Happy New Year From MATRIXSYNTH! - A Look Back at 2014

Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

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DK Synergy II+ Synthesizer with Kaypro II PC SN 01272

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

via this auction

"The listing is for a Digital Keyboards Synergy II+ synthesizer with Kaypro II PC in great condition! One of the first premium digital synthesizers manufactured in the US , The synth is based on Dr. Hal Alles from Bell Labs synthesizer architecture.This model is the programmable version and has the solid wood casing which only came out with the very early serial numbers. The wood was replaced by tolex to reduce cost in following years. Approx 700 total Synergy units were made of which about 300 were said to be the upgraded programmable version.It is estimated that only 100 or so units are still operational today of which about 20% are the higher end wooden case version. When the Synergy II + hit the market in the early 80s, they were going for upwards of $10K for the wooden programmable version with Kaypro PC. The DX7 came out with their FM synthesis in 83 for $2500 and changed the entire synth industry. After that DK was dumping their units for under $7K with Kaypro and eventually went under in 1985. I payed $5,450 (including shipping) for this unit 8 months ago so for a 30 year old rare synth , it is still holding it's value.

The Synergy II+ 's Kaypro II PC is in great shape as well with two functional drives and the 1980s style green light screen resolution is still very prominent. You can find Kaypro PCs for sale on eBay should you ever need a back up. The sale includes everything you see in the photos- Synergy synth, Kaypro PC and keyboard, null modem cable to RS232 port ,original operational manual for the synth( not a copy), instructions for understanding the Kaypro and the complete Synergy library.The library includes close to 500 patches. It includes the L1-L13 FDs, VCART1-VCART6 FDs and Wendy Carlos Library( WENDY 1-WENDY3 FDs). All library, diagnostic, software systems and boot disks have been backed up with multiple copies, anywhere between 4-6 sets of each. The sale also includes a 2 hour video made by the original owner who purchased this synth as a floor model in 1983. The video on DVD is well thought out as well as his written start up instructions to get a new owner going. You definitely want to review the video and documents to understand the nuances using the synth and PC software . Included are the original documents listing the names and categories of the library disks and patches/voices in alphabetical order and by instrument or sound type. Other documents include synth schematics, pin schematics if you want to make your own null modem cables and addendum released by DK.

This synthesizer is definitely not for the touring musician or quick knob turning gratification player. This synth is typically purchased as a collectors piece or a programmers synth who enjoys sound sculpting for personal pleasure or studio recording. This synth has unique architecture and very sophisticated envelope control . What makes the Synergy II+ unique even to this day is that you voice each oscillator twice for both frequency and amplitude and you have 16 different envelope points for each envelope. So you get to control how each voice changes in response to velocity. For example, you might choose to have a phase modulated envelope that rises very sharply at low velocities and dies off fast, but at high velocity(loud notes) it rises less sharply and dies off much more slowly. Or you could do the opposite with the carrier envelope scheme which means the loudness envelope of the timbre operates normally with a sharper attack the harder you press the key but a shorter decay at louder amplitudes. Since you can define two 16 point frequency envelopes for each oscillator and you are dealing with phase modulation, you can have sound going from strictly harmonic overtones to inharmonic partials and back again over time or set it up to go inharmonic to harmonic and back again. And this effect is with just two oscillators. Typical Synergy II+ patches use 3-6 oscillators so you can also detune them to get chorus effects. Another reason to set up multiple chains of oscillators for a patch is to have different sets of overtones moving in and out of harmony against one another which gives you very complex timbral effects like you would get with real instruments. Another reason to use multiple oscillators is so you can combine additive synthesis with phase modulation to create some very realistic percussive sounds like bells or chimes using subharmonics of the fundamental of a note to create that low hum that is not harmonically related to the timbre ,but present in real percussive instruments.There is a reason that Wendy Carlos still has two Synergy GDS units among her gear of only 5 remaining keyboards.

For those not familiar with the Synergy, there is a good website if you Google DIgital Keyboards Synergy Preservation Page.Also there are several YouTube videos on this unit. However, here are the basics:

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Ensoniq SQ-80 Cross-Wave Synthesizer Keyboard

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

"The SQ-80 is basically a reved-up ESQ-1with a total of 75 waveforms, a 61-note keyboard with velocity & aftertouch, floppy disk drive for storing patches and sequences, and an enhanced sequencer. Great for organs, analog-type sounds, pads and sound effects. Like the classic ESQ-1, the SQ-80 functions in providing analog-type 4-pole lowpass filtering and editing of digital waveforms. Each voice can combine up to 3 of the 75 waveforms. These waveforms include multi-sampled transient attack waves such as violin bow, plectrum picks, mallet, hammer, breath attacks and percussive sounds. There are also 5 sampled drum sets. Three LFOs are onboard for some pretty wild modulation of the sounds you create or edit. Complete MIDI implementation makes the SQ-80 great for any studio or live use too.

As for playing the SQ-80, it is a dream! Its 61-note keyboard is full, responsive and has polyphonic aftertouch. Polyphonic aftertouch simply means that each key pressed will respond to aftertouch independently of the other keys. The aftertouch can be used to control a variety of modulation parameters such as the LFO. Pitch and mod wheels and plenty of front-panel buttons and a few sliders make accessing and editing fairly easy and hands-on. The keyboard can be split or layered. The pattern-based 8-track multitimbral sequencer is great for creating short to complex sequences live, or in step time with quantization, bounce-able tracks, 60 sequence patterns and 20 songs. And they can be saved to disk along with any patches you've created and any SysEx Midi data. Unfortunately, the SQ-80 has no built-in effects. The SQ-80 is certainly a classic analog/digital hybrid of the late eighties which still holds up well today."

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Futureretro 777

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

"These units are rare as only roughly 600 were made over a decade ago. Here is some more info about the unit:

'The 777 is a monophonic analog synthesizer with a digital sequencer. Built with the highest quality of components, the 777 is housed in a rugged aluminum chassis, has solid cherry end pieces, with top of the line knobs, switches, and electrical components. This machine is built to last.

The 777 is capable of reproducing the oh-so-famous sound of the TB-303 in every way, but that's the least of it. TheTB-303 has only six knobs and one switch to control the sound, while the 777 has all these, plus five times more. There are 32 knobs and 7 switches to be exact, all instantly available with their single dedicated feature. The sequencer part of the synthesizer contains 28 illuminated keys, keeping all the features readily available for the user to tweak at any time. No menus, no virtual analog synthesis--this is the real thing!

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Unlocking Yamaha E70 organ into Yamaha CS80 synthesizer

YouTube Uploaded by allvek597 on Sep 5, 2011
Re-Published on Feb 12, 2016

Update via e man in the comments: "There is no CS style VCO, it's just the VCF's and VCA's - the VCO's in the electronic design are what's used to clock the waveform data from the basic waveforms in ROM. It's like the Korg DW series, only analog on the VCF/VCA side. It has very little pitch control other than minimal glide (semitone range) and same for the vibrato (if even)... the source oscillators are purely phase locked digital constructs."

And: "There is no analog VCO in this entire synth, certainly nothing resembling the CS80 or any other CS synth - zip, nada, zilch - anyone telling you otherwise is trying to sell you swamp water. This is a giant polyphonic that has much more in common with the Korg DW series (also having crude basic waveform in rom), but very much lacking in it's ability to do any pitch control - what little there is, is a an digital approximation of minimal range. The only place you could add modulation circuitry to any great effect is the VCF and VCA section of the Orchestra Voices - pitch modulation is either limited global vibrato or equally minimal vibrato on the upper manual via wiggling the keyboard that drives a photovoltaic shutter combo, again going to a digital interface having little effect - even the glide is minimal and digital. You will never get anything properly analog out of the the Wavetable oscillator end as it's a giant digital construct with loads of sample and holds to distribute the wavetable rom voltages that approximate the basic synth waveforms (ramp, pulse, square). It's basically 3 waveform samples in ROM with very little control over pitch other than basic notes (the speed that the sample is read out from the ROM)."


The following is the original post starting with the video description:

"Mystery is resolved. Chopped and completely electronically modified analog Yamaha E70 organ into Yamaha CS80 synthesizer. What You see now is 2 fully programmable polyphonic synths 2 OSC's per voice + fully programmable 2 OCS's per voice monophonic synth in a body of Yamaha E70. Same P.A.S.S sound technology, same analog filters and same sound, same offspring of legendary Yamaha GX1.
Any questions, please visit www.alvek.us"


via this auction

"Here's one more organ from my collection: Yamaha E70 . What You see in the pictures is completely modified Yamaha E70 in body and electronically. Organ after chop work went 327lbs down to 130-140lbs(Yamaha CS80 is 242lbs) and under the hood all electronic carts are located pretty close to like inside of CS80. It's been a while people talking about E70 which has same P.A.S.S technology like CS80 and electronic carts, all wiring are practically the same like CS80. Yes, E70 has absolutely the same analog filters like CS80, same sound synthes and it does sound like CS80. This particular E70 has beed modified from organ into 2 and half fully programmable CS80. All presets still have same functions except FUNNYII preset green buttons. Those 3 green buttons(1 for upper, 1 for lower keyboard, 1 for pedal board or extra keyboard) function now differently. When You push FUNNY II E70 starts to work as most powerful and expensive programmable synth-Yamaha CS80. On left top of organ You see control box. The box has 3 sections: 1st for upper keyboard, 2nd for lower keyboard, 3rd for footpedal/or extra keyboard you can hook up. You can see all signs under the switches(3 waves forms sawtooth and 2 square waveshapes) and pots, they have same function like on CS80. So after all this E70 has 2 polyphonic 7 voices 2 OCSs per voice CS80 synths and one monophonic 2 OCS per note synth (pedal or extra keyboard which can be connected to E70 is monophonic, it's perfect for bass lines and pretty good even for leads as far as You will move 2 OCS slider from 16' up to 4'). Oscilators can be detunes between each other and between keyboard. Does E70 sound like CS80?. Yes, it does. Main different between E70 and CS80: no velocity and aftertouch on E70. Big flaw. On another hand You have 2 and half CS80 under the hood. You can build sound on upper keyboard and MIX IT with sound you built on lower keyboard. Also you can add organ/orchestral section(they all can be saved in memory-see small control panel on a botton of organ to left-very much the same look like on CS80) from upper keyboard AND organ/orchestral section from lower keyboard. Same thing can be done between lower polyphonic and monophonic keyboard/pedals: monosynth also can be played on first 2 octave of lower keyboard. Now You realize CS80 is kind of kind of behind! PLUS very powerful arpeggiator! and even cheesy drum machine and 100 lbs less. From control box You can see 3 cables coming inside of E70, each cable has 25 pins . The connector 9 pins in a middle of a back of E70 serves expression pedal. 3 inputs 1/4 on back are not hooked up. Could be 1/4main output(original main output on a bottom of organ)or sustain pedals-it's easy to hook up. Same about 6 inputs on control panel-they are not hooked up. It's your choice how to use them. I didn't connected any inputs for 1/4 jack, coz basically all extra functions are on control panel of organ. I don't play on stage, so I can turn on sustain effect simply by hand. The organ is absolutely stable in tune and doen't have overheat problems like CS80 Anyway, if you are still skeptical about what You read here, please check some INFO on line about unlocking Yamaha E70 and Yamaha CS80 both children of Yamaha GX1. And don't forget how much money you will save not buying CS80. Please check, read and watch all links below and You will see it's not a dream anymore. You can get 2 and half CS80 more than 4 times cheaper... compare to ebay price for last month. "

Update: new video and description in this post.

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Richard Lainhart - Bellingham Electronic Arts Festival Lecture & Performance

Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.


YouTube Uploaded by matrixsynth on May 19, 2011

The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.

"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE

Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds

[Beginning of recorded material]

Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.

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M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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KORG KRONOS Details

via Hispasonic, translated to Googlish from Spanish:

"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.

Features in detail

There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:

* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.

Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).

It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.

Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.

Section 16 effects available. 9-band equalizer general. Flexible Routing. Mastering tools. 16-track sequencer."



Update:

Korg KRONOS Music Workstation- Official Product Introduction video added below.

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NAMM: Waldorf Largo Software Synthesizer

"Many producers and synthesizer enthusiasts asked for a full-blown Waldorf Synthesizer for their virtual rack. We listened, and now we proudly present Largo. Largo is the first pure software synthesizer with Waldorf DNA. And again – it is the cutting edge sound that makes the big difference.

No wonder, as Largo mirrors the technology used in Blofeld and Q hardware synthesizers. As for every Waldorf instrument, ergonomics are a core feature on screen as well. Your eyes will be pleased with a clearly structured, graphical user interface that supports your workflow intuitively.

Largo offers three fat oscillators, two of them with sub oscillators. These oscillators include models of classic analog waveforms as well as a selection of waves from the PPG and Waldorf Wave stored in two Wavetables. All these run through two Waldorf multimode filters with steep cutoff, resonance up to self-oscillation and a drive stage to add even more punch and grainyness to the sound. Ultra-fast envelope generators and flexible LFOs as well as an easy to understand, yet extremely versatile modulation matrix make for a sound designer's dream.

The filters have always been a core part of any Waldorf instrument. With outstanding expertise in both analog and digital synthesis, our developers took utmost care in developing the filters. And you can hear a significant difference when working with a Waldorf filter - they just sound right! Use the comb filters for plucked, stringed or blown sounds. Band pass, high pass, low pass and notch filters are all available with 12 dB and 24 dB slope. All of them sound extremely accurate and add pure sonic quality to the sound of your music.

Largo contains a flexible arpeggiator with 16 freely programmable steps as known from the exclusive Q synthesizer line plus an array of high quality effects such as Chorus, Flanger, Phaser, Overdrive, Delay and Reverb.

The clearly arranged user interface helps you to create your own powerful synthesizer sounds in a breeze. Oscillators and filters are always in direct access while the submodules are only a mouse click away. It has the same exclusive voice architecture as the Q and Blofeld synthesizer line, fully integrated into the total recall system of your Digital Audio Workstation.

Largo works as a VST and AudioUnit instrument.
General Features"

http://www.waldorfmusic.de/en/products/largo

John Bowen Solaris Test Drive by Carbon111

via Carbon111, via this VSE thread where you will find more images and info.

"I was privileged today to have given John Bowen's Solaris a test drive in my studio! Though its not quite finished yet and there are some re-designs in progress, I can honestly say its a programmer's as well as a player's dream!

It sounds absolutely wonderful and is very powerful! It took a few minutes for the interface to sink in, but once it did...wow! Flexible, deep and yet relatively easy to program due to the excellent UI despite the huge number of available parameters and choices. Most parameters are not buried in menus and are easy to access and tweak.

There are a ton of audio-rate modulations available on this thing, none of which generate any artifacts or aliasing at all...lots of FM possibilities, linear as well as exponential. The Moog-style filter was as warm and squelchy as one could want and could be run in other modes besides LP! The "Obie" clone was a good state-variable emulation. The oscillators were plentfull in both quantity and variety. Each patch has a unique architecture, essentially a massively parallel yet integrated "multi" unto itself.

I was suprised at how organic and non-digital it sounded! A one-on-one "taste test" against my analog gear proved this thing has that elusive low-end "beef". Its no slouch as a complex wavetable synth either, holding its own easily against my Waldorf Microwave XT and Ensoniq Fizmo.

You can do FM, physical modeling, subtractive, wavetable and vector synthesis on it as well as the warmest VA I've yet heard.- I'm really blown away! Time to start saving...or figuring out what will have to go"

Also check out the official John Bowen Synth Design.

Some specs via this thread on the John Bowen Synth Design Forum (BE SURE TO CHECK OUT THE THREAD FOR MORE including clarifications):
"The hardware Solaris has the equivalent of approximately 6 Scope boards (the 14 DSP cards), so 6 x 14 = 84 Scope generation DSPs - but remember, you would have to be running your Scope Project at 96 kHz as well...

We have lots of software to finish, so I can't report exactly as to the polyphony count, but here are some of the other specs:

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Korg DW8000

Click here for shots pulled via this auction.

Details (Regarding the PPG comments, do note that the DW8000 is not a wavetable synth like the PPG and although some of the sounds are reminiscent of the PPG, they are a bit different as would be expected. The PPG also has considerably more waveforms. Also, the digital waves in the DW-8000 were carried over to the more current MS2000 and MicroKorg line of synths):
"The DW-8000 has an old school analog sound from the early 80's, but it also excels at creating those DX-7 digital pianos and other digital timbres. (Please check out the MP3 links below!!!) It actually sounds very similar to a PPG Wave synth because it's oscillators are digital and filters are analog. If you are into the sound of Depeche Mode, Tangerine Dream or Kraftwerk, this synth is for you! This synth is perfect for emotive, organic pads, deep filter sweeps, screaming portamento leads, throbbing Moog basslines, fat burbling analog sequences, some noisy madness and sweet analog synth percussion. You can also get a nice acid sounding patches like on the Roland TB-303. The filters on the DW-8000 sound a lot like the filters on my old, school Roland SH-2 and Minimoog -- as the resonance increases, the filter screams! The DW-8000 has 8 rich analog voices, a very simple to use sequencer that syncs to MIDI, a very expressive pitch bend/mod joystick, full MIDI implementation and sysex, and a very nice sounding effects processor that allows for chorus, flange and reverb effects. It was an ingenious synth in the 80's and is now still sought after for its rich hybrid digital/analog textures ala synths like the classic PPG Wave. The DW-8000 sound is truly distinct from other polyphonic analog synths, and it makes a great addition to any synth setup!"

SOUNDS & TECHNICAL INFORMATION

* Korg DW6000 Audio Workshop MP3 (same synth as DW8000 less waveforms)
* Blue Synths DW8000 MP3 Files (free registration required)
* Seal's DW8000 Site - very nice mp3s!
* Pallium DW8000 Information Site - very technical!
* Korg DW8000 User Manual in PDF format
* Korg DW8000 Synth Users Group
* Another DW8000 Synth Users Group
Update: DW-8000 Service Manual [mirror]

PPG Wave Differences

This one in via Nikos:

"PPG front panel differences:

In the picture, the 2 upper photos are the PPG Wave 2.0: as you examine the front panels you'll find differences:

The upper one (which I call the first version because it was used for the original brochure) has no space between top legending and top flat panel. Also the legending around the LCD screen has a different configuration, compare with the second version. That usually had Moog type- chrome topped knobs, here in the pic has the standard PPG type. The second version which is more common, has a space between top flat panel and upper legend. To be more confusing, I've seen sec. ver. Wave 2.0's with chrome topped knobs! Also in the second the legending around the screen has the same configuration with the later Waves (2.2 , 2.3). Also, the top writing 'Multiple digital/analog control panel' has different placement and font size in all versions (2.0a, 2.0b) and in the 2.2/2.3 is on it's final placement. The later versions (2.2 / 2.3) had no differences between them anyway, and both had standard pitch/mod wheels, compared with the wave 2.0 single wheel with it's strange ergonomic angle - I can't tell if it's more comfortable than the usual placement - better ask a wave 2.0 owner!

A curious thing is that in almost every Wave 2.0 I've seen, the front panel paint is worn, mostly in the volume knob area and the programmer's numerical switches area. This problem is not common in later waves -maybe they improved the front's panel paint quality/sturdiness. It is reported that only 200 2.0's were made (both versions).

The main internal difference, apart from the single oscillator per voice in the 2.0, is that the filter chip was the CEM 3320 -in the Wave 2.2/2.3's used the SSM 2044 of course. As for the VCA's, in the 2.0 used the CEM 3330 (dual VCA) and in the 2.2/2.3 the VCA chip was the CEM 3360 dual VCA as well.This info is backed by service literature. Sound wise, the 2.0 was more rawer and primitive than the 2.2/2.3's, although the INTERNAL wavetable resolution in ALL Waves, was 8-bit. Things were different in 2.3's, where it had SRAM of 12-bit and thus you could play samples from Waveterm B loaded into the 2.3.

Edgar Froese of Tangerine Dream and Klaus Schulze both had the first version of Wave 2.0 and used them 'till 1983 as far as I know. In fact, E. Froese's is visible in his rig in the 'Poland' video (1983 - left) and Klaus Schulze had his own Wave 2.0 with him, when he toured Poland in 1983. You can have a very good idea how well the Wave 2.0 by listening to track 'Remote Viewing' by Tangerine Dream, from the 'Exit' LP, from the middle and on there some melodies played by Froese on the Wave 2.0 with a voice-like patch,gritty, beautiful and majestic.

PPG photos credits: top photo from ebay auction, second by Laurent Prot from Paul Maddox PPG CD-ROM, the 3d by a 'Matrixsynth' link and Edgar Froese's pic is a capture from the 'Poland' video.

That's about now,
Long live the Wave.
Nick-Greece"