GEOSynths Synth Show - Ep119 - Special Guest - Chris Meyer

video upload by GEOSynths

"Synthesizer Podcast - Special Guest - Chris Meyer
Episode 119 - Thursday 11th November 2021
@ 7pm UK (2pm EST)

Chris Meyer

With over 5 decades within the Music Industry, not many are as knowledgable or as experienced as Chris Meyer. He’s worked with Modular Synths since the 70’s and started working for Sequential in the early 80’s and is the one who invented “Vector Synthesis”. He later worked for a variety of Companies, including Roland and was heavily involved with the revisions of the MIDI specification.

Chris later moved into the Film and Video Industry, composing Soundtracks, however this also turned into creating a Motion Graphics Business using Adobe After Effects, where he subsequently went on to writing Books and providing Technical Courses and other learning material.

The Teaching element has stayed with Chris and many will know him from his YouTube Channel and Website “Learning Modular” where he provides training and guides for those who want to delve deeply into Modular Systems, however it is very informative and useful for anyone into Synthesis.

As well as the Teaching, Chris continues to write and has co-authored Books like “Patch & Tweak” amongst others and if you want to hear his Compositions, then check out 'Alias Zone' on Bandcamp.Website -

https://learningmodular.com
YouTube - https://www.youtube.com/c/LearningMod...
Bandcamp - https://aliaszone.bandcamp.com/album/..."

Related; The Sound of the Prophet VS

Chris Meyer Learning Modular posts on MATRIXSYNTH


Additional Prophet VS posts

DIY PolySynth by Chris Synths

DIY PolySynth In-Progress Demo video upload by Chris Synths

"Hi folks, here's a short, no-talking demo of a prototype 8-voice analog synthesizer I am working on. What do you think?

The hardware of each voice features two VCOs, a ladder-style lowpass and a state-variable highpass filter, wave folder, and ring mod.

All voice circuitry was made with op-amps, OTAs, and discrete components.

There is one effect, an 8-stage analog phaser.

There are two ST microcontrollers for MIDI, voice control, display driving, front panel scanning, etc. Control voltages are produced by 23 DACs, 21 DAC7554 and 2 AD5676.

Circuit design and PCB layout was done in Eagle. PCBs made by JLC. Sheet metal designed in and ordered from emachineshop. Software written in C using STM32CubeIDE. Knobs and buttons are 3D-printed."

Demo of polyphonic analog synthesizer prototype
video upload by Chris Synths

"Some demo sounds from my previous DIY analog synth prototype.

It has six voices, two VCOs per voice, a multimode filter, 3 LFO, 2 ADSR, and a phaser for effects. No Curtis or SSM chips, all discrete and op-amps. A Microchip PIC24 was used for control.

One of the design ideas was to have all the modulation in one place on the panel rather than spread around in each module, but it ended up being not as intuitive to program that way."

Sequential Prophet 10 Rev4 - Basic Programming and Ideas

video upload by Chris Mick: Studentsmusic

"Going through the paramters in one improvised take to understand this synths possibilities. Probably with little mistakes, but maybe useful"

Patch Notes: Finlay Shakespeare

video upload by FACTmagazine

"Finlay Shakespeare is an artist that operates in two worlds of electronic music. As the founder of Future Sound Systems, Shakespeare engineers Eurorack modules (including a series based on Chris Carter’s device, The Gristleizer) and standalone synths such as the Brunswick. As an artist, he makes gritty, ’80s-leaning synth pop that sits somewhere between Factory Floor and Depeche Mode.

On this Patch Notes session, the Bristol-based artist performs live with an array of vintage and analog gear, including an ARP 2600. Shakespeare’s two recent albums for Editions Mego, 2019’s Domestic Economy and 2020’s Solemnities, are available now. Find more music by Shakespeare at Bandcamp.

Finlay Shakespeare: http://finlayshakespeare.com"

Oxford Synthesizer Company OSCar

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"One of the top ten synths ever made, the Oscar is a surprisingly powerful monosynth. Designed by Chris Huggett (of EDP Wasp fame), this has the ability to work as an additive synth as well as a subtractive synth.

It is in good working and cosmetic condition though I can’t verify whether the loading and saving of patches to a cassette works."

Oxford Synthesizer Company OSCar

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Oxford Synthesizer Company OSCar 37-Key Analog Monophonic Programmable Synthesiz. Condition is "Seller refurbished".

The OSAar was a synthesizer manufactured by the Oxford Synthesizer Company from 1983 to 1985. It was ahead of its time in several ways and its later versions were among the few mono-synths of its time to have MIDI. Around 2000 were made.

When synthesizer manufacturer Electronic Dream Plant folded in 1982, Chris Huggett went on to form the Oxford Synthesizer Company. The OSCar synthesizer was launched in 1983. Chris Huggett designed the electronics while independent product designer Anthony Harrison-Griffin was responsible for the unique look and build of the OSCar.

1985 VERSION M2 (MIDI) MIDI note receive response much faster than version M1.

Timing clock receive implemented.

Original UK model run on 230 v 50 Hz. Need an AC converter to be used in the USA

Perfect working conditions

Misses 2 top caps wheels knobs controller , 1 store recall push button and 1 sequencer insert button [shown in pictures] but they all work perfectly fine

Perfect esthetic conditions no scratches

Original Manual

Offers below $5,999.00 not accepted"

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Electronic Dream Plant Gnat SN 401463

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The EDP Gnat is the slimmed-down version of the EDP Wasp, yet it has its own buzzy attitude that holds its own. The built-in speaker provides a nasty bite, much harsher than its stinging counterpart, and the filter radiates menace at its higher settings, swarming around your head. You can also patch straight out into your favorite effects or direct into your mixer or sound card for a less confrontational volley with your favorite winged insect synth's sticker coated touchplate.

The Gnat has a digital oscillator that is fed through an analog filter, a trick the designer, Chris Huggett (RIP) used to great effect on later classic synths he designed like the OSCar and Bass Station. The oscillator has several selectable waveforms including Ramp, Square, Noise, and the one we always left it on, Enhance, which moves the waveform around in a manner similar to pulse width modulation and makes the single oscillator sound like two beating against each other.

Next to the waveform selection is an octave switch where you can choose footage of 32, 16, 8, 4, and 2.

The front panel also includes an LFO featuring sine, ramp, saw, square, and random waveforms as well as speed control and an offset amount for setting modulation of the oscillator.

The remaining controls are a filter with resonance, seriously, the resonance is wild, and a pot to set the balance of what is affecting the filter's cutoff, VCO, or envelope. Speaking of the envelope there is a dedicated section of the panel for it with attack, decay/release, and a contour knob. Finishing out the panel is a glide amount knob.

The side of the Gnat has a 1/4" output jack, a connector for the EDP Spider sequencer to attach to, and a 9V power inlet.

This Gnat is fully functional, with all "keys" sounding. It can be run with a 9V power adapter, or alternately with 6 "C" batteries, so you can take the Gnat back into the wilderness with you.

The synth is basically in excellent shape but we marked down the condition due to the faint remnants of someone copying note letters to the first four keys, which we have pictured.

A very rare synth, speculation is that there were only 600 or less made. EDP used a serial numbering system that started with the model number, in this case 40, then starting the count from 1000, which leaves this Gnat as the 463rd unit. We were unable to find another for sale anywhere online."

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Alias Zone: The Dream Catcher (by Chris Meyer of Learning Modular)

Learning Modular

"Created for the December 2020 edition of Resident Electronic Music

Composed & performed by Chris Meyer of Learning Modular (aka Alias Zone):
• Tardis and Monster modular synths
• Waldorf Iridium, Korg Z1 & Wavestation AD polysynths
• rain gourd, woven basket shaker, goat toenail rattle (processed through modular)
• voice by Navajo (Diné) elder Harry James from the Q Up Arts sampling collection Voices of Native America

Index of sounds and when they first appear:
00:02 rain gourd processed through Mutable Instruments Rings, plus modular reverb and echo)
00:14 woven basket shaker + goat toenail rattle processed though modular reverb and echo, sampled, looped, and played through a 1010music Blackbox.
00:30 Korg Z1, using its complex arpeggiator as well
00:59 twin bass voices: Synthesis Technology E352 VCO through Xaoc Devices Belgrad VCF, and Livewire AFG + SSF/WMD Spectrum through Rossum Evolution VCF, sequenced by a Five12 Vector
01:30 Navajo elder phrases, re-timed and played back from a 1010music Bitbox, processed with a Mutable Instruments Clouds
02:59 Waldorf Iridium
04:50 4ms Spherical Waveform Navigator through WMD Overseer stereo filter
05:59 Korg Wavestation AD layered with the Z1 (both played by the Z1’s arpeggiator)
08:50 another “slow motion solo” on the Iridium

Details of how the individual sounds were created are being covered on the Learning Modular Patreon channel: https://www.patreon.com/LearningModular"

Anvil Synthesizers "The Anvil" Digital Percussion Synthesizer Ad

This one is via @mu_zines

"The Anvil" was featured in this post from 2014. Muzines, an online repository of music magazines, posted an article on The Anvil here. The question though, is did any of these ever get produced? If you know, feel free to leave a comment. The advert to the left implies they were taking orders at some point they were selling off their IP. Interesting bit of synth history. One of those mystery synths no one knows what happened to...

Update: note the address in the print is 29 Chowmley Gardens, Aldred Road, London NW6. Someone mentioned it could be Cholmley Gardens, pictured. A search on Chowmley gets redirected to Cholmley, so this is likely. Interesting to see where it could have all happened. I used to walk by Serge's shop in Hollywood, none the wiser, when I was a kid. I do remember the wig shop. :)

Update2: interesting side note from Rob Walker: "Reading the in depth article linked to, one of the designers was Roy Gwinn who is known for his Guitar Effects pedal design which Chris Carter adapted into the Gristleizer. I sold Roy a Doepfer Euro case a couple of years back, I’ve asked if he can shed any light."

Update3: via the comments below: "The story of the Anvil Percussion Synth is in RHYTHM MACHINES 2: The 1980s Drum Computers - By Alex Graham. It's available on Amazon (the book, not the Anvil)." [on Amazon here]

Update4: From Roy Gwinn: 'No, the Anvil was never finished. I underestimated the time to do the software, and the hardware was a bit iffy when it got hot. All fixable, but we ran out of money.'

SOUNDMIT 2020 - Eurorack Synth Masterclass - Chris Meyer - Learning Modular

SOUNDMIT

"Al Soundmit 2020 Virtual Edition, Chris Meyer di LearningModular.com ha tenuto una masterclass live dedicata ai synth modulari e a nuove tecniche per utilizzare in modo creativo i nostri synth!

At the Soundmit 2020 Virtual Edition, Chris Meyer of LearningModular.com held a live masterclass dedicated to modular synths and new techniques for using our synths creatively."

https://learningmodular.com/

You can find additional posts featuring Learning Modular here.

Electronic Dream Plant WASP synth, Kim Wilde, Nick Rhodes... in memory of Chris Huggett,

Electric Cafe

"This video demonstrates the sound of the Electronic Dream Plant WASP synthesizer, Kim Wilde used it for her hit single Kids In America, and Duran Duran keyboard player Nick Rhodes used it early in with the band.

Sadly Chris Huggett passed away on October 22nd 2020 but leaves behind a legacy of synth production that in a British way rivals that of Moog, Oberheim, ARP, and other synthesizer manufacturers. Today there are companies who recognise the popularity of the EDP WASP and have cloned them, Behringer and the Jasper are just two who have released their version of this classic vintage sounding synthesizer which rivals some Moog, Oberheim, ARP, Yamaha, and other famous synthesizer company products since the late 1970's.

This video contains images that do not belong to the uploader of Electric Cafe but are being used for education purposes. The music created is all original apart from Kim Wilde Kids In America:
Artist
Kim Wilde
Album
Kim Wilde
Licensed to YouTube by
[Merlin] Absolute Label Services; ASCAP, EMI Music Publishing, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, PEDL, SOLAR Music Rights Management, LatinAutorPerf, Kobalt Music Publishing, and 16 Music Rights Societies
All synths programmed were: Electronic Dream Plant WASP, and that's all!

Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use."

Also see: Legendary Synth Designer Chris Hugget of EDP, OSC, and Novation has Passed Away

Legendary Synth Designer Chris Hugget of EDP, OSC, and Novation has Passed Away

I'm hearing news that Novation's Chris Hugget passed away on Friday. Anyone coming to this site, likely knows he designed the original EDP WASP series of synths, the Oxford Synthesizer Company's OSCar, and more recently, various synths for Novation. Novation has a timeline of his creations here.

"Most people know him as the genius behind Wasp and OSCar, the legendary monosynth from Ultravox's Love's Great Adventure, Stevie Wonder's Skeletons, and Jean-Michel Jarre's Revolutions Overture.

Chris' synths have been used by everybody: Orbital, Ultravox, Tom Yorke, Trent Reznor, Dire Straits, Pink Floyd, Genesis, Stevie Wonder, Jean Michel Jarre, Keith Emerson- the list is endless. His heritage synths are sought across the world, and sell for upwards of £5000.

He is a true synth legend. He is also our synth designer. Every Novation synth has been conceived, shaped and refined by his passion and expertise, which spans five decades."

Below are a few videos that pay tribute to his work. You can find additional posts mentioning Chris Hugget here.




Novation // Innovation Since 1992

Inside: Novation's Innovative Instrument Laboratory (Electronic Beats TV)




The WASP - A Very British Synthesizer


Alex Ball

"The WASP is an iconic British synthesizer designed by Electronic Dream Plant in 1978.

EDP were Adrian Wagner (yes he was a relation), Chris Huggett and Steven Evans. They only traded until around 1982, but that wasn't the end of their synth story. Chris Huggett in particular has had a prolific career in the industry, founding the Oxford Synthesizer Company in 1983 and releasing the (also iconic) OSCar and subsequently (after work with Akai), he joined Novation, who are still trading to this very day.

Back to 1978, the concept of the WASP was to build a powerful, low cost synthesizer. That seemed to have worked as one of the original reviews I found uses the headline "The Synth we can all afford" but still dubs it a professional instrument.

I also found a Moog price list dated June 15th 1978 and it lists the Minimoog as $1,995, the Multimoog as $1,495 and the Micromoog as $895. Assuming they sold for about the same in the UK, the equivalent prices would be approximately £1,090, £820 and £490 respectively. The aforementioned WASP review also states that an Odyssey is still over £1,000 in 1978, so with the WASP priced at £199 this demonstrates what a bargain it was at the time.

In fact, I had a brief conversation with a friend who remembers running out to buy it the moment he heard about it in 1978 and he still has his. It was also the first synth of Dave Stewart and Nick Rhodes among others."

Evenfall Mini Modular Designed by Grant Richter of Wiard

Note: Auction links are affiliate links for which the site may be compensated.

This one was spotted and sent in via Soviet Space Child.

via this auction

"I guess 50 (60?) of these were produced, either as kits or assembled products. I bought this to complete my own rack full of Grant Richter modules. It was a largely an impulse buy fueled by the tingly feelings my Wiard 300 modules give me. Make no mistake--this is NOT a Wiard module nor does it sound like one. It is not nearly as awe-inspiring overall, though it does have a few tricks that make it worth exploring. Definitely a cool piece of synthesizer history.

I found this to be, overall, one of those "sweet spot" machines, where nuanced wiggling can give you some really unique and impressive sounds. This is particularly true with the bandpass filter, which really sounds like Satan yelling about the weather while contending with a head cold. Very cool.

There are a few peculiar aspects to this, such as the weird gain staging. Any setting after 12 o'clock in the VCA will saturate/distort. Maybe you like this. I don't care for it personally. That's just the way these things work, as confirmed by several other owners, as well as Cary Grace, who currently builds all modules under the Wiard name, and who tours with an Evenfall Mini Modular (largely because it's small and light, I guess). This is a very lightweight synthesizer.

The pots are all mini pots, like attenuator pots on lots of modern Eurorack modules. I'm a bit of an oaf for these, but they're not difficult to work with.

I have not opened it to check internals or perform any mods. I'm not sure whether there are schematics floating around, but if you choose to go that route I'm sure you're an intrepid enough lad or lass to chase them down.

Cosmetically, there is some damage on the lower right edge of the panel; I have straightened this to the best of my ability.

Their words (copy/pasted info from around the web):
The Evenfall Mini Modular Synthesizer is a rack mountable semi-modular analog synthesizer featuring the warm, organic sound of real analog circuitry and the flexibility of individual control knobs and a patch cord interface.
The Mini Modular also features internally "pre patched" or "normalized" connections among the modules. These connections make the Mini Modular a capable synthesizer even without inserting patch cords. These internal connections can be overridden by inserting 3.5mm patch cables as desired.
The Mini Modular can be patched to make sound by itself or in conjunction with another voltage-controlled synthesizer. It can also be controlled from a MIDI controller via the built-in MIDI to CV interface which provides pitch, velocity, gate, pitch bend, portamento on/off, and modulation output voltages.

-
This synth was designed by Grant Richter of Wiard synthesizers and there were roughly 60 sold, 30 in kit form and 30 assembled. The previous owner told me this is a factory-assembled unit.

Grant wrote this on the old Wiard Yahoo list:

"That is a great little instrument.

It was originally slated to be the Wiard Model 3600, but I decided to pass on it because we could not find knobs to fit the little nubby pot shafts. They are just like TR-808 tuning pots. I feared the lack of knobs would limits sales too much.

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DiscoDSP OBXD Demos & 2.0 Update

Use the controls at the bottom of the player above to skip around.

https://www.discodsp.com/obxd/

What's new

7x faster GUI controls.
Linux build.
Standalone app.
Signed and notarized installers.
Updated JUCE framework to 5.4.7 for better stability and compatibility.
Updated Banks with 2.0 compatibility.
Ilkka Rosma Dark Theme.
macOS Catalina support.
MIDI CC Learn.
MIDI CC support.
Parameter refactor.
XML based skinning.
HiDPI (Retina) ready GUI themes.
OB-Xd 2.0 is a free update for 1.x customers and can be downloaded at Members Area. More information is available at OB-Xd page.

"While not copying originals, some of the features were taken to a better point. Continuous blendable multimode filter (HP-Notch(BP)-HP in 12 dB mode and 4-1 pole in 24 dB mode). 32 and 64 bit versions included.

OB-Xd is based on the Oberheim OB-X. It attempts to recreate its sound and behavior, but as the original was very limited in some important ways a number of things were added or altered to the original design.

The OB-Xd was designed to sound as good and as rich as the original. It implements micro random detuning which is a big part of that sound. However, it was not designed as a self-contained completely independent soft-synth. It needs to be contained within a VST framework where things like transposition, automation, layering, arpeggiation, etc., are available.

Also, like many synths of the OB-X's generation, the OB-Xd has no internal effects so its sounds and textures can be greatly enhanced by the use of additional processing like chorus, reverb, delay, etc."

Playlist for the above at the time of this post:

Free Plugin Friday | DiscoDSP OB-Xd - JimijaymesGuitarist
DiscoDSP OBXD その1〜基礎操作編〜｜初心者でもわかる 操作方法 解説 - くりっぱーチャンネル
Obxd VST by 2DaT - VST4FREE
Obxd - Free VST synth - vstplanet.com
Cover of Steve Winwood’s ‘Valerie’ - Hedge 777
OBXD Oberheim Synthesizer Emulation - Sormena Project
OBXD VSTi by discoDSP - Chris St
osc061 - ballacr75 - remember (obdx vsti) - Emanuele Ballasina
Photonic - Oldschool - Manfred Wasshuber
Photonic - Memories of Tomorrow - Manfred Wasshuber
aluode osc 93 obxd by Anttis Instrumentals
OBXDを試してみた。 - 稲村良光「Garage Band」チャンネル
Vocoder & Synth Improv (w/ OBXD & Tal Vocoder VST plugins) - Shawn Barnes
Vocoder & Synth Improv II (w/ OBXD & TAL Vocoder VST plugins) - Shawn Barnes
DiscoDSP Datsounds OB-Xd [FS4E1] - Soundsaar Music Studio
FREE PLUG-IN Review: OB-Xd - In The Box Productions Tutorials

1981 EDP WASP SN 003779

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

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Chris Carter - CCCL LepLoop Experiment & The Different Iterations of the LepLoop

Note the above is from 9 years ago. Below is an image featuring the different iterations of the LepLoop.

"The LepLoop
I've used a lot of synths over the years but this one is something different… it's a strange instrument. It's small, much smaller than it appears in photos: it is part synth, part drum machine, part multi-track sequencer. I'm still figuring it all out but initial impressions are that it's very unpredictable and slightly unstable… but in a good way. I had a few issues with it sometimes refusing to work and also it has a tendency to pick up stray signals from my iPhone and iPad if they are anywhere near it. But when it works it is quite rewarding to use and is capable of some amazing sounds - if mildly frustrating trying get it to do what I think it 'should' be able to do - but I will persevere. If you like wonderful experimental noises - accompanied by a simple rhythm (although I'm sure it's very capable of a lot more) then this little unit could be for you.
The LepLoop will definitely become part of my CCCL experimental arsenal and will most likely get seconded into the upcoming Throbbing Gristle experimental sets in October/November 2010.
The short sound example here was performed without a keyboard, just using the internal sequencer and some real-time tweakery. The outputs were processed with a couple of Eventide pedals for some 'tape delay' & reverb.
Photo on my Flikr pages: www.flickr.com/photos/chris_carter_/4933901603/

UPDATE:
Apparently my LepLoop is a prototype, which accounts some of the 'issues' I had with it - the production version should run fine."

via LepLoop

"Laboratorio Elettronico Popolare (L. E. P. ) is proud to present to you a one-of-a kind analog synthesizer, sequencer and drum-machine: LEPLOOP!

Small in nature but aggressive in sound, the user will be able to create a variety of analog timbres and beats.

LEPLOOP was designed to be a minimalist electronic music live-performance groove-box, which can be used to create a variety of electronic musical styles.

The LEPLOOP can be synched via MIDI to another LEPLOOP for tempo-synched operation or to another MIDI device or sequencer to receive sequence stop & start i nstructions.

Read further to find out what else your LEPLOOP can do."

Kurzweil K2661 Demos

Published on Oct 2, 2019 Chris Bran

"This time I'd like to present my own sounds made on the Kurzweil K2661, using the VAST synthesis you can create really deep and unique textures :) In my opinion and other musicians' opinion the K2600 series was the most successful among Kurzweil synths."

John L Rice: MOTS At Lusio, A Night To Awaken

Published on Aug 31, 2019 John L Rice

"As per my usual, I didn't have any idea of what I was going to perform until the day before the performance, but for what it's worth, here it is! ;-) I had fun none the less and a big thank you to Mollie, Bradley, Chris, Philip, Justin, James, Kevin, everyone else who helped out, all the other great performers , and big hugs to the wonderful members of the audience!

If you want to know more about MOTS (Modular On The Spot) and Modular Nights shows, to either be part of the audience or to perform yourself, contact Modular Seattle:
https://www.modularseattle.com/

Learn more about Lusio here: https://www.lusiolight.com/

As per the MOTS tradition, I only used a modular synthesizer, you can get a good look at it at 2:35. I had three stereo patches on the modular, a sequenced background and then two different lead voices I controlled with an Arturia KeyStep keyboard and Mutable Instruments Yarns MIDI to CV/Gate module:

1) The background patch was the most complex, it was a four voice shift registered sequence featuring an Erica Synths Black Clock, a Division6 SQ816 sequencer, a VPME T43 precision adder, a Synth Tech E102 shift register, an Instruo Quad Performance Quantizer with micro keyboard, 4 Synth Tech E330 VCOs, a Modcan Quad LFO, a 2hp clock divider/multiplier, a Doepfer quad envelop generator, a Xaoc Devices stereo mixer, and a Strymon Engineering Magneto delay/reverb.

2) The rich fat typical synth voice was a Modcan Triple VCO into a Synth Tech E440 low pass filter along with an Erica Synths EG and VCA for voicing and an Audio Damage reverb module and then finally to a Circuit Abbey mixer.

3) The plucky voice was simply a Mutable Instruments Rings into Clouds and then to a second Circuit Abbey mixer. I had the patch set up in stereo where the output switched sides every time I played a note but unfortunately there was a problem with one of the cables so only every other note was heard! Whoopsie! ;-)"

Sonic LAB: Novation Summit Synth Review

Published on Aug 19, 2019 sonicstate

"Summit is Novation’s latest synth and takes their Peak 8 voice poly, adds a 61 key keyboard and doubles up the voice count. Effectively Summit is like two Peaks but with more features.
With a 61 key keybed (yes it has aftertouch) Summit has more real estate to add extra controls, and thats the first thing that we get. With Peak, although we have a lot of front panel controls, there’s still a lot of stuff accessed by the section menus.

Summit adds - voice control, FM controls per oscillator, arpeggiator controls, global LFO 3+4 control and envelope looping buttons. This all helps bring more parameters to the fore and is most welcome.
Summit works in four basic modes - single - with up to 16 voices - each with three of the Oxford Oscillators,

Multi: Split - one layer for either side of the split (up to 8 voices)
Multi: Layer - two sounds played as one, with A/B layer
Multi: Dual - Bi-timbral mode each layer can be addressed via a separate MIDI channel
Layers are selected with the A/B buttons - somewhat similar to the way the Sequential the Rev 2 handles it, but with a more positive indication - the pitch and mod wheels, animate buttons all change colour (orange/blue)

Additionally you have an AUX stereo output so layers can be routed to their own stereo pair. Remember, each layer is basically a self-contained Peak - with 8 voices and those lush FX engines (chorus, delay, reverb and distortion).

Another major change to the actual voice is the inclusion of a Dual mode filter - something those familiar with the Oscar (Chris Hugget also designed this) - the 24dB filter can be split into two 12dB filters with a separation controlling the distance between the peaks. It's a fairly unique and interesting sound.

Audio Inputs - we have a stereo input to the engine which can be routed to the mixer/filter/VCA etc, but also now can be routed directly to either FX engine - without the need to for key-down or VCA getting involved. In practice, that means you can run one of the FX engines as a purely external FX processor, which is actually pretty cool. One thing, the settings for this are not stored in the Multi but rather globally.

Speaking of memory - you get 512 single patches (four banks of 128) and 512 multi patches. These are completely independent and dedicated to multis and store the full settings for both engines.

How does is sound?
As with the Peak, there are many, many complex patches available - it's a lovely synth to program, still a little menu-ey, but a synth of this complexity, you have to expect that, but essentially, it's hard to run out of routings, we have the same 16 slot mod matrix, and also a four slot FX mod matrix for modulating FX parameters (level, speed, delay time etc)

For a full review of the Peak - check out our videos.
On the whole, I really like this instrument, it's priced at around £1899/$1999 so it's comparable in price with the 16 voice REV 2, but with three fully featured oscillators per voice, you get more oscillators and therefore more synthesis.

The FX engine speaks to my more ambient leanings, but it's fully capable of a wide range of sounds, with all that extra drive of the original it can get ugly too - if that’s what you want.

A good instrument that follows up on the Peak’s philosophy. Hard to fault.

Available September 2019
https://novationmusic.com/synths/summit"

Sequential Featured Artist Interview with JULIAN POLLACK

You can find the interview on Sequential's website here.

"Julian Pollack/J3PO is a pianist, keyboardist, and producer. Described by Timeout New York as a musician who “deftly balances virtuosity with tenderness,” Julian is an in-demand sideman as well a leader of his own projects. When he was 18 years old, having just moved to New York City from his native California hometown of Berkeley, he was featured on Piano Jazz, hosted by Marianne McPartland, the syndicated NPR radio program. Professionally, Julian has recorded and performed with the likes of Marcus Miller, Michael League (Snarky Puppy), Louis Cato (The Tonight Show), David Binney, The Lesson GK, Matt Chamberlain, Tim LeFebrve, Mike “Maz” Maher (Snarky Puppy), Grace Kelly, Ari Hoenig, Chris Bullock (Snarky Puppy), Nir Felder, Gil Goldstein (Esperanza Spalding), Chase Baird (Antonio Sanchez), Amanda Brown (Adele), Evan “EMAR” Marien, Grace Weber, and many others. He has played an integral role in the band The Lesson GK, which has held the famed “Lesson” Jam Session at Arelene’s Grocery on the Lower East Side of New York every Thursday night for many years. In 2019, Julian (as J3PO) will release his new album Small Plates, a collection of 12 tracks that range from simple lo-fi beats to complex jazztronica future house joints. Inspired by analog synths and sample-based music, the album fuses Julian’s love for today’s contemporary production styles with a nod to the jazz tradition and the spontaneity of live music and improvisation. Julian lives in Los Angeles, California.

We chatted with Julian on how he’s using Sequential’s instruments in his music."

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You can find previous posts featuring Sequential's Spotlight series here.