more shots via this auction.

Details:
"This is a Roland MC-4b MicroComposer Digital CV/GATE Sequencer for sequencing analog synths with CV/GATE inputs. It comes complete with the extremely rare optional MTR-100 Digital Cassette Recorder and the somewhat rare optional OP-8 DCB converter for controlling a Juno-60 or Jupiter-8 via DCB interface. It also includes the original manual, 20 Maxell M-90 Data Cassettes (recommended by Roland in the manual), and an original DCB cable for interfacing with a Jupiter-8 or Juno-60. It took me over 12 years to complete this set, now you can save yourself the time and effort by buying them altogether. This sequencer is the tightest sequencer on the planet, and can sequence CV/GATE synths with ease. It was used by many artists to create some of the best music ever heard. Former users include Vince Clarke, Rational Youth, Human League & Martin Rushent (Dare!), Richard D. James (Analord), John Foxx, Wang Chung, Tears For Fears (The Hurting), Toto, Devo, YMO, and many more. A keyboard with CV/GATE output can be hooked up to enter notes via keyboard, or you can enter notes using the calculator keypad. This MC-4 is the more difficult to find expanded model with the "B" designation that allows you to save patches to the supplied MTR-100 Data Cassette Recorder at twice the speed as normal, and also contains double the memory capacity. This is my last MC-4b, and it will be sorely missed. You can listen to a song I composed entirely with this setup and an additional MC-4 here: http://isatellite.info/lifeintokyo.html. For more information, you can visit my detailed review at: link."

Ken Stone's Programmer/Sequencer

Bookmarking this one for "one of these days." Title link takes you to more info. Be sure to check out the rest of Catgirl Synth.

"The Programmer/Sequencer is a Serge inpired multi-stage sequencer. Unlike most sequencers, this one makes no use of binary counters. Rather, it uses a set of individual stages, each one directly accessible. As such it could be considered to allow "random access". The first sequencer produced by Serge was a 4017 based counter that put out gate pulses. In order to get a control voltage sequencer, the gate outputs were fed to the input stages of a multi-state programmer. Usually built in groups of four, but sometimes coupled through a switch, these programmers would only allow a single stage to be active at any time, outputting the corresponding control voltages to their bussed output jacks. The stages could be selected either via a gate/trigger input or a panel mounted push button."

Oscar and His 505

Image sent my way via Mark of The Backlit Lounge. BTW, in case you are interested, the "Backlit Lounge is a monthly event in San Francisco. It is open to any Electronic Musician that would like to perform. All you have to do is visit Backlit Lounge and sign up for one of the 45 minute monthly slots."