Moog One: System Architecture

Moog One: System Architecture - Part 1 Starts at 30:10

"This series of live streams features several Moog One engineers deep diving into the work flow of the Moog One.

Today we have Michael Ashton, Moog's Senior Firmware Engineer who is joined by Amos Gaynes, Moog's Product Design Engineer discussing the Moog One's System Architecture."

CLICK FOR MORE »

Rare SYNERGY II+ SYNTH w/Kaypro Computer + Software

synergy_demo_divx.avi

YouTube Uploaded by jeanielotsacats on Sep 9, 2011

"This is a demo of the Synergy II+ synthesizer. Based on the Bell Labs Digital Synthesizer created by Hall Alles in 1975, the Synergy II+ remains one of the rarest and most sophisticated digital synthesizers in music history. There are only a few dozen of these left in working condition today."


via this auction

Additional video at the auction and below.

"DKI SYNERGY II+ SYNTHESIZER WITH KAYPRO 2X

VOICE PROGRAMMER, SYNHCS 3.22 SOFTWARE,

COMPLETE SYNERGY VOICE LIBRARY AND MANUALS

In 1975 an engineer at Bell Labs, Hal Alles, created the world's most sophisticated digital synthesizer. A set of cards in a IEEE-696 computer chassis, it used an RS-422 digital instrumentation interface to talk to a minicomputer. There was no preset voice program, no predetermined synthesizer architecture. Each researcher at Bell Labs had to write a custom program on a DEC PDP minicomputer just to produce sounds from the Alles digital synthesizer.

The Alles synthesizer (eventually known as the Bell Labs digital synthesizer) offered the user a pool of digital oscillators with variable waveforms. It had no fixed synthesis architecture. Unlike other synthesizers -- for example, a typical analog Moog synthesizer with 3 oscillators in parallel -- the Bell Labs digital synthesizer let the user arrange the oscillators in any architecture desired. The Bell Labs digital synthesizer could use 2 oscillators per voice or 32 oscillators per voice, or anything in between.

But Alles went further. He designed the Bell Labs digital synthesizer with immensely flexible envelopes and filters. It had two types of digital filters, A filters and B filters. It had 16-point amplitude and frequency envelopes, far more complex than the simple-minded ADSR envelopes used even today, and it used two different 16-point envelopes for each oscillator. The user defined a maximum envelope and a minimum envelope for both frequency and amplitude. Then the Bell Labs digital synthesizer automatically interpolated the shape of the final envelope between those two radically different 16-point envelopes depending on how hard the keys on the synthesizer keyboard were struck.

The Bell Labs digital synthesizer was complex and unwieldy. But it could produce an amazing range of timbres. Most digital synthesizers have a distinctive overall "sound" -- metallic and sharp (the Casio FZ series), or cold and sterile (the K5 additive synthesizer), or fuzzy and hummy (the Emu Morpheus). But the Bell Labs digital synthesizer had no typical "sound" -- it could caress your ears with timbres as organic and velvety as an analog synthesizer, or whack you upside the head with sounds as brash and sharp as a phase distortion digital synthesizer.

The Bell Labs digital synthesizer could produce anything from raunchy timbres as harshly brutal as a Mack truck smashing through a brick wall to delicate evocations as diaphonous and ethereal as a butterfly's wing. It could sound hi-tech and futuristic and digital, or retro and touchy-feelie and analog.

Laurie Spiegel programmed the Bell Labs digital synthesizer using the C programming language, then brand-new, on a DEC PDP-8 minicomputer, to generate many notes from single keys on the synthesizer keyboard. You can hear the Bell Labs digital synthesizer on Laurie's CD Obsolete Syetems on the track called "Improvisations on a Concerto Generator." Don Slepian used the Bell Labs digital synthesizer to general digital soundscapes with arpeggios synchronized to the player's tempo. (You can hear it on Slepian's CD Ocean of Bliss, tracks 1 and 2.) Max Mathews and Larry Fast used the Bell Labs digital synthesizer to make breathtaking music. Fast used it on several tracks on his CD Games.

In 1978, the synthesizer manufacture Crumar licensed the design of the Bell Labs digital synthesizer. They hired another engineer, Stoney Stockell, to turn Alles' collection of IEEE-696 circuit boards in a minicomputer chassis into a commercial digital synthesizer with a built-in keyboard and front knobs. (The original Bell Labs digital synthesizer had 4 joysticks, 10 buttons and 16 sliders, but no other controls. It didn't even have a synthesizer keyboard. Researchers had to wire up an external organ keyboard to the RS-422 lab interface to communicate with it.)

With 32 digital oscillators and 2 sixteen-point frequency and amplitude envelopes for each oscillator, the Synergy digital synthesizer had 128 envelopes total, with 16 points each. No other synthesizer had ever used such a complex architecture. There were too many oscillators and envelope points even to be controlled by the dozens of buttons and knobs on the Synergy's front panel, so an external computer was used. To voice the synthesizer, a Kaypro 2 computer got connected to the Synergy via RS232 serial interface, and Crumar programmers wrote a Z80 assembly language program for the Kaypro 2.

When Crumar licensed the Bell Labs digital synthesizer, they changed their name to DKI (Digital Keyboards Incorporated). The DKI Synergy synthesizer originally sold for $3500, not including the Kaypro 2 computer -- that added another $1795. Attached to the Synergy by an RS232 serial port, the optional Kaypro 2 came with SYNHCS: the Synergy Host Control System. This was the program that let the user program the Synergy's staggeringly sophisticated digital synthesis architecture and create and store user-defined synthesis architectures on Kaypro floppy disk. The SYNHCS program has many different pages that let the user define the number of oscillators and the shape of the max and min envelopes, set the oscillator architecture, set up aperiodic vibrato and envelope loop points, define the A and B digital filters, edit voice banks, set up real-time perofrmance presets for the Synergy II+ synthesizer and store Synergy timbres and real-time performance banks on Kaypro floppy discs.

The Synergy came in two models: the Synergy I, with 24 sounds in ROM and no MIDI and no user programmability, and the Synergy II+, which added a modification board inside the synthesizer to allow MIDI in and out and full programmability and user storage of new timbres by means of the Kaypro 2 computer.

DKI originally hoped that users would buy the Synergy and then keep on buying Synergy ROM cartridges, like customers buying one razor and many razor blades. Wendy Carlos signed on to create timbres for the Synergy, and eventually 22 different banks of 24 voices were created for the Synergy, for a total of 524 Synergy timbres. These timbres ran the full gamut from spacey digital sounds to chimes and gongs, to ethnic instruments like drums and xylophones and membranophones, to plucked and struck sounds, to brass and woodwinds, and rich strings and subtle keyboard timbres like the celesta and the vibraphone and the electric piano.

The Synergy doesn't sound like any other synthesizer. It's warm and vibrant. It sounds alive. This is party due to the unprecedented sophistication of the synthesizer envelopes, which interpolate between 16-point max and min values depending on how hard each synthesizer key gets pressed on the keyboard. In part it's due to the interaction of the A filters and B filters with the digital oscillators, since each digital filter gets defined for each separate oscillator. And in part the unique sound of the Synergy results from the synthesizer's aperiodic vibrato, which add user-controlled unpredictability to the amplitude and frequency envelopes of each oscillators, just like a real acoustic instrument, where each note on a violin or each note on a flute sounds slightly different.

All the timbres on this YouTube video were created using the Synergy with multitrack tape. This video shows SYNHCS running on the Kaypro 2x and sending the Wendy Carlos voice bank number 1 to the Synergy:" [video above]

CLICK FOR MORE »

Architecture of Radio for iOS

architectureofradio from R Vijgen on Vimeo.

Thought this was pretty cool. Not technically a synth or music app, but it does appear to produce audio. Looks fun and can be used for background audio or mangling with effects. Could also make for interesting visuals during a live performance.

iTunes: Architecture of Radio - Richard Vijgen

"The infosphere, Visualized.

Every time we use our phones, tablets or laptops we are entering an invisible world of wireless digital signals. It is a world that we cannot see but that is literally all around us.
The Architecture of Radio is a 360 degree data visualization of what this world might look like. It shows the cell towers, GPS satellites and Wi-Fi routers around you that allow us to live our digital lives.

NOTE: If the app takes longer than a few seconds to load please check if location services (GPS) is enabled and the device is connected to the internet.

Why should I use this app?

Out of curiosity! We are increasingly dependent on a global ecosystem of digital signals. We use them for so many things, yet we cannot see them. We can see the roads we use to travel, the buildings we live in, but not the infrastructure that is changing the world. How can we understand this world without understanding how it works?
The purpose of this app is to make the invisible visible so we can look at it, think about it and discuss it.

Why Should I not use this app?

This app is not a measurement tool. It’s purpose is to inspire, to see the world through a different lens. The app is based on real world data and gives you a pretty good idea of the density of digital signals around you, but it won’t tell you where to move the couch to get a better WIFI signal.

So how does it work?

The Architecture of Radio is a data visualization, based on global open datasets of cell tower, Wi-Fi and satellite locations. Based on your GPS location the app shows a 360 degree visualization of signals around you. The dataset includes almost 7 million cell towers, 19 million Wi-Fi routers and hundreds of satellites.

Is this really what radio signals look like?

We can’t see radio with our eyes. The waves that we use for our cell phones and Wi-Fi are way outside the spectrum of visible light. In order to “see” radio, it has to be interpreted or translated into an image that we can see. There are many ways to do that but it will always be an interpretation.

The Architecture of Radio is an impression of the infosphere, a way of seeing it."

CLICK FOR MORE »

Cherry Audio Releases Pro Soloist Synthesizer

video upload by Cherry Audio

The British Stereo Collective - "Ghosts in the Machine," featuring Cherry Audio's Pro Soloist

video upload by Cherry Audio

""Ghosts in the Machine" by The British Stereo Collective. ALL sounds (including percussion) were played by hand exclusively on Cherry Audio's Pro Soloist virtual instrument. No other synths were used in this recording.

Composer, artist, and producer Phil Heeks of The British Stereo Collective draws his inspiration from classic 70s/80s TV theme compilations, film soundtracks, and sound effects LPs of the era. Read more about Phil's various projects and links to his work at https://cherryaudio.com/videos/excerp..."

Introduction to Cherry Audio's Pro Soloist - Hosted by Tim Shoebridge

video upload by Cherry Audio

"To get users up and running with Pro Soloist, Cherry Audio and Tim Shoebridge of Sound Mangling have again teamed up to create an introductory tutorial video walking users through the extensive features of this iconic virtual synthesizer instrument."

Cherry Audio Pro Soloist: A detailed demo/tutorial of a prog rock and 1970s classic

video upload by CatSynth TV

"We take a detailed look at the new Pro Soloist from Cherry Audio, a recreation of the ARP Pro Soloist that became in mainstay in 1970s prog rock as well as a featured instrument in funk, electronic music, and more. We look at the features from the original, including the front-panel "paddle" presets and the unique touch sensor effects. We then take a deep dive below the hood into the enhanced features for directly editing the individual modules and parameters of the underlying synthesizer architecture (including the resonators) and explore the onboard effects section. Finally, we look at a few of the factory presets, including banks from INHALT and Vintage Vibes by James Dyson.

This instrument was developed in collaboration with Mark Barton, who was also behind the Novochord and Solovox instruments that we at CatSynth have enjoyed.

To find out more, please visit cherryaudio.com

"Pro Soloist is the latest in Cherry Audio's roster of ultimate 'what if?'
virtual instruments. Featuring the precision crafted and circuit-modeled DSP designs of award-winning developer Mark Barton, Cherry Audio's Pro Soloist goes beyond emulating the treasured, preset-based monophonic analog synth originally released by ARP in 1972. Pro Soloist not only exactingly reproduces the expressive controls, 30 infamous presets, and the unique underlying architecture of this prog rock classic, it breaks it out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, a mod matrix, integrated studio-quality effects, and more."

00:00 Introduction
00:25 History of the Arp Pro Soloist
01:23 Overview of the Cherry Audio Pro Soloist
02:21 Original front-panel presets
08:35 Global controls
09:35 Touch Sensor Effects
16:00 Edit Mode
16:59 VCO
18:59 VCF
21:53 Resonator bank
23:53 Modulating the resonator bank with the mod matrix
26:45 Effects panel
34:46 Multi-layer mode
38:08 Factory Presets
42:18 Vintage Vibe expansion bank
43:44 Conclusion"

Press release follows.

"Cherry Audio releases the highly anticipated Pro Soloist, the latest in its growing line of authentic classic synth emulations. This Pro Soloist breaks out of its cage with fully programmability, expanded polyphony and dual layers, an arpeggiator, a mod matrix, studio-quality effects, and more.

PRESS RELEASE - November 21, 2023: Cherry Audio is thrilled to release the highly anticipated Pro Soloist, the latest in its growing line of authentic emulations of classic synthesizers. Featuring the precision-crafted and circuit-modeled DSP designs of esteemed developer Mark Barton, Pro Soloist goes far beyond reproducing the expressive controls, 30 presets, and the unique architecture of this 1972 classic. Most significantly, Cherry Audio breaks Pro Soloist out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, an arpeggiator, a mod matrix, integrated studio-quality effects, and more.

Early analog synthesizers were a mystery to most working musicians. In 1972, ARP Instruments released the Pro Soloist, one of the first commercially successful preset-based synthesizers. Pro Soloist featured a revolutionary electronic design and feature set, most notably its innovative "touch sensor" keyboard (now commonly known as aftertouch), where pressing a note harder introduces changes to the sound, allowing highly expressive playing. The Pro Soloist was a hit with acts as varied as Tangerine Dream, Gary Numan, Herbie Hancock, Styx, Prince, Parliament, and Vangelis. Perhaps best remembered was Tony Banks, who amplified the Pro Soloist's legendary presets in epic keyboard solos for the legendary band Genesis.

Cherry Audio has received countless requests to reproduce this oft-forgotten gem — one of those came from frequent collaborator Mark Barton (GX-80, Novachord + Solovox, Miniverse, and others). With unparalleled attention to detail, Mark has created an authentic reproduction of the analog signal path along with the 30 original presets, and together we have substantially expanded the Pro Soloist's capabilities. Cherry Audio has added a dual-layer voicing architecture, with 16 polyphonic voices per layer, that enables two different presets simultaneously, with independent panning for rich stereo timbres and complex sounds. Pro Soloist also includes a split keyboard mode and a brilliant “Last Note” option that effectively simulates polyphonic aftertouch using monophonic-aftertouch controllers.

Pro Soloist's distinctive three-panel interface makes clear that this is far more than a preset synth. Cherry Audio has precisely recreated the look and sounds of the original paddle presets in its main Performance mode panel. In Edit mode, we've exposed all of its unique analog synthesis architecture parameters, most notably, the fully-variable, five parallel bandpass filter "Resonator Bank," key to the Pro Soloist's realistic acoustic orchestra timbres. Additionally, we've revealed the LFO and ADSR/AR envelopes and elevated the sound design possibilities with a "Super Wave" oscillator and a robust six-slot modulation matrix. The Arp/FX panel rounds it out with a syncable arpeggiator and a dozen studio-quality effects for distortion, phaser, flanger/chorus, echo, and reverb.

In short, Cherry Audio has elevated the Pro Soloist from a bare-bones monophonic lead synth into a massive, polyphonic powerhouse beyond anything imagined 50 years ago.

Pro Soloist also features 450 presets created by an extraordinarily talented team of sound design veterans, including James Terris, INHALT, Drew Schlesinger, Huston Singletary, and Mark Barton. More captivating sounds are available in the Vintage Vibes Preset Pack (sold separately) by James Dyson. With additional touches such as Cherry Audio's acclaimed MIDI mapping functions, highly optimized DSP for optimal performance, and a visually immersive interface, Pro Soloist will satisfy both vintage synth aficionados and today's music producers.

A mint condition and serviced Pro Soloist can easily fetch $2,500 or more these days, and its unique architecture makes MIDI retrofits impossible. Cherry Audio is thrilled to introduce this virtual and expanded Pro Soloist at the jaw-dropping price of only $49 (list $69), obtainable now from cherryaudio.com and authorized resellers worldwide. Pro Soloist is also available as part of Cherry Audio's new and comprehensive Synth Stack 4 collection. This ultimate sonic package includes all 22 of Cherry Audio's virtual instruments to date at an unbelievably affordable price, on sale for a limited time.

Pro Soloist is available in AU, VST, VST3, AAX, and standalone formats for Windows (7 or above, including Windows 11) and macOS (10.13 and above), including native support for Apple Silicon. A free 30-day demo is available. Visit cherryaudio.com for additional product details, system requirements, videos, and an extensive collection of awe-inspiring sound demos."

New Moog One 16 and 8 Voice Polyphonic Analog Synthesizers

This one in via Soviet Space Child. Moog currently has a history of their analogy synths up on their site, but nothing on the Moog One yet.

Update: additional hi-res pics added to the bottom of this post. Click on them for the full size shots.


16 voice priced at $7999
8 voice priced at $5999

CLICK FOR MORE »

Kurzweil PCEK8, PCLE Series, and SP4-7 Stage Piano

"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.

Suggested Retail Price: $4199
Available: Summer 2010"

""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.

Suggested Retail Price: $1349
Available: Summer 2010

All specifications subject to change without notice."


http://www.kurzweilmusicsystems.com/Product.php?id=207

Introducing the Dave Smith Instruments Pro 2

Published on Jun 19, 2014 Dave Smith Instruments·26 videos

Update: DSI eurorack filter module at 5:00. Also note the multiple 1/8" CV Ins & Outs on the back of the Pro 2.  Some conversation on The MATRIXSYNTH Lounge.

"Special thanks to Peter Dyer (http://peterdyer.net).

One Voice to Rule Them All
Dave Smith calls the Pro 2 his "most powerful mono synth ever." It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word "fat."

Full info and specs: http://www.davesmithinstruments.com/p..."

"One Voice to Rule Them All
Dave Smith calls the Pro 2 his 'most powerful mono synth ever.' It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word 'fat.'

A New Classic for a New Generation
The Pro 2 is a fusion of classic analog synthesizer design and cutting-edge digital technology. It boasts four high-resolution digital oscillators, plus a sub oscillator. The oscillators produce both classic and complex wave shapes and can frequency and amplitude modulate each other in any operator and modulator configurations you choose for harmonically-rich FM and AM sounds. A set of Character controls adds high and low frequency boost, bit and sample rate reduction, and tape saturation emulation to the Pro 2's sonic palette.

Two New Filters Based On Vintage Designs
At the heart of the Pro 2's gutsy sound is its all-new dual filter design. Filter 1 is a 4-pole low-pass design inspired by the original Prophet-5 filter. Filter 2 is a state-variable design inspired by the Oberheim SEM and can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. The two filters function in either serial or parallel, or anywhere in between. Two of the four oscillators can be routed through Filter 1 with the other two routed through Filter 2 for a broad range of tonal possibilities.

Advanced Sequencing
One of the most exciting features of the Pro 2 is its sequencer—possibly the most powerful step sequencer ever designed for a synth. With up to 32 steps and 16 tracks, it provides real-time input, rests, and variable-length sequences. It also syncs to MIDI clock and external audio input. Sequence tracks can control any parameter in the Pro 2's extensive modulation matrix.

Plays Well With Modulars
The Pro 2's flexible architecture opens the door to not only processing external audio, but also to interfacing with modular synths through its 4 rear-panel control voltage inputs and outputs and a dedicated gate output. Control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. Some of the many parameters that can be sent to the CV outputs include oscillators, LFOs, envelopes, and sequencer tracks, making the Pro 2 a natural choice for the center of your studio or live setup.

Delays, Envelopes, LFOs, Arpeggiator, and a Multitude of Modulation
The Pro 2's delay section provides three digital delays with pan, and high-pass and low-pass filtering controls. A fourth delay is a digital bucket-brigade delay (BBD) for analog-style effects. There are four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a full-featured arpeggiator, and a sixteen slot modulation matrix with dozens of modulation sources and destinations.

Monophonic by Design, Paraphonic by Choice
The Pro 2 was designed primarily as a super-powerful monosynth, but it’s also a true, four-voice paraphonic synth that allows you to control each of its four oscillators individually with their own envelope. This makes playing four-note chords not only possible, but very expressive.

Package all of this power in a three-and-a-half octave, semi-weighted keyboard with velocity and channel aftertouch, add two backlit pitch and mod wheels and two location and pressure sensitive touch sliders, and you've got one of the most feature-rich, awe-inspiring synthesizers ever created."

Specs:

CLICK FOR MORE »

sonicPlanet - First Experiment with StarWaves

video uploads by sonicPlanet


video upload by Richard Devine

"StarWaves is an audiovisual sound architect, the embodiment of sound, space and visual design rolled into one. Presented by sonicPlanet www.sonicplanet.com, it is a move towards the next generation of sound design apps.

Available for OSX and iPad (Windows version later), minimum hardware requirements : for iOS an 2019 iPAD (8th gen or pro) or newer, for OSX a recent Mac (2019 i7 or M1)"

via the user manual on SonicPlanet:
StarWaves is an audiovisual scene architect, the embodiment of sound, space and visual design rolled into one.

StarWaves gives the sound designer the architect’s role by creating possibilities of dialogue between these multiple elements.

IN THE MAKING OF SONIC ARCHITECTURES
StarWaves can import the sonic material in its concrete form as recorded files. Then this digital data is being represented as 3D rigid physical forms in space. We name them “the platform blocks” distributed spatially, a structure which stems from the sonic material being imported. There can be 100s of them, reaching the granular levels of sonic material. The layout of the platforms can be designed with 3D tools like positioning, rotation; they can be stretched, bent, scattered along their physical dimensions in continuous transformations.

As Goethe wisely stated : the architecture itself is 'frozen music'. How do we interact with this architecture to create the sonic textures ?

We know that sound travels as waves in an environment. It originates from a source and travels towards a distance, then interacts with the surface material of the environmental objects, gets

SONICPLANETTM
reflected, refracted, and absorbed within all the physical reality of its nature, granting a flexible relation to spatiality.

Sound remains as a hidden existence until it reaches our body. StarWaves uses on its scene the transmitters which send particles and beams of light to the space ( reminiscent to particle behavior of light or sound ) They hit the platform blocks ( representing the sonic material ) get reflected and collide with further objects, travel in distance until they die.

The time they collide with these rigid bodies they trigger sonic events and start a flow of synthesis processes. It is this continuous kinematic interaction, this physical realm which composes the sonic being and applies continuous transformations on its texture.

CLICK FOR MORE »

Xhun Audio LittleOne - review and demo

Published on Feb 21, 2019 SynthMania

"Review and demo of the LittleOne synthesizer software. You can get this plugin here: https://www.xhun-audio.com"

"LittleOne is a faithful software emulation of one of the most legendary and appreciated hardware analog synthesizers, compact in design but also extremely powerful and expressive.

In addition to an accurate re-creation of the original signal path, every single component inside LittleOne (oscillators, filter, envelopes, etc.) prove the same original architecture, frequency response and operative range of its analogue hardware counterpart, producing a deep, rich and warm sound.

Add to the equation a full rack with a 16-step analogue sequencer, a 16-step trancegate effect, two insert/master effects slots and the result is a complete, true-analogue-sounding setup within the comfort of a modern digital studio.

CLICK FOR MORE »

UVI Introduces PX SunBox - Galactic Analog/Digital Jomox Sunsyn Based Hybrid Synth

Inspired by the Jomox Sunsyn.

Playlist:
UVI PX SunBox | Preset Showcase
UVI PX SunBox | Trailer
UVI PX SunBox | Overview

https://www.uvi.net/px-sunbox

UVI · PX SunBox - Showcase by Theo G

via UVI

The Best of Both Worlds

A feat of instrument design, the SunSyn is a fantastically complex-in-all-the-right-places labor of love from German synthmaker JoMoX. Released in 1999, it can be considered in simple terms as an 8-voice polyphonic analog/digital hybrid, or in a more adventurous way as 8 discrete modular mono synths. Each voice is outfitted with 2 true analog oscillators capable of saw, square, or pulse with PWM, and 2 guided digital oscillators with hundreds of waveforms and custom sample support.

Shape-Shifter

The filter section is equally impressive, with a morphable 4-pole true analog filter with discrete control over each pole's cutoff frequency. But maybe the most groundbreaking aspect is the modulation matrix. In spirit it's much closer to that of larger modular analog systems, allowing 4096 possible routings per element, 4 elements per voice, all done in the analog domain. But unlike fully analog systems the modulation routings here can be quickly made through an interactive matrix and saved in patch memory for instant recall.

Resurrecting a Sun

Working with such a complicated instrument has its challenges, especially given its age and limited production. Many parts for the SunSyn are extremely rare and almost impossible to source. In our case, to complete the servicing and refurbishment our tech had to purge parts from a second unit. An expensive and somewhat painful process but worth it in the end, as our sound designers headed off to work on a fully-restored and perfectly calibrated instrument with factory-spec parts.

Deep Sound Design

Sound design possibilities on the SunSyn are nearly endless, and the results of our process with it are evident. From massive, rich, and evolving polysynth sounds created in multi-mode, to devastating and aggressive monosynth sounds utilizing modulations of both analog oscillators, the digital RCOs, and filter morphing. We designed and recorded hundreds of multisampled soundsets, ending with a curated selection of 420 layers, delivering what we think represent the most unique, charactered, and sometimes epic, sounds possible on this machine.

Professional Presets

Bass, Bells, Brass, FX, Keys, Leads, Native Sequences, Organ, Pads, Percussive, Plucks, Polysynth, Strings, Sweeps, Voices, Waveform Analog, Waveform Digital, over 450 all-new + custom designed presets are available, built from a library of 30,660 authentic hardware samples. All presets are fully-editable, meaning you can deeply customize them or even create your own. And the dual-layer architecture of PX SunBox allows you to easily create incredible layered tones from any combination of the included sounds.

Fully-Editable Architecture

PX SunBox gives you a deep and capable toolset for creating and editing patches. From the dual-layer architecture with ADSR amp envelopes, multimode filters with envelope, poly or mono modes with glide, pitch shifting and advanced stereo modes, and handy modwheel mappings, to LFO and step modulators, two feature-rich arpeggiators, and a generous selection of high-quality effects including 3-band EQ with sweepable crossover, drive, Thorus, ensemble, Phasor, digital delay, and Sparkverb.

https://www.uvi.net/px-sunbox

Electro Lobotomy SAL+ processing bass guitar 1

Published on Nov 16, 2015 electro lobotomy

Update: two new videos added below.

"Bass guitar into the frequency divider on the Sonic Architecture Lab +
The SAL+ will soon be listed in my etsy shop...
https://www.etsy.com/shop/ElectroLobo..."

CLICK FOR MORE »

Epic Synth for iPad

Epic Synth - JPMartineau

"EpicSynth is a polyphonic synthesizer supporting CoreMIDI and Line6's Midi Mobilizer MIDI interface.

EpicSynth was inspired by legendary analog synthesizers of the 1980s. It's designed from the ground up to be EASY TO USE, POWERFUL, and FUN!

EpicSynth distills the essence of subtractive synthesis into a simple yet powerful app. Epic Synth's sound architecture is simple enough for beginners to learn about synthesis yet powerful enough to satisfy experienced sound modelers. Its straightforward interface is never an obstacle and lets you focus on the essential: the pleasure of creating new sounds!

FEATURE LIST:
Transposable two-octave keyboard (C to C) with pitch bend control.
Multi-mode arpeggiator
- Key hold function
- Stores 48 sound patches in 6 banks of 8 programs
Single patch sharing via email
Full memory backup via email
- Compatible with Midi Mobilizer MIDI interface by Line6
- Compatible with CoreMIDI compliant USB keyboards via Apple's Camera Connection Kit
- Four voices of polyphony

EPIC SYNTH IS EASY TO USE
EpicSynth's layout is very intuitive and efficient: you'll spend your time tweaking sounds instead of searching through endless pages of complicated parameters you never use. After all, synthesizers are tools for exploring sound, not exploring user interface pages!

EPIC SYNTH IS POWERFUL
EpicSynth’s features have been hand-picked to preserve the essence of classic synthesizers. Without being overwhelming, EpicSynth’s sound architecture provides tons of room to create great sounds, from classic leads to juicy acid basses, from 8-bit-like effects to complex evolving sonic textures.

EPIC SYNTH IS FUN
EpicSynth’s straightforward layout, inspired by the classic analog synths of the 1980s, yields instant tweaking gratification, while the arpeggiator assists you in creating awesome rhythmic soundscapes. Lose yourself in a sea of virtually infinite possibilities! Be warned that fooling around with EpicSynth can make you lose track of time!

SOUND ARCHITECTURE:
- Each of the four voices has:
- A simultaneous-multi-mode oscillator comprised of a pulse wave with pulse-width-modulation, a sawtooth wave, a sub-octave square wave and white noise generator.
- A standard envelope generator with attack, decay, sustain and release
- A lowpass (ladder) filter with resonance control and modulation routings
- Dual-mode Amplifier using Envelope Generator or Key Gate
- Shared components include
- LFO with adjustable delay
- High-pass Filter
- Chorus effect

ABOUT EPIC SYNTH
Epic Synth was created in Montréal by an indy synthesizer-addicted iOS software developer. After hunting down, buying and studying dozens of synths, both digital and analog, vintage and modern, monophonic and polyphonic, JP set out to create a great synth for the iPad: EpicSynth!"

Epic Synth - JPMartineau
iPads on eBay

GEETA DAYAL "Signal and Noise: A Brief History of Electronic Music" :: watsON? NOISE 2013

Published on Jan 31, 2014 The Frank-Ratchye STUDIO for Creative Inquiry

Missed this one from 2014. Title of the post says it all. Fascinating bit of history that lead to our world of synthesizers. Enjoy.

You can find her website at http://www.theoriginalsoundtrack.com.

"Project Page :: http://watsonfestival.org/2013/geeta-...

Geeta Dayal is an arts critic and journalist who has been covering the intersections between sound, culture, and technology for a decade. She has written hundreds of articles and reviews for major publications, including Wired, Frieze, Cabinet, The Wire, The Village Voice, Bookforum, The New York Times, Print, and many more. Her first book, Another Green World, on the musician Brian Eno, was published by Continuum in 2009. Her essays appear in several anthologies on music, including The New Grove Dictionary of Music (Oxford, 2013), Loops (Faber, 2009), The Resistible Demise of Michael Jackson (Zer0, 2009), The Pitchfork 500 (Simon & Schuster, 2008) and Marooned (Da Capo, 2007). She is a recent recipient of a major grant from Creative Capital / The Andy Warhol Foundation in the Arts Writers Program. She holds two undergraduate degrees from MIT (2001) and a master's degree from Columbia (2003). She is currently based in San Francisco, and is at work on a new book, on sound and technology in the 1950s.
________________________________________­_________________________

The watsON? NOISE Festival 2013 - Curated by Golan Levin and Spike Wolff
'Ancient life was all silence.... with the invention of the machine, Noise was born.' -- Luigi Russolo, 'L'Arte dei rumori'
Noise continually surrounds us, from white static to violent intensity. We are absorbed into, embraced by, and assaulted with sound. Vibrating through our bodies, we capitulate as it engulfs us and permeates our psyche. In the still of its quiet absence and the thrill of its deafening roar, the force of sound is a constant. wats:ON? 2013 explores the realm of noise through a variety of analog, digital, and apparatus enhanced sound-music performances. Noise asks you to surrender to the possibility of the rush of the sublime.
________________________________________­________________________________________­_

The Jill Watson Festival Across the Arts (wats:ON?) was created to honor the life of Jill Watson, whose interest in the arts inspired others through her work and her teaching. The festival celebrates Jill's commitment to an interdisciplinary philosophy as an artist and celebrates her accomplishments and reputation as an architect. Jill Watson was a Carnegie Mellon University alumna, adjunct faculty member in the School of Architecture, and acclaimed Pittsburgh architect who died in the TWA Flight 800 plane crash on July 17, 1996.
The wats:ON? Festival is made possible by the generous support of the JILL WATSON FAMILY FOUNDATION.
________________________________________­________________________________________­_

This lecture is co-hosted by The wats:ON? Festival and CMU HCII Human Computer Interaction Institute, with support from :

CLICK FOR MORE »

Electrosmith DIY Analog Modular Synthesizer w/ Electrosmith Sub Modules

Ipsum Audio

"This is a homemade analog synth that I've been working on for close to a year now. It is a classic monosynth with 3 oscillators, 1 modulating LFO, and a 24dB/oct VCF. The core modules (VCOs, VCF, VCA) are built on the submodule boards available from Electro-Smith (links below).

The case has ~96HP of Eurorack space, and also houses the Arturia Keystep controller. It is made of poplar with walnut stain. The case is powered by an old Elpac PC power supply that provides +/-12V and +5V."

More pictures can be found on my Instagram: https://www.instagram.com/ipsumaudio/

Electrosmith submodules below.

CLICK FOR MORE »

Dark Matter Audio DMA1

Those aren't iPads. Videos below.

"The ultimate music production and performance tool.
The landscape for the creative artist in any audio environment is about to leap into a new future with the arrival of new UK company Dark Matter Audio and its revolutionary debut product: DMA1. This incredible audio device is anything you want it to be – guitar effects processor, high quality studio tool or performance instrument – thanks to its open architecture and Online Store that lets you wirelessly update DMA1 with a growing range of pro audio apps.
DMA1’s capabilities are extensive: a compact multi-FX processor that can also act as a digital multitrack recorder, MP3/4 player, MIDI interface, (up to) 5.1 digital mixing desk…
Much like a Smart Phone, musicians and producers will be able to wirelessly download applications to make DMA1 into a drum machine, sampler, loop recorder, digital patchbay, video tutorial device, chord and scale matcher, database of transcribed music, lyric organizer, composition sketch tool…
But unlike today’s explosion in Smart Devices, DMA1 is built from the ground up for music making and is entirely focused towards musicians and producers, while rugged construction means it can be used anywhere – on stage, on the road, in the studio and even in outside broadcast situations. It’s been designed without compromise, featuring both high quality audio processing power – by way of a SHARC and an ARM processor for the user interface – and professional connectivity, while the 7-inch Touchscreen makes for quick, intuitive hands-on control, making DMA1 inspirational to use with professional results every time.
With its innovative design, DMA1 really exploits the future of music making, performing and recording. DMA1 is the ultimate studio and performance tool… right there at your fingertips.
Dark Matter Audio CEO Jon Stuart said: “with DMA1 we’ve endeavored to create a paradigm shift in the world of audio production and performance. DMA1 is the future of audio and music production precisely because it can be any future that a musician or producer could want. This is a very exciting time for us, and for music production generally, and I’d like to take this opportunity to thank the team for their ceaseless toil (bar the occasional spot of skiing) to make DMA1 the revolutionary product that it is.”
Alan Greensall, Dark Matter Audio CBDO, said: “in my 35 years in this industry I have only ever come across revolutionary products like this two or three times. This industry is in need of the next big shake up, and we are dead set on making sure its Dark Matter Audio leading the way.”
Features:
• 7” Touchscreen • Studio Quality Processing • Wi-Fi and Ethernet • 3 x USB, 2 x Analogue and 2 x SPDIF connections • HDMI support • 5.1 Surround Sound Mixer • 4 Channel Architecture • Battery and Mains powered • Open Developer Community"

Dark Matter Audio's CEO Jon Stuart Introduces the DMA1 Smart Audio Hub

YouTube Uploaded by DarkMatterAudio on Apr 5, 2011

"Dark Matter Audio release the DMA1. This incredible audio device is anything you want it to be -- guitar effects processor, high quality studio tool or performance instrument -- thanks to its open architecture and Online Store that lets you wirelessly update DMA1 with a growing range of pro audio apps."


Dark Matter Audio DMA1 video 2: Effects and Apps

Uploaded by DarkMatterAudio on Apr 5, 2011

"Dark Matter Audio's introducing the effects system, drag and drop features, applications and the DMA1's Rock Solid sound"

http://www.darkmatteraudio.com/

Oberheim Xpander Analog Synthesizer SN G43901

Note: Auction links are affiliate links for which the site may be compensated. via this auction
"If you're thinking about bidding on this synth, then you probably already know what it is. The Xpander, along with the Matrix 12, was one of the last synthesizers designed and produced by Oberheim Electronics, and it represented the pinnacle of their voice architecture. (It has the same architecture as the Matrix 12, only with six voices instead of 12.) Most people consider this voice architecture to be the most flexible non-modular analog synth ever designed. Each voice has five LFOs, each with about five different wave shapes, plus the ability to sample most other modulators; five envelopes that can repeat themselves, sync to an LFO, and so on; a lag processor (like portamento, but more general); three tracking generators (that apply a series of linear functions to a value over its range); some ramp generators (the attack portion of an envelope); a 15-mode filter and a user interface to make all of this accessible. That all might sound complicated, but in the end, it's still just subtractive synthesis. If you can program a Juno or Jupiter, you can program an Xpander; things just have the potential to go MUCH deeper.

The Xpander also has a useful CV/gate to MIDI conversion feature for communication with older synths. There are six CV and Gate inputs which use standard 1V/8va CV and positive gating. So you can connect up to 6 external sources delivering CV/Gate and convert that into MIDI. The Xpander's output options are also very flexible, with stereo and mono outputs as well as six additional individual audio outputs (1 for each voice). You can load a different patch on each voice, too, allowing you to use the Xpander as a stereo polyphonic 6-voice synth, as six individual monosynths, or any combination in between. Since you can stack six different patches, you can create some very thick, and very complex unison type sounds.

This particular model is fully functional and in excellent condition. It's spent the last 15 years in a smoke-free home as part of a vintage synth collection. It has not been gigged with and has only seen very light use over those years. The original manual, and a power cord, are also included. Also, for those of you who might be interested, this is a US built Xpander, and not a Japanese built one."

CLICK FOR MORE »

XILS-lab Releases Syn’X 2 Polytimbral Virtual Analogue Synthesizer Plug-In

Tutorial videos previously posted here. Press release follows:

"XILS-lab relaunches revolutionary virtual analogue soft synth with modern-day makeover

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of Syn’X 2 — a multi- format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and Windows 7/8) that not only continues to pay perfect homage to the legendary Elka Synthex Eighties-vintage Italian instrument from an original-sounding sonic standpoint, but balances that musicality against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers, such as Oberheim’s mighty Matrix 12, to create one of the most powerful and complex virtual analogue synthesizers of the modern era — as of June 22...

At the time of its 1982 launch the eight-voice polyphonic Elka Synthex sounded like no other synthesizer around — analogue or otherwise, and brought with it high hopes of being instrumental in ending the dominance of oversized (and overpriced) Japanese and American analogue programmable polysynths, thanks to the eight monophonic synthesizer circuits central to its innovative 16-DCO (Digitally Controlled Oscillator) driven design by independent Italian synth-master Mario Maggi. Many — meaning 1,000! — ICs (Integrated Circuits) were used in that design, however, meaning that it was not necessarily the most reliable around and did not come cheap. Consequently, not that many — not much more than the number of ICs in each instrument, in fact — were sold before being discontinued in 1985 (with one last production unit being made especially for legendary American singer-songwriter Stevie Wonder) as a ‘new wave’ of considerably cheaper and more reliable digital synthesizers boasting better MIDI (Musical Instrument Interface) implementation brought about its untimely demise. Not that this mattered much to French electronic music pioneer Jean-Michel Jarre, who has three to his not insignificant name to this day, with well-known Laser Harp performances still emanating 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 super-selling Rendez-Vouz album of 1986).

Today the Elka Synthex is one of the most sought-after synthesizers around. As a result of its superlative sound design and avant-garde architecture, it’s a true musical instrument that’s truly stood the test of time. Today it sounds as fresh as it did back in 1982. Just ask Jean-Michel Jarre, who is on record as saying, “The Synthex allowed me to also develop something I had in mind with electronic music — epic, symphonic type of sounds that you probably had with the modular Moog before, such as those that Walter/Wendy Carlos used for Switched On Bach or A Clockwork Orange — a deep, mad, classical approach to a polyphonic synthesizer.” Truly, madly, deeply, indeed.

Indeed, given that finding an Elka Synthex in fine working order has become such a pricey (and patient) proposition, is it any wonder that in 2011 XILS-lab decided to effectively emulate it in software, even going so far as to enlist the eager ears of Paul Wiffen himself. “The sonic results are uncannily close to the original,” he promptly pronounced. Surprisingly, Syn’X has already been available to purchase and download from the XILS-lab web store for longer than the production lifespan of the original hardware synthesizer from which it drew so much musical inspiration. It’s time, therefore, for a serious update, and with it some fanciful features that look beyond merely modelling the Elka Synthex...

So what, exactly, is it, then, that makes Syn’X 2 so different and so much better than its predecessor? Well, wouldn’t it be wonderful if you could create a synthesizer with the sophisticated multilayer architecture of Oberheim’s mighty Matrix 12 analogue polysynth, say, with an abundance of modulation matrixes per layer — effectively enabling flexible routing to rival the monstrous modular systems that preceded it in decades gone by, but then musically married that to the expansive Elka Synthex sound? Well, with Syn’X 2 that’s no longer a dream synth, but rather reality! Roll up your sleeves and delve deeper into sound design than was previously dreamed possible, thanks to the talented teamwork of XILS-lab.

Lest we forget, Syn’X 2 offers a unique combination of clear and punchy DCOs with cutting-edge analogue-modelled multimode filters to faithfully reproduce the superlative sound that so clearly defined the Eighties era, but, because it’s polytimbral, users can access up to eight individual synthesizers simultaneously with 16 oscillators, eight 0DF (Zero-Delay Feedback) analogue-modelled filters, 32 D-ADSR (Delay, Attack, Decay, Sustain, Release) envelopes, and modulation matrixes addressing any of 132 possible destinations when creating their own patches — truly a sound designer’s dream come true!

This being a XILS-lab product, predictably, perhaps, there are many more features to make a serious song and dance about. All-important additions to Syn’X 2 include: oscillators with (up to 40) cumulative waveforms (per patch); new 0DF PWM (Pulse Width Modulation)/hard sync oscillator algorithms; unique CHAO (2D space movement) and (five rhythmic effects) RTHM LFOs (Low Frequency Oscillators) with (up to 50) cumulative waveforms (per patch); two arpeggiators; two keyboard zones — Upper and Lower, suitable for split and layered instruments; guitar multitimbral mode — whereby all layers can be assigned to independent MIDI channels, so playing different sounds with each guitar string, for instance, is possible; polyphonic SEQUENCER (that also acts as a modulation source); vintage-sounding CHORUS, DELAY, PHASER, and EQ effects (with proprietary True Stereo Technology); and 300 phenomenal presets programmed by professional sound designers, to name but few.

Fortunately for some, a helpful Easy mode provides programmers with an intuitive and powerful yet streamlined environment, similar to XILS-lab’s recently released miniSyn’X polyphonic, duo-timbral virtual analogue synthesizer plug-in, but with additional envelopes and LFOs, etc, easily accessible. Alternatively, the Advanced mode makes all aspects of Syn’X 2 available, allowing users to create complex, thick, and never-heard-before patches with a radically reworked workflow, which, it turn, makes it one of the most powerful and complex virtual analogue synthesizers of the modern era!


Syn’X 2 is available to purchase as a USB eLicenser or iLok (1 and 2) protected plug-in for an introductory discounted price of €127.00 EUR until July 21, 2015 (rising to €169.00 EUR thereafter) on the XILS-lab web store here: https://www.xils-lab.com/products/Syn'X-%3A-iLok-or-eLicenser-protected.html

Syn’X 2 can also be purchased as a bundle together with the miniWork’X sound library — featuring 268 miniSyn’X sounds for Syn’X 2 programmed by Lotuzia — for an introductory discounted price of €148.00 EUR until July 21, 2015 (rising to €198.00 EUR thereafter).

Note that owners of the original Syn’X can upgrade to Syn’X 2 for free while owners of miniSyn’X can upgrade to ‘full-blown’ Syn’X 2 status for an introductory discounted price of €93.00 EUR until July 21, 2015 (rising to €124.00 EUR thereafter).

Syn’X 2 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/Syn%27X_Download.html

Several superb audio demos showcasing Syn’X 2 can be heard here: https://www.xils-lab.com/pages/Syn%27X_Audio.html"

D16 Group Announces LuSH-101 - Details and Demos

d16group · LuSH-101 demos

Launch the player above and read. The top two pics are what it would look like in hardware. Below is the virtual synth in software.

"LuSH-101 is a synthesizer created from modules that can be found in many modern virtual synthesizers, all combined into a single compact and logically intuitive design. However, this basic simplicity combined with its multilayer architecture turns it into an easy-to-use but extremely powerful instrument that can be programmed and tweaked quickly, almost effortlessly leveraging its maximum potential.

The multilayer architecture guarantees that both the sound design possibilities and number of unique situations in which LuSH-101 can be used are virtually limitless..."

"Full Features
Multilayer architecture with 8 independent Layers (per-layer properties)
Up to 32 voices of polyphony
MIDI channel
Keyboard zone
Audio output
Synthesis
Oscillators (Saw, PWM, Noise), with Supersaw and HardSync options
Sub Oscillator (5 waveforms)
Self-oscillating, high-quality, multimode filter
Passive high-pass filter
Up to 8 voice unison with Tune, Cutoff and Panorama spread
2 LFOs with optional tempo synchronization and re-triggering modes (Trig, Gate, Arpe, None)
2 envelopes with re-triggering modes (Trig, Gate, LFO1, LFO2)
Insert effect (selectable algorithms):
Chorus
String Ensemble
Phaser
Flanger
Distortion
Vowel filter
Decimator
Tremolo
Modulation Matrix (modulation sources):
Note velocity
Pitch bend
Modulation wheel
Expression pedal
Sustain pedal
Keyboard’s aftertouch
Note pitch
Arpeggiator’s output
Arpeggiator
Step sequencer (Gate and Tie per step)
6 Run modes (Up, Down, Up and Down, Down and Up, Random, Manual)
Chord mode (Gater)
3 Hold modes (Normal, Toggle, Trigger)
Shuffle
Tempo multiplier (Full notes, Dotted notes, Triplets)
Mixer
Parametric EQs (1 per channel strip)
Compressors (1 per channel strip)
Up to 11 freely-assignable stereo output busses per instance
Send FX’s (Reverb, Chorus, Delay with tempo sync)
Presets
Over 1700 factory presets
5 preset categories (whole synth, single layer, Arpeggiator, Reverb, Delay)
Advanced, file-based preset browser
Miscellaneous
Advanced MIDI learn
Parameter mapping for VST / AU automation"

See http://www.d16.pl/lush-101 for the full description.