Exploring the Yamaha FS1R Controller by R. Skerjanc

video uploads by DACHI Klangmusik

Playlist:
Exploring the Yamaha FS1R Controller by R. Skerjanc - Tweaking on Preset Supersaw
Techno live w/Yamaha FS1R Skerjanc Controller & Roland TR8S
Skerjanc FS1R, TR8S, Quantum- Progressive to Minimal with FM, Wavetable - by DACHI SOUND MACHINE
Yamaha FM Synthesizer FS1R & Skerjanc Controller // live Sound & Modulation on Algorithm No. 11
Deep Frequency Sound on Yamaha FS1R (Skerjanc Controller), Waldorf Quantum & Roland JD-990
Roland JD800, JD900 - Waldorf Quantum - Yamaha FS1R Skerjanc CTRL // Impro by DACHI SOUND MACHINE

See the Skerjanc label below for more.

Something for 2011 - TouchOSC Wireless Editors for Your Synths

If you recall from my XMas post, this year, a big focus on the synth front for me has been the iPad. What you are looking at here is a TouchOSC template for the Waldorf Pulse+. Every editable parameter on the Pulse is represented. Click each image for a full size shot. The kicker is I have it working wirelessly with The Missing Link. I am able to control my Waldorf Pulse+ with my iPad without wires. I was literally able to control it from a different room. This is BIG for two reasons. One, the obvious wireless control of synths, and two, creating an entirely new OPEN interface for editing synths. For those of you that used Sound Diver, this is like it on steroids.

No, the Waldorf Pulse is not that complex, BUT, you are limited to six knobs, small print, and it sits in a rack which may or may not be close to you. Now, imagine having an iPad sitting on your MIDI controller and having a custom editing interface in front of you. OR, imagine picking up that interface and kicking back on a chair in the studio while you tweak away. If you look at the last image of this post you will see a keyboard control and the ARP controls. You don't even need a MIDI controller to get going. You can use the iPad all on its own. You can create any number of custom controls - unlimited x/y pads, unlimited sliders, knobs, keys, etc. With a MIDI merge box you can run a sequencer into your synth and edit away with the iPad.

Back in November you might recall my Rhodes Chroma TouchOSC template. I now have that running wirelessly with The Missing Link as well.

Next up will be a template for the Yamaha FS1R. The Yamaha FS1R is Yamaha's most powerful FM and Formant synthesizer to date. It is a four part, 8-Op, FM and Formant synthesizer. The DX7 was only 6-Op with no Formant synthesis. There was only a rack mount version of the FS1R and editing it was like trying to paint on a wall sized canvas through a keyhole. It is a powerful and beautiful sounding synthesizer, but most have barely scratched the surface because of it's editing interface. The iPad coupled with The Missing Link will finally unlock this synth. Note, the Missing Link does support sysex and I have verified it does work with the FS1R. I was able to watch the parameter values on the FS1R change as I manipulated a slider on the iPad, all wirelessly. That said, see you on the other side! My New Years post will follow tomorrow. All done for the year! :)

Update: you can find the template here. It's mapped for The Missing Link, but you can remove the mappings by checking the auto box in TouchOSC for each parameter, followed by making a mapping with OSCulator.

Update: screens captured direct from the iPad added below.

Update: I updated the template to use toggles instead of sliders for selection parameter, so screens here are slightly different.

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Thoughts on the iPad as a Synth and Controller

Every now and then I hear about people knocking the iPad in the synth world. Usually the criticism seems to be a reaction to the hype or the inevitable "it can't do this or that" sort of argument. Don't let the hype (negative or positive) influence you. Just see it for what it is - a piece of hardware with processing power, memory, and a multi-touch interface that can be used to turn it into a synth, audio processing device, controller or whatever else might come out for it. I thought I'd share my thoughts on why I'm particularly fond of it and why you see so many posts here. In short, I like synthesizers, and the iPad is as much a synthesizer as any of my other synths. I didn't get an iPad to replace my synths or controllers, I got one to compliment them, which BTW, is the exact reason I buy any piece of gear.

In regards to synthesis, unless a synth is analog it's digital, and digital is software running on hardware. Whether that's a PC, a dedicated hardware synth or the iPad, it's still software running on hardware, and hardware comes in all shapes and sizes. Like any other synth, the iPad has its advantages and disadvantages.

As for the interface, all hardware varies from being completely menu driven to one knob per parameter. I do have to say Moog's Animoog X/Y pad and PATH module trumps my Prophet VS for drawing vector type paths for manipulating sound in time. The visual feedback is useful rather than gimmicky and the customizable virtual touch plate is extremely expressive and responsive. As for complimenting and extending the interface of my current hardware, my FS1R was practically non editable until I made this TouchOSC template for it. I'm also less worried about the Prophet VS joystick going out now that I have my Prophet VS TouchOSC editor. I prefer the editor to the Prophet VS interface.

As for the iPad not being open, it's definitely more open than most other hardware synths when you think about it. Roland VariOS anyone? Not only was it Roland only, it faded long before new models came out for it. The Creamware Noah allowed you to install VSTs but is now gone as well. The beauty of the iPad platform is the support it receives outside of the synth community which means it's not going anywhere. Worth noting is the interface of the VariOS and Noah were also much more rigid than the iPad. Physical knobs? Sit the iPad on a synth or MIDI controller with knobs and have them compliment each other.

Simply put, the iPad is a chunk of hardware with processing power and memory just like any other hardware synth. It's interface is a multi-touch screen and it can be hooked up to any external MIDI controller. It can be used as a synth, a controller, or whatever else you want it to be. Some say the processing power isn't there yet. True for some applications, and the same can be said for other hardware synths. All of this seems so obvious that I almost did not put this post up, but I keep seeing and hearing things... Let's just say I put the two posts above when this went up because I'm more interested in them. As the saying goes, "nothing to see here, please move on."

Think of the iPad as a rack mount synth that can morph into anything with an added multi-touch screen just for the heck of it, and you'll be just fine. The apps will define it for you though. If you don't see what you like, move on. The same goes for all other hardware synths. And no, it never will replace everything, it will just compliment it.

You can find my initial excitement on the iPad and all tablets for that matter here:
A New World in Synthesis.

Yamaha FS1R Unleashed

Robert Skerjanc

"A small session controlling the FS1r Synthesizer live with a custom hardware controller."

Custom controller for the Yamaha FS1r. Almost looks like custome eurorack modules.

Curious how many of the FS1r parameters it controls. I once made an 80 page editor with Touch OSC with over 1000 parameters. It was ported to TB MIDI Stuff. There is also an editor for Patch Base here and free Edisyn 26 editor here. Without an editor it's like trying to paint a canvas through a keyhole.

【DEMO】YAMAHA Dream Synthesizer

Published on Apr 15, 2014 musictrackjp·238 videos

Yamaha KX49, AN1x, FS1r and Motif XS Rack layered.

"We propose this synthesizer structured by AWM2(Sampling),AN（Virtual Analog) and FM/FS Synthesis System by YAMAHA.

It will be Great, isn't it ?

DEMO by Katsunori UJIIE.
Facebook: Like me please!
https://www.facebook.com/musictrack.jp"

The Yamaha EX5 and EX5r rack came close only missing the Formant component of the FS1R.

"AWM is Yamaha's original system for effectively using sampled waveforms in synthesizers and tone generators. The strength of AWM synthesis lies not only in its extraordinary ability to "shape" and control the sound of the samples with a comprehensive system of envelope generators, filters, key scaling parameters, modulation, and more. AWM voices can have from 1 to 4 AWM elements. Each AWM element can use a preset wave or a sampled waveform. The ability to combine AWM elements means that you can, for example, combine separate samples for the attack and sustain portions of an instrument's sound, with independent control over each.

Yamaha AN Synthesis (Analog Physical Modeling) offers all the benefits of traditional analog synthesis with the stability, reproducability, and precise control of digital technology. It is capable of accurately reproducing the sound of classic analog synthesizers without patch cables, setting charts, or the frustrating instability that was the bane of the analog age. A standard (Poly) AN voice can have 1 AN element and from 1 to 3 AWM elements. Classic analog synth type sounds can be created with the single AN element alone. AWM elements can be added as necessary to "modernize" the sound.

FDSP adds a sophisticated note-dependent effect processor to the basic AWM synthesis system. In contrast to a stand effect stage, the FDSP synthesis stage uses individual note and velocity data to control effect parameters, thus making it possible to simulate the characteristics of a number of real-world musical components, as well as produce totally new effects. FDSP can produce totally new sounds that are responsive and "alive". FDSP voices have from 1 to 4 AWM elements with an FDSP stage between the elements and the main effect stage. The FDSP stage can be applied to any or all of the AWM elements used, as required.

Yamaha's Virtual Acoustic ("VL") Synthesis tone generation system applies sophisticated computer based "physical modeling" technology to musical sound synthesis, accurately simulating the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. VL voices can have 1 VL element and from 1 to 3 AWM elements. The VL element can be used alone to emphasize the full realism and expressive power of the VL tone generator, or with added AWM elements for thicker textures.

The EX5 allows the AN and FDSP tone generator systems to be combined in "AN + FDSP" voices which can have 1 AN element and from 1 to 3 FDSP elements. The FDSP stage can be applied to any or all of the AWM elements used, as required."

The EX5 also features sophisticated sampling capability. Samples can be used in AWM voice elements or mapped to and played via individual keys of the keyboard using the Key Map mode. It is also possible to sample internal sounds created in the EX5. The Sample mode has all the features you'd expect from a professional sampler and is compatible with WAV, AIFF and AKAI formats. Sampled waveforms can be saved to floppy disk or to an external storage device via the optional ASIB1 SCSI Interface.

The features don't stop there. Six Controller Knobs can be assigned to a wide range of parameters for extraordinary real-time control capability along with the Pitch wheel, two Mod wheels, assignable Ribbon Controller and Scene memory buttons. Two types of full featured built-in Sequencers are on-board. A 16-Track Song Sequencer has real-time play effects and "groove" quantization. An 8-Track Pattern Sequencer has most of the functions and features of the 16-track song sequencer, but is more suited to the production of drum tracks, dance grooves, or other frequently used phrases. There's also a great 4-track Arpeggiator with 50 preset and user patterns.

Top-quality digital effects processors of two types are onboard. The "System" effects includes two separate effect units: Reverb and Chorus. Independent reverb and chorus settings can be made for each voice in the Voice mode, and for each performance setup in the Performance mode. Two "Insertion" effects provide up to 79 additional effects like chorus, distortion and overdrive, amp simulation, auto wah, equalization, delay, reverb, and other effects.

Use the 16-part Performance mode to create elaborate sequences, layer sounds and so on. Different parts can be assigned to different areas of the keyboard, there are up to 16 zones. The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks to different keys of the keyboard. These can then be played or triggered from the keyboard or an external sequencer or other MIDI controller. Every knob and controller on the keyboard sends and receives MIDI data in real-time."

The Most Underrated Synths

Update: also check out this post for Sonic State's podcast on the list.

JB thought it would be fun to come up with an underrated synth list in the same vein as The first synth to post. I think this might be a pretty cool idea. I think all synths have something to offer and it would be interesting to see what people come up with. So here is how it will work. Put a synth you chose in the comments with 1 to 3 main points on why you think it's underrated and I'll update the list in this post. Make sure to follow the format below, or it doesn't go up. I need to be able to just copy and paste it in. You can discuss away in the comments, but only the list will get updated in the body of the post. Note the reasons can be a combination of what was cool about the synth in your opinion and what you believe kept it from gaining higher status. And yes, you can cheat by combining small things like I did below. I'll make this a sticky post on the right of the site as well so we can check it out and add to it over time as other posts go up. That said. I'll start with two. The most underrated synth in my book of course starts with:

The Oberheim Matrix-6
1. The modulation capabilities for the price - ramp and tracking generators, release velocity, matrix modulations, etc.
2. It is completely overshadowed by it's bigger brother the Matrix-12.
3. It is a CEM based DCO analog and categorized as one of the lesser sounding poly analogs along with it. It's true to an extent but I still like it's sound and it is the source of name of my alias and this site. : ) My first synth.

The Rhodes/ARP Chroma
1. It's just as incredible sounding as the more popular analog poly monsters like the Roland Jupiter-8, SCI Prophet 5, Oberheim OB-Xa, Memorymoog and so on, but for some reason it never seems to get the same recognition. I found one for US $950 in prestine condition from a shop that usually overprices gear.
2. It has a weighted keyboard and mod settings to die for. It's one of the most expressive and best sounding synths I have ever played. Definitely in a class of it's own.

Elka Synthex
1. the Elka synthex was much underrated too because of its brand. It's a fantastic synth anyway.

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Filter-Ambient-Scape w/Yamaha FS1R/ Skerjanc Controller x Waldorf Quantum x Strymon blueSky

video upload by

"Sunday Ambient Improvisation in my private Studio

The 2nd Part is with Sequence from Quantum
Sorry 🙈 for hard change there 🚨

Sounds
Waldorf Quantum : Taurus Bass
FS1R: Platipus

Nice Filter & Modulation on FS1R
Bottom Right is FM-Modulation Wheel
Bottom left is ADR
Top right is Filter Section

Resonance on Quantum and this Taurus Sound is tricky.. little percentage up and it is .. fieps.. ☣️"

Expert Controller for Yamaha VL1

video upload by Robert Skerjanc

"Demonstration of the hardware prototype. It can edit the complete physical model of the VL1. Musically not much enlightening, but showing some first impressions. See also my home page: https://vl1.skerjanc.de/?p=23"

"This is my vision of an ideal hardware controller for the famous Yamaha VL1 synthesizer. After my experience of making a HW controller for the FS1R, I decided to create an new user interface that deals easily with hundreds of parameters to control this beast. The case is designed as a 19″ rack mount, the same size as the VL1m module. As the name implies, it can edit all physical modelling parameters as you were able with the Yamahas Expert Editor for Macs.

Individual dials for all parameters rendered quite impossible, so I found a way to divide the parameters into several pages of 16 parameters and show the content on an OLED displays.

You have 7 groups on the front panel: Global, Control, Effect, Driver, Physics, Pipe and Modifier. Each group has several buttons and LEDs to indicate the current selected parameter page. In the next image you see that the page for editing breath noise and excitation is selected, and the 16 dials are assigned to the belonging parameters.

The dials are endless encoders with haptic clicks. The displays are divided in two halves, upper display half describes the parameter name and value for the upper dial and vice versa.

That’s it: you have a good overview about the whole context and you can easily dive into all parameters."

You can find additional pics and details at https://vl1.skerjanc.de/?p=23.

New Voices for the Yamaha FS1R - Demo w/ Custom Hardware Controller

video upload by Robert Skerjanc

"Demonstration of my Sound Set for the Yamaha FS1R, containing 117 new Voices and 86 Performances using some of these voices.
If you are interested in the purchase, contact robert@skerjanc.de"

You can find additional demos of the controller here.

Live Modulation of Operators (Algorithm 17 FS1R Yamaha FM-Synthesizer) with Skerjanc Controller

video upload by

"Sequencer: Arpeggio UP / 1 Octave / 4 Notes

Tweaking/Fading on Operators 1 - 8
of Yamaha FM-Synthesizer FS1R with the Skerjanc Controller

Involved Sections in this Video:

Filter, Attack Decay Release, EG Depth (yellow, upper right), Tone

Operator Sound Section (red, upper left)
Fading on OP1-8, Algorithm 17,
Sound on Fader OP 1/2/6/8.
Modulating on Fader OP 3/4/5/7


additional Modulation on LFO 1

Enjoy ;)"

FS1R improv with the wonderful Skerjanc controller

video upload by Video muzak

"More or less random noodling with the Yamaha FS1R using the hw controller designed and handbuilt by Robert Skerjanc. The Blokas Midihub (small grey box) helping things out. Just playing with the formants, FM and the nonvoiced operators at the part level. Audio could be better."

See the Skerjanc label below for more.

Yamaha FS1R Bass-Sequence Modulation w/Skerjanc Controller & Formant Shaping

video upload by DACHI Klangmusik

"FM Synthesizer Yamaha FS1R
Formant Sequence Nr 47
Shaping on FM & Formant Knobs , Speed of Formant Loop

Modulations on ADR, EG, Filter, Fader OP1

You just hear 2 OPs interacting!!!

OP1 & OP2 on I065, Part 1
w/Skerjanc Controller"

What is better than a Yamaha FS1r with a HW Controller?

video upload by Robert Skerjanc

"Answer: 2 FS1r with 2 HW controllers...
Testing session of controller #3 before shipping."

Follow-up to this post.

MODULATION FM & Formant Sequence w/ Controller Yamaha FS1R

video upload by DACHI Klangmusik

"YAMAHA FS1R / Skerjanc Controller
8 Operators
Algorithm No 25
Formant Sequence No 67
I081 Lead Horn (Squeezed ;))
Step Sequence by Korg Electribe EA-1

Modulation on:
EG: ADR
Tone: Formant & FM
Formant Sequence: Loop Speed, Loop Start/End, Start Delay, Start Offset
OPs 1-8"

Noodle Soufflé with Virus TI ~ R2m ~ FS1r ~ Strymon Cloudburst

video upload by Ebotronix

Conductive Labs The NDLR V2
Access Virus TI
2x Doepfer R2 m Ribbon Controller
2x Mutable Instruments Midipal
Yamaha FS1r , MCS 2, 2x FC 7
Strymon Cloudburst
Dorian Scale Midipal and NDLR
8.11.2023
video # 2298

Kickdrum Modulation on Yamaha FS1R / FM Synthese/ Minimal Beat Generator /

video upload by DACHI Klangmusik

"Kind of Beatflow starting 28:00

Modulation Faders on OP 1-8
Preset I 064 Drumkit
Arpeggio on 120 bpm with 2 Notes
Osc Form of OP 8 is set on Formant (FS-Synthese)

FS1R FM Synthesis w/ Operators - Kickdrum Modulation on Skerjanc Controller- trying to find the „Kick“ - no effects added

Algorithm 25:
1
2
3-4-8
5-6-8
7-8

Modulations on:
Attack Decay Release
OP1-8
Filter (Scaling/ Scale BP/ F)
EG Depth

.. and no.. I am not a DJ .. 😂

this kind of fading and tweaking has technically almost nothing to do with a DJ

Just 2 sound sources X
each 2 signals per second X
are generating all the wave-signals you hear"

What iPad MIDI Editors Might Look Like Stretched Across a Synth

via Superdan Rosenstark on The MATRIXSYNTH Lounge:

"I've been thinking a lot recently about virtual space vs. "real" (physical) space and control. I finally got a 3D artist to do a rendering. This one is for our layout for the Casio XW keyboards... one for our massive layouts for the Roland U.S. JD-990 would probably be more appropriate for this lounge, but anyway... this is just a fun concept image. Hope you dig it and don't mind the plug."

via MIDI Designer: "Virtual space does have its advantages. Here's what the iPad controller for the Casio Music Gear XW line of keyboards looks like if you spread it out.

Find out more:
here"

Like a PPG Realizer on steroids. This is why I was a fan of the iPad from day one. It opens up synths in a way that would be virtually impossible with hardware. Not to mention you can jump spaces on a virtual controller. You can't on hardware sliders and knobs. But it's not one vs. the other. Nothing beets physical knobs and sliders for that tactile experience, but if you can't have them the iPad is the next best thing and it does have some advantages. Check out my FS1R editor - 80 pages and access to over 1000 parameters. Not feasible in hardware.

Interview with Hexfix93 of VAC

The following is an interview I just wrapped up with hexfix93 of Velvet Acid Christ. As you know, this site is about the gear, namely synths, and the gear that helps drive and enhance synths, but ultimately the focus is on synths.

I was chatting a bit with hexfix93 and asked him if he would be interested in a slightly different take on an interview, one focused on synths and their impact to his world. We all have our story regarding how our obsession with synths first started, how we see and approach synths and what they mean to us. I thought it would be interesting to hear his story. The following is the interview.

Before it begins, I want to thank hexfix93 for taking the time out for this. We all have a different approach and a different story when it comes to our synths. This is his. For more of his music check out VAC and don't miss Toxic Coma. Cheers, matrix.


1. What was your first synthesizer, how old were you when you picked it up, and why did you pick it up?

"It was some kind of old yamaha cheap thing. i got it for my atari st, so when i played games like leisure suit larry that the music wouldn't come from the wimpy fm built in sound, but a general midi synth instead. it really didn't sound all that great. i wasn’t really a keyboard player at this point.

The first synth i got as a keyboard player was a roland w30 sampler workstation. And we made like 3 records with that keyboard. i remember gary slaughter an x vac member, spilled orange vodka drink on it. and i had to take it apart and clean every part of it by hand slowly, it took weeks. it was a pure nightmare.

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MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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PEAVEY PC 1600 Midi Programmer

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

via this auction

"PEAVY PC 1600 MIDI CONTROLLER PROGRAMMER
fully working
IT WORKS WITH SEVERAL SYNTHS AND SOFTWARES

boss rv-70 effects
cubase vst 4.1(mac)/3.7(pc) mixer
ensoniq asrx
ensoniq fizmo
korg dw-8000 synth
logic es-1
logic faders
oberheim expander
oberheim matrix 6/6r/1000 synths
rebirth 1.5 (all functions)
roland d-50
roland mks-50 synth
roland jx8p synth
soundblaster awe 32
suzuki sx-500 synth
waldorf microwave synth

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