MATRIXSYNTH

E3(55) Gets an Answer

Published on Jul 25, 2014 David Lilja

"Based on E3(55) Drone Home, by John L Rice:
https://www.youtube.com/watch?v=Jbds3...

Okay, I admit. I'm a Synthesis Technology fanboy!

Delay: Waves H-delay
Reverb: Audio Damage EOS"

XILS-lab Releases miniSyn’X

"XILS-lab launches low-cost luscious soft synth emulation of Eighties polysynth par excellence!

'I’ve just got miniSyn’X and am so excited, because the Synthex is a fantastic rarity. Thanks to XILS-lab for giving everyone the opportunity to play with it.'

- Jean-Michel Jarre (April 2015)

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of miniSyn’X — an authentic, cost-conscious soft synth emulation of a much-loved Eighties-vintage analogue polysynth of Italian origin that helped define the sound of an era — as of April 8...

miniSyn’X is a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polyphonic, duo-timbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) Windows (XP, Vista, and 7/8) that faithfully emulates the still-sought-after sound of the Synthex, a luscious, 1982-vintage, eight-voice programmable analogue polysynth independently designed by Mario Maggi and built by Italian home organ manufacturer Elka. Indeed, it was much loved by synth luminaries of the day — not least French synth wizard Jean-Michel Jarre, whose well-known Laser Harp performances still emanate exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/ programmer Paul Wiffen and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s multi-million-copy-selling Rendez-Vouz album of 1986. Pity, then, that the Synthex did not sell in such Jarre-like quantities during a four-year, three-stage (50-, 800-, and 1,000-unit) production run, with one last post-production unit being built especially for Stevie Wonder, such was the legendary American singer-songwriter/multi- instrumentalist/record producer’s love for the future-classic instrument that initially failed to fly in the face of the-then ‘art nouveau’ digital age of dominating desirable FM synthesis from Yamaha’s considerably cheaper, MIDI-equipped DX7, and subsequent super-selling, all- singing, all-dancing digital designs from the likes of Roland (D50) and Korg (M1).

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