YouTube via abertronic. Dual channel Synth. via these auctions (be sure to see the link for more)
I also have a permanent Abertronic on Ebay link to the right under the MORE STUFF section.
Friday, June 12, 2009
Yamaha CS 15d
YouTube via abertronic. Dual channel Synth. via these auctions (be sure to see the link for more)
I also have a permanent Abertronic on Ebay link to the right under the MORE STUFF section.
神奈川県子ども会DS-10キャラバン リハーサル おもちゃのチャチャチャ
YouTube via aqi. Starts to get going around 1:40 and takes off at 2:05.
More vids of the event here.
Also be sure to see these previous vids by aqi (scroll when you get there). It's cool seeing this live.
Be sure to see the video description here for links. [Googlish here]
OSC 1 geht nicht richtig?
YouTube via elektrofusl
"Was zum Geier moduliert den Osc 1, dass er so klingt. Ich komm nicht dahinter?"
Googlish: "What the hell modulates the Osc 1, so that it sounds. I do not come to it?"
Yamaha Sy22 Vector Synth (Wavestation Korg - D50 Roland) demostration by S4K
YouTube via Space4Keys. Note the Yamaha TG33 is the rack version of the SY22.
"Demostration
Keyboard: Yamaha Sy22
Performed by S4K
www.space4keys.com www.keyboardsolo.com"
TIM 1037 - Alan Parker - Without Shadows A
YouTube via Sketchboxx
"must be that old oberheim drum machine on that early 80s library. enjoy"
It does sound like the Oberheim DX. Anyone confirm? Curious what the synths might be as well.
Wolfram Franke Interview on Sonik Matter
Note this is an old interview from 2001. I just never posted it before. Thanks goes to Mark Pulver for sending this over to the Waldorf mailing list. Wolfram Franke is the product specialist and a coder for Waldorf, the old Waldorf and new. He is one of the core influentials at Waldorf.
According to the interview, the first synthesizer he programmed on was the Wersi MK1 in 1986: "Wersi and it is called MK1 (Series III). It was a 20 voice, 8 part multitimbral additive synth with up to 32 harmonics, an integrated chorus/ensemble effect and only one VCF, but that one was a copy of the Moog 24dB VCF plus a good-sounding overdrive."
Some interesting snips on his time with Waldorf:
"The Pulse was the first synthesizer where I helped working on the basic concept, i.e. sound parameters, UI layout and overall sound character.
The concept of the Microwave II was done almost completely by me and half a year later, I started to write down the controls I would like to see on an extended version of the Microwave II. You know the result, it became the Microwave XT!"
Regarding the Q being modeled after the Pulse:
"Oscillators - those are real models of analog oscillators, resulting in a very fat bass sound even when you listen to them without filters or effects. They behave exactly like their analog counterparts and they were modelled after the analog oscillators of our Waldorf Pulse synthesizer.
Filters - those are also real models, not only algorithms as found in almost all other VAs. This means that they can self-oscillate and allow FM. They are modelled after something in-between the Curtis filters from the Microwave 1 and our discretely built Waldorf Pulse four-pole filter."
Note the above is just a small fraction of what you will find the full interview. Do check it out. It is fascinating and it is one of the rare interviews that primarily focuses on synthesis.
Note you can find all interviews featuring Wolfram Franke here.
According to the interview, the first synthesizer he programmed on was the Wersi MK1 in 1986: "Wersi and it is called MK1 (Series III). It was a 20 voice, 8 part multitimbral additive synth with up to 32 harmonics, an integrated chorus/ensemble effect and only one VCF, but that one was a copy of the Moog 24dB VCF plus a good-sounding overdrive."
Some interesting snips on his time with Waldorf:
"The Pulse was the first synthesizer where I helped working on the basic concept, i.e. sound parameters, UI layout and overall sound character.
The concept of the Microwave II was done almost completely by me and half a year later, I started to write down the controls I would like to see on an extended version of the Microwave II. You know the result, it became the Microwave XT!"
Regarding the Q being modeled after the Pulse:
"Oscillators - those are real models of analog oscillators, resulting in a very fat bass sound even when you listen to them without filters or effects. They behave exactly like their analog counterparts and they were modelled after the analog oscillators of our Waldorf Pulse synthesizer.
Filters - those are also real models, not only algorithms as found in almost all other VAs. This means that they can self-oscillate and allow FM. They are modelled after something in-between the Curtis filters from the Microwave 1 and our discretely built Waldorf Pulse four-pole filter."
Note the above is just a small fraction of what you will find the full interview. Do check it out. It is fascinating and it is one of the rare interviews that primarily focuses on synthesis.
Note you can find all interviews featuring Wolfram Franke here.
RMI Harmonic Synthesizer vs. RMI Keyboard Computer
via Wavecomputer360 on the AH list:
"both machines are totally different beasts, and even the two different versions of the KCs differ considerably from each other. I can only speak for the KC-2 (which I hated to see go a couple of years ago but then again, it was worth a couple of months´ rent for my flat...). The KC-1 is a totally different cup of tea. I have never used, let alone owned one (I think I had one out of nine KC-2s ever sold to owners in Germany).
A common trait of both instruments -- the Harmonic as well as the KC -- is that they both tend to sound a little static and not really rich and animated, very digital. Their digital nature (oops, there´s that word again) keeps them a bit too much in tune so you´d need some external effects to make it sound a bit more animated. It´s great as a source of samplefodder and really unusual overtone spectrums. The Harmonic of course allows you to change overtones while playing it which is something you can´t perform on a KC (a trick commonly used by many Harmonic Synthesizer players... insert the wooden wedges into the keyboard in order to keep a set of keys pressed, let the arpeggiator noodle on and on, and change overtones as it goes). Also, the Harmonic has a built-in analogue VCF (here´s that word which makes the whole affair come back on topic again...) plus the arpeggiator which allows for rudimentary realtime sequencing. You can´t do that on a KC.
What the KC can do, though, is to sound a bit like a proto-PPG of sorts -- although a lot more polite and well-behaved than a PPG 360 --, or a Prophet VS, for that matter. Its "Bells" preset was absolutely striking (no pun intended), and so was the "Pipe Organ". It has a very interesting raw sound which is ideal for further processing. One feature of the KC I was particularly fond was holding down a chord while inserting punchcards and hear the sound transform from one into another. That was definitely proto-PPGish. You could also do that when setting up two completely different sounds in each channel and use the pedals to let them fade into each other seamlessly.
Being a bit blatant, I´d recommend listening to the ['ramp] album "ceasing to exist" which was recorded in collaboration with touch guitar player Markus Reuter. I used mainly the RMI KC-2 Keyboard Computer for the electronic sounds and drones, plus a couple of loop devices. You can find the album as legal download on www.musiczeit.com (check for the label "Extended Moment"), there should be some audio to try out. There´s also a download-only album out called "drones and shimmers" by the humble writer of these lines (click here). I used the KC, plus a Jamman, for the tracks "working the soil" and "cultivating the sky". On a different note, I used the Harmonic and its built-in arpeggiator a lot on a track called "Cosmic Caravan" off a limited-edition CDR album called "blasters of the universe". You might be able to find a copy somewhere...
Hope that helps,
Stephen."
"both machines are totally different beasts, and even the two different versions of the KCs differ considerably from each other. I can only speak for the KC-2 (which I hated to see go a couple of years ago but then again, it was worth a couple of months´ rent for my flat...). The KC-1 is a totally different cup of tea. I have never used, let alone owned one (I think I had one out of nine KC-2s ever sold to owners in Germany).
A common trait of both instruments -- the Harmonic as well as the KC -- is that they both tend to sound a little static and not really rich and animated, very digital. Their digital nature (oops, there´s that word again) keeps them a bit too much in tune so you´d need some external effects to make it sound a bit more animated. It´s great as a source of samplefodder and really unusual overtone spectrums. The Harmonic of course allows you to change overtones while playing it which is something you can´t perform on a KC (a trick commonly used by many Harmonic Synthesizer players... insert the wooden wedges into the keyboard in order to keep a set of keys pressed, let the arpeggiator noodle on and on, and change overtones as it goes). Also, the Harmonic has a built-in analogue VCF (here´s that word which makes the whole affair come back on topic again...) plus the arpeggiator which allows for rudimentary realtime sequencing. You can´t do that on a KC.
What the KC can do, though, is to sound a bit like a proto-PPG of sorts -- although a lot more polite and well-behaved than a PPG 360 --, or a Prophet VS, for that matter. Its "Bells" preset was absolutely striking (no pun intended), and so was the "Pipe Organ". It has a very interesting raw sound which is ideal for further processing. One feature of the KC I was particularly fond was holding down a chord while inserting punchcards and hear the sound transform from one into another. That was definitely proto-PPGish. You could also do that when setting up two completely different sounds in each channel and use the pedals to let them fade into each other seamlessly.
Being a bit blatant, I´d recommend listening to the ['ramp] album "ceasing to exist" which was recorded in collaboration with touch guitar player Markus Reuter. I used mainly the RMI KC-2 Keyboard Computer for the electronic sounds and drones, plus a couple of loop devices. You can find the album as legal download on www.musiczeit.com (check for the label "Extended Moment"), there should be some audio to try out. There´s also a download-only album out called "drones and shimmers" by the humble writer of these lines (click here). I used the KC, plus a Jamman, for the tracks "working the soil" and "cultivating the sky". On a different note, I used the Harmonic and its built-in arpeggiator a lot on a track called "Cosmic Caravan" off a limited-edition CDR album called "blasters of the universe". You might be able to find a copy somewhere...
Hope that helps,
Stephen."
Thursday, June 11, 2009
Serge TKB patch twiddled
YouTube via b3nsf
"I set this up to do drums, then modded it for this touch mayhem.... some mellow nice craziness, enjoy!"
ROLAND CR-78 RHYTHM DRUM MACHINE
images via this auction
I never noticed the sliders on the SH-32 are similar until now.
Auction description via wikipedia:
"The Roland CompuRhythm CR-78 is a drum machine launched in 1978.
Although primitive by today's standards, the CR-78 represented an important advance in drum machine technology at the time. The wood effect cabinet and preset rhythms of the CR-78 such as Waltz, Bossa Nova and Rhumba suggest that it was seen by its designers as primarily an accompaniment for an electric organ, but the CR-78 became one of the favorite instruments of New Wave and electronic musicians in the late 1970s and early 1980s. Songs that make prominent use of the Roland CR-78 include Heart of Glass by Blondie and In the Air Tonight by Phil Collins. [2]
The machine and its controls
The CR-78 used analog drum voices, which sounded very little like real percussion instruments, but they instead had their own distinctive sounds. The unit also incorporated an early Intel microprocessor to provide digital control of its functions.[3]
Previous Roland drum machines had offered only a selection of preset rhythms. The CR-78's key new feature was that in addition to offering 34 preset rhythms, it provided four programmable memory locations for storing patterns created by the user. These could be created by using step programming with the WS-1 box, which was available as an optional extra. [4]EMS RANDOM VOLTAGE GENERATOR
images via this auction"The EMS Range of Ancillary Studio Modules EMS Modules are designed not only for use with Synthi synthesisers but with any complex of voltage controlled equipment, of whatever manufacture. They are supplied in handsome afrormosia cases, but can be removed and mounted in standard 19" racks, occupying only 1.7" (44mm) of vertical space. They contain their own mains power unit with a very wide range of stabilisation to cope with poor mains line conditions, being operable at anything from +10% to more than—23% of nominal line voltage. Connections to and from the modules can be made either from the jack sockets on the front panel or via the multi-way socket at the back. [auction description via Old Tech Synth Site - click for more]
TWO VOLTAGE RANDOM GENERATOR [via tripod - click for more]
The EMS Random Voltage Generator produces a staircase type of output, the 'steps' of which occur randomly, but whose voltage range and time variance are controllable in the following ways:
Time: The internal clock which decides the mean rate of events can be (a) freerunning and subject only to manual control, (b) inhibited so that the next random voltage depends on a manual push button or an external pulse (equivalent to external clock control); (c) free-running but voltage controlled so that an external voltage influences the mean rate. In this state the device becomes a voltage/time converter.
If the time variance control is at zero, the mean rate is constant (though subject to change of steady rate if influenced by a control voltage). As the time variance control is tuned clockwise, the mean time random variance becomes greater, and when this control is at maximum the rate will randomly vary in a ratio of more than 100:1. The distribution of chances is rectangular, not Gaussian, so that no part of the variance range is particularly favoured.
Voltage: Two voltage outputs are available and separately adjustable, but both are subject to the same time control — i.e. the steps of the staircase occur at the same time from both outputs. At zero, there is no voltage variance at all, and as the setting is increased the variance about the mean voltage (set at the device being controlled) becomes greater, excursions being both positive and negative of the mean voltage. In addition, a trigger pulse is sent whenever a random selection is made, and a lamp on the panel glows at the same time.The random voltage generator can be used for quasi-melodic purposes, for interesting timbre and other parametric changes, or at high speeds for randomly varying vibrato or tremolo (very near simulation of natural, performed vibrato), or for producing very dense textures of rapidly changing notes. A very versatile instrument, essential for any well-equipped electronic music studio.
SPECIFICATIONPower Supply:
240 or 115VAC 50/60Hz + 10% to —23%
Control Outputs:
+/- 2.5V max. (this excursion can be offset to accommodate non-EMS products).
Trigger Output:
+4V
Mean Time Range:
0.2 - 20 events per second.
Time Variance:Max. approx. 100:1 (at mid-settings of mean rate — limited by possible clock range).
Select Input and Inhibit/Free Run Switch:
+ 5V at select input or manual push button operates and inhibits after one event if switch at INHIBIT. +5V will run clock at mean rate set while present at select input, if switch is to FREE RUN.
Voltage Controlled Mean Input:
0.5V/octave ( = doubling or halving rate) limited by possible clock range."
E.M.S. DIY Modular
via satamile on this electro-music.com thread where you'll find more links including a digital release."E.M.S. was a NY based Electro producer who actually made his own Modular, Drum Machines, Vocoder and a few other odds and ends. Out of this so far he has produced four Records on Satamile Records to world wide acclaim, being played by the likes of the late and great John Peel and Dave Clarke."
Arp Odyssey MKI with Patch Points
via Noisebug where it is currently for sale.
"Arp Odyssey Mk I (Model 2800). Has CV patch points and Oberheim filter. As the legendary first compact studio synthesizer, the Minimoog, proved to be a runaway success, ARP responded with a compact user-friendly studio synthesizer of their own with the Odyssey. Produced between 1972-74, these original white-faced Odysseys used a 2-pole VCF filter design (Model 4023) similar to old Oberheim SEM modules."
Malekko / Wiard Boogie Filter Episode 2 - Boogie Jam
YouTube via bigcitymusic bigcitymusic.com
"This filter sounds REAL good. Here's a fun one-note jam using the new Malekko Boogie filter. The Cwejman VC0-2RM is providing the drone while the Analogue Solutions Vostok is sequencing the Boogie's cutoff. Drums are provided by the crushing Jomox 888 with it's analog kick and snare.
We're sending the rim shot out, 1/8th notes, separately. That audio is being converted into a gate pulse by the Analogue Systems rs50, a very handy module, which is clocking the Vostok's sequencer. Danger high frequencies!"
Remember to check out MATRIXSYNTH-C and more
Just a reminder, be sure to check out MATRIXSYNTH-C and the other sites in the header links above. I just put a video up from an electronic music performance in Costa Rica. According to Ernesto, the scene is growing there. Pretty cool.
Waldorf Microwave 1 Limited Mean Green Machine
via this auction"You are looking at a Waldorf MicroWave, the original one with real analog filters and amplifiers. Actually, this is the limited edtion “Mean Green Machine” that was only produced 99 times worldwide. This unit has the number 43 and was treated as collector item.
The Mean Green Machine was produced 99 times when Waldorf announced the OS 2.0 for the Microwave. Needless to say, that this unit is updated to the newest OS available but it is also one of the later run of Waldorf Microwaves.
This practically is the PPG in a rack, with analog filters and amplifiers. 8 voices can be used in multimode with 4 individual outputs as well as a stereo pair outs. Wolfgang Palm himself did the hardware work on the Asic (Wavetable chip). Wavetable synthesis at its best, surely beats the newer MWII/XT series in raw power with 2 oscillators, analog 24db LP filter, analog amplifier with panning, 4 envelopes, 2 lfos, and flexible modulation routings.
The Waldorf Microwave “Mean Green Machine” Limited Editon comes with manual in pdf on CD, newest OS installed, and Step-up transformer (110V to 220V, 50 Watts). The power cord is attached to the unit."
Presentazione Grp A8 - Parte 1
YouTube via vigasan
"Enrico Cosimi presenta il Grp Synthesizer A8 - XL Studio - Roma, 30 Maggio 2009 - Sessione teorica"
Presentazione Grp A8 - Parte 2
"Enrico Cosimi presenta il Grp Synthesizer A8 - XL Studio - Roma, 30 Maggio 2009 - Sessione pratica"
A somewhat bombastic theme
YouTube via attorks
"A somewhat bombastic symphonic theme this time. The Doepfer MAQ16/3 has two 6 step sequences on rows 1 and 3 driving the Synthesizers.com on row 1 and the Creamware MiniMax ASB on row 3. The steps on row 2 are varied from 4 to 10 steps driving the self-built Modular. The first sequence you hear comes from the MiniMax, the second sequence from the Synthesizers.com and the third sequence from the self-built Modular. The Roland XP80 is responsible for the tortured sound. The solo's are played on the Clavia Nord Lead 1 and the Waldorf Q Keyboard."
KORG MS-20 girl vocal sound! My MS20 sings...
YouTube via AnalogAudio1
"With the two filters of the Korg MS-20 you can also produce funny human voice sounds... if you know how :-)"
random melody
YouTube via feelda303
"me playing random melody around a quick loop i made... it reminds me of some dance track and i swear i have it in my mp3 library, i just don't know how is it called..."
goofy techno loop
"messing around very COOL preset i found in NI REAKTOR L3's library (i also used additional vengeance electro essentials drum loop)..."
GForce Minimonster to Moog Voyager Comparison on Signal to Noise
"Out of nothing more then curiosity i wanted to know the fundamental differences between the Moog Voyager & Minimonsta. The filter is obvious so i didn’t even want to have that in the equation. I wanted to look at the raw building blocks, the oscillator waveforms. Here are my results."via Signal to Noise where you'll find the mp3s and visuals.
MOOG MINIMOOG
via this auction"The Minimoog Model D is a cornerstone of classic synthesizer culture. This wood panel monophonic synth is considered by many to be the ultimate Moog synthesizer. The Minimoog features: a simple and accessible control layout, an aesthetically simple and attractive construction, and a 44-note keyboard. A Minimoog console also displays a Controller section, 3 Oscillator Banks, Mixer section, Modifiers, and Output control. There are two control wheels next to the keyboard, one controls the pitch, and the other controls modulation.
The Moog Minimoog control panel can be broken up into 3 sections:
* The sound generator (the VCO or voltage-controlled oscillator)
* The filter (the VCF or voltage-controlled filter)
* The amplifier (the VCA or voltage-controlled amplifier)
To produce a sound, the musician would first choose a sound shape to be generated from the VCO. The VCO provides a choice of several switchable waveforms:
* Triangle Wave
* Sawtooth Wave
* Sawtooth/Triangle
* Square Wave
* Two different width pulse waves
The sound then travels from the VCO to the VCF (voltage-controlled filter) where it can be shaped and sculpted, adding resonance. Next, the sound travels to the voltage-controlled amplifer (VCA). The term "amplifier" can be a bit misleading to novices who might be thinking of a stereo amplifier with a single volume knob. In a modern synthesizer, a VCA actually has 4 separate volume knobs that control four different stages of the sound. For example, the first knob - the Attack volume - controls how loud a sound is when the key is first pressed: does it start immediately like a string being plucked? Or does it fade in gradually like a violin being softly bowed?Part of the appeal of this instrument over the early modular Moogs was the fact that the Minimoog required no patch cables. While this imposed the signal flow limitation outlined above (VCO -> VCF -> VCA), there are ways to tweak the sound. For example, in reality, the Minimoog has six sound sources. Five of these sound sources pass to a mixer with independent level controls:
* Three voltage-controlled oscillators (see above)
* A noise generator
* An external line input
The Minimoog Model D is a cornerstone of classic synthesizer culture. This wood panel monophonic synth is considered by many to be the ultimate Moog synthesizer. The Minimoog features; a simple and accessible control layout, an aesthetically simple and attractive construction, a 44-note keyboard"
Roland CR78 drum machine
via this auction"Also check out the programmer available form CHD ELEKTROSERVIS" previously posted here
SEIKO DS Series Synthesizer and Sequencer
YouTube via matrixsynth.
This is the SEIKO in the previous auction post. The video is from that auction with the following note: "apologies for the bad audio quality, due to my bad camera"
Comments disabled here to keep them in the prior post.
MOOG MODULAR synthesizer freq. counter & tone selector
images via this auction"Moog modular frequency counter and tone selector module where you can select 12 different tunes (notes) in order to tune very well any synthesizer oscillators. It was mounted on a very big custom Moog modular system in the past. The dimensions are standard like Moog Modular modules. very good to put on a Synthesizers.com or COTK modulars.. It working on 220 / 240 volts with built in power supply."
be sure to see the sellers other items.
SEIKO DS series lot
YouTube via matrixsynth
This video is from the auction with the following note: "apologies for the bad audio quality, due to my bad camera"
images via this auction
"SEIKO DS additive synthesizer & sequencer collection. Why have musicians like Ruediger Lorenz, Till Kopper, J.M. Jarre and Aphex Twin owned one, then? The answer is that the 310 has an additive synthesis facility that they found sufficiently interesting to ignore the home keyboard elements, also a very nice chorus and many more...
This lot includes:Keyboard DS-202 with PSU (110 volts)
Digital synthesizer DS-310
Digital sequencer DS-320
Digital memory cassette: DMC2 (new) and DMC1 unspeakable demo ROM cartridge
Midi interface module S1B-1"
be sure to see the sellers other items.
EMS Pitch to Voltage Converter Module
images via this auction
"The primary function of this device is to convert an audio input into a DC voltage whose value is proportional to the pitch of that input signal. If this voltage is then applied to the control input of an oscillator, the oscillator can be tuned to follow the input in unison or at any other interval desired. In situations where musicians are already using synthesisers to treat the sound of instruments, voice or tape, the addition of the Pitch-to-Voltage Converter introduces a range of possibilities hitherto unexplored, since it enables direct control of the synthesiser's parameters from a live musical input. Others ALL IMPORTANT details on this website"be sure to see the sellers other items.
R.A. MOOG modular synthesizer sequencer
images via this auction"1x R.A. Moog 960 sequential controller
1x R.A. Moog 962 sequential switch
1x R.A. Moog ULTRA RARE mixer delay interface
...so 3x R.A. Moog rare and original modules in order to expand your Moog system. This modules system is mounted on the big Moog CEMS, unique in the world. I will keep the other 4x sequencers that are amazing together for my techno experimental compositions and ...I don't need of 8x sequencers that the Moog CEMS has in total ;-)
Trade considered only with EMS synthi A, AKS or VCS-3."
be sure to see the sellers other items.
Laser Synthitar Demo
YouTube via datenkrieger75. audio comes in at :39
"DIY Laser Guitar Synth very simple 555-based synthesizer triggered by laserpointers
Ok it sounds ...special and i need some more practice but it actually works"
I almost thought it was this one, but it's clearly not.
Circuit bent Alesis Hr-16 custom eprom ver.1
YouTube via wotatwaat
"Ver.1 eprom, switches decide which eprom is used, rotary switches for bends"
dx.21.poly.800
YouTube via fuckingharpsichord
"yamaha dx 21 and korg poly 800, sequence programmed on alesis mmt 8. Dx noise, bass gone with laptop speakers."
Control Ableton Live with your iPhone
YouTube via musicradartv
"Novation gives MusicRadar the lowdown on their Automap for iPhone app at LIMS 2009. CC control and learn, scene select and clip launch in live and more."
Roland V-Synth GT 61-Key Vari Oscillator Synth/Sampler
via this auction
That is one sparkly synth...Remembe to click the images.
"61-key Variable Oscillator Synthesizer/Sampler with Touch-screen Display, Dual-core Sound Generator, and 28 Voices of Polyphony
General Description
Amazing Sounds and Expression PossibilitiesThe Roland V-Synth GT builds on the original V-Synth, which is renowned by performers and sound designers alike for its expressive synthesis and sound design capabilities. The next-generation V-Synth GT merges the company's innovative Elastic Audio Engine with the Articulative Phrase Synthesis technology to form a new synth with ultra-realistic sounds and amazing expression capabilities. Features such as speed programming, Articulative Phrase Synthesis, and powerful analog modeling ability allow you to break sonic boundaries and create never-before-heard sounds with the Roland V-Synth GT!
Roland V-Synth GT at a Glance:•Multiple forms of advanced synthesis
•New Articulative Phrase Synthesis
•Speed programming for fresh sounds fast
•Futuristic design
Multiple forms of advanced synthesis
By integrating a new dual core V-Synth engine, the V-Synth GT can combine Elastic Audio Synthesis, Vocal Designer technology, and AP-SYNTHESIS in real time. Roland's proprietary VariPhrase technology is also integrated into the V-Synth GT. Together with its analog-modeling engine, External Audio input, and digital sampling architecture, the V-Synth GT provides an incredibly wide and colorful foundation on which to capture, manipulate, and create sounds.
New Articulative Phrase Synthesis
The V-Synth GT is the first synthesizer in the world equipped with AP (Articulative Phrase) SYNTHESIS. This revolutionary form of modeling recreates the ever-changing behavior, nuance, and sound of an instrument as it's being played. The results are stunningly expressive and realistic, and can be applied to acoustic instrument simulation as well as new, never-before-heard sounds.
Speed programming
Serious sound designers will love the complexity and editing depth the V-Synth GT, but there are many instances where musicians need fresh sounds fast - and that's the beauty of Sound Shaper II. Based on the original Sound Shaper, this enhanced mode lets you chose a sound type, then it brings the most relevant parameters directly to the surface. You'll be creating new sounds in seconds!
Futuristic design
The V-Synth GT is a top-of-the-line instrument. No corners were cut in creating its futuristic yet friendly layout and design. New front-panel features include a color touch-screen with eight universal control knobs, and the addition of dedicated buttons and sliders to make access faster and easier. From top to bottom, front to back, this is an instrument that says "first class."
Roland V-Synth GT Features:
•Advanced synthesis with friendly user interface
•New Articulative Phrase Synthesis for realistic performance behavior
•Roland's proprietary Elastic Audio Synthesis engine plus Vocal Designer, playable simultaneously
•Easy and efficient user programming"
ROLAND JUPITER-6
via this auction
"The Roland Jupiter 6 was release in 1983 at a list price of $3,000, measuring 42" wide, 4 ¾" high, and 17" deep. It tips the scales at 35 lbs. The Jupiter 6 ("J6") is a 6 voice synth with a splittable keyboard, memory for 48 tones and 32 patches (two tones set up in a split combination). Each voice consists of two voltage controlled oscillators, a multi mode filter, two ADSR envelopes, and LFO. The unit has a second LFO which is shared by all six voices. Oddly enough while the unit can do splits it does not have a dual mode (due to the way the voices are split up). There are two separate synthesizer boards found in side the board a two voice unit and a four voice unit which are under separate control and allows for the splits..." Full description at the auction via http://www.i2.i-2000.com/~jeffrey/JP6.htm
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
