System 55 - 960 Sequencer Compliment B advanced Techniques

video upload by O.Z. Hall

"Tangerine Dream created the Berlin School sound. The Moog Sequencer Complement B was the sequencing equipment they used to do it.
This video explores the technical background needed to understand this legendary gear. It also shows specific techniques for achieving the Berlin School sound with this a Behringer System 55 and the Dual Sequencer setup.

Timecode
0:00 - Intro
0:31 - The Moog IIIp system
1:20 - Sequencer Compliment B in detail
1:55 - 960 Sequencer output types: CV & Gate
2:33 - 962 Sequential Switch
3:15 - System 55 - two trigger/gate standards V-trig & S-trig
4:00 - 961 Interface
4:34 - Sequencer Compliment B in detail
4:47 - Possible Destinations for CVs
5:21 - Possible Destinations for trigger/gate
5:58 - Turning this potential into music
6:42 - Configuration 1 - Single 960/962/961
6:51 - music example 1 - 962 sequential switch (manual)
8:10 - music example 2 - 961 interface
8:30 - Configuration 2 - Two 960/962/961
9:08 - music example 3 - 962 sequential switch (clocked)
9:22 - music example 4 - Change Sequence Lengths with switch
10:21 - music example 5 - 960 Row 3 CV to control internal clock
12:50 - Configuration 3 - Use second 960 to transpose first 960
13:45 - Conclusion and music example 6"

Ensoniq E-MU Halo Keyboard 64 Voice Synthesizer

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

via this auction

"Words from the manual. Manual not included. Can be easily downloaded.

Upgradable Sounds:
Halo contains a new collection of presets designed for music composition in a wide variety of styles.These sounds are rich in harmonic texture and a perfect complement to the Z-plane filters. Halo contains three additional, user-upgradable sound SIMM sockets, allowing you to mix and match sound sets according to your needs. New sounds can be added as easily as plugging in a new 16MB or 32MB SIMM module. Each sound set has been
meticulously crafted to be the finest of its kind. Samples are expertly matched across the keyboard and perfectly looped to create realistic instruments which form the exceptionally playable presets.

1024 Presets & more:
Halo contains 512 user presets and 512 factory ROM presets, but it can be expanded with literally thousands of ROM presets. (ROM presets are automatically added when sound SIMMs are installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.) Halo’s Sound Navigator makes it easy to find the exact sound you want. It’s powerful, yet simple to use.

CLICK FOR MORE »

Jewel Bandolero Based on the GEM Rodeo 49

video upload by Soundiron

This might be first post to mention the Rodeo 49. The Rodeo 37 was featured here in a demo.

Also see the Jewel Runner 49 - GEM Sprinter 49 B Soft Synth

"This video takes you through the sounds and features within the newest addition to our Vintage Keys Series, Jewel Bandolero."

*(00:00) - Intro
*(01:27) - Sustains
*(02:57) - Staccatos
*(03:25) - Magic Chords
*(04:06) - Key Up/Down FX
*(04:26) - Drum Loops
*(05:28) - Ambiences
*(08:56) - Sound-Shaping Controls
*(10:37) - Custom FX Presets
*(12:56) - Outro

via Soundiron

"Jewel Bandolero captures the vintage analog sounds of the distinctive Gem Rodeo 49. This Italian synthesizer was introduced to the market by the Galanti Group in the early 1970s. It featured a 49-key keyboard and drum/rhythm machine, as well as a variety of knobs and faders to control layer volume, instrument type, accompaniment, and tempo. Our library includes synth sustains, staccatos, and “Magic Chords” dialed in from the organ, and 41 tempo-syncable drum machine loops. We recorded the instrument articulations in wide stereo and direct line in. After that, we crafted twenty evolving ambient pads from the source content to enhance versatility. Jewel Bandolero offers an exploration of a classic combo organ, complete with warm tonal colors ready to complement any genre of music.

We’ve packed the GUI with lots of great sound-shaping controls that give you the flexibility to warp the sound in many ways. You have control over Volume, Attack, Release, Transient Offset, Vibrato and Octave layering. The "Glide" control slider allows you to play legato and portamento leads. You’ll also find an adaptable LFO system, with selectable LFO shape, modulation target parameter, speed, intensity, tempo-syncing and fade-in time. You can also apply your choice of 13 lowpass, high-pass and FX filter, with assignable modulation control options, including velocity, modwheel, expression, after-touch, key position and step-sequencer table control. You can also use our customizable arpeggiator, with a built-in velocity sequencer table and control over arp direction, note timing, swing, randomization and duration."

CLICK FOR MORE »

Jewel Runner 49 - GEM Sprinter 49 B Soft Synth

Walkthrough video upload by

This might be the first post to reference the GEM Sprinter 49. You can find a demo of the GEM Sprinter 61-b here.

"In this video takes you through the sounds and features within the newest addition to our Vintage Keys Series, Jewel Runner 49.

*(00:00) - Intro
*(01:10) - Sustains
*(03:04) - Staccatos
*(03:52) - Key Up/Down FX
*(04:12) - Drum Loops
*(05:17) - Mic NKI playthrough
*(06:15) - Ambiences
*(09:25) - Glide Slider / Create Synth leads
*(10:41) - Sound-Shaping Controls
*(11:13) - Advanced Tab
*(12:42) - FX Rack
*(13:50) - Custom FX Presets
*(18:36) - Wrap-Up"

Composing A Futuristic Cyber Punk Inspired Track


"In this video Corrina Chang takes you through the creative process for composing her track "Crystal Cave" using our newest addition to our Vintage Keys Series, Jewel Runner 49.

Download the reaper and midi files: https://bit.ly/34FpoGj"

via soundiron.com

Jewel Runner 49 encapsulates the retro analog vibes of the eccentric Gem Sprinter 49. This Italian synthesizer was introduced to the market by the Galanti Group in 1970. It featured a 49-key keyboard, built-in speaker and drum/rhythm machine, as well as a variety of buttons and faders to control layer volume, instrument type, automagic accompaniment, and tempo. Our library includes synth sustains, staccatos, and 16 tempo-syncable drum machine loops dialed in from the organ. We recorded the instrument articulations in wide stereo and direct line in. After that, we crafted 20 evolving ambient pads from the source content to boost usability, and 20 custom FX presets to kickstart your next composition. Jewel Runner 49 presents a tasty sampler platter of a classic combo organ, complete with warm tonal flavors ready to complement any genre of music.

We’ve packed the GUI with lots of great sound-shaping controls that give you the flexibility to warp the sound in many ways. You have control over Volume, Attack, Release, Transient Offset, Vibrato and Octave layering. The "Glide" control slider allows you to play legato and portamento leads. You’ll also find an adaptable LFO system, with selectable LFO shape, modulation target parameter, speed, intensity, tempo-syncing and fade-in time. You can also apply your choice of 13 lowpass, high-pass and FX filter, with assignable modulation control options, including velocity, modwheel, expression, after-touch, key position and step-sequencer table control. You can also use our customizable arpeggiator, with a built-in velocity sequencer table and control over arp direction, note timing, swing, randomization and duration.

Voltage Modular VM900 System 35 Sequence

video upload by boxoftextures

"Built a Moog System 35 modular system using the VM900 Collection modules in Voltage Modular. Essentially the System 35 is one row of modules, but in this case I've also added the Sequencer Complement B Expansion Cabinet as well. I've also built the larger System 55, which adds another row of modules to the cabinet, and am planning to make the smaller Model 15 as well. Can't quite duplicate them exactly but they're darn close. One of the things that's not the same is the signal routing modules, which aren't in Voltage Modular, although to be fair you don't at all need them in the software version the way you do in hardware. Another difference is that there's "only" a selection of modules as opposed to everything Moog ever made. That's also not a problem either. As an example, the 921ABB dual oscillator module in the System 35 isn't included in the VM900 Collection, but the 921ABBB from the System 55 is, so while not 100% authentic you can just pretend your System 35 doesn't have those extra B oscillators. Another difference is the keyboard interface modules, but again, because this is software that's not really a problem. Lastly the half-height row of the cabinet, the one at the bottom with the Console Panels, isn't part of either Voltage Modular or the VM900 Collection. But once again, that's not really an issue as you do have the functionality of those modules in the software regardless.

This video was recorded uninterrupted from start to finish, with no cuts or edits in the video at all. Note that it takes a few minutes to patch together enough modules for the thing to actually make noises, perhaps around 5 minutes or so. Also, I start from the bare System 35 and patch it all from scratch, with captions and highlights to show what I'm doing. Downloadable patch files will be posted for my Patreon subscribers shortly, so if you'd like to grab those head on over there and join up if you'd like."

Twitter: https://twitter.com/selgart
Patreon: https://www.patreon.com/boxoftextures

MOOG MODULAR IIIP + SEQUENCER COMPLEMENT B - Handmade Miniature 1/6 scale.

video upload by Ronaldo Lopes Teixeira ROLT

Update: video re-uploaded.

Moog Moog 3P IIIP Modular + Complement B Sequencer + 953 Keyboard Duophonic Keyboard Bundle

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

via this auction

MOOG 3P / IIIP Legacy Modular System & Moog Modular Compliment B Sequencer & Moog 953 Duophonic Keyboard

"Moog Synthesizer IIIp production is highly limited. Only 40 units will be produced and sold worldwide."

CLICK FOR MORE »

New SYNTH-WERK 3P-2020 Modular System

"Price: 19.500 Euro + optional Sequencer Complement B: 5.560 Euro"

Click the pics for full size.


From the PDF:

"A TRYPTICH OF SONIC SUPERIORITY - DEDICATED TO KLAUS SCHULZE

In 1969 Robert Arthur Moog transformed his mighty and complex 3C studio synthesizer system - due to popular demand - into a stage ready triptych of extraordinary beauty and sonic superiority. No wonder the roadworthy Tolex covered 3P rose immediate attention among artists worldwide, and therefore found its way into the hands of artists like George Harrison and bands like The Rolling Stones or Tangerine Dream. One of the most famous 3P users of all time and pioneering founder of berlin school, Klaus Schulze, bought his system in 1975 from German Artist Glorian Fricke and used it for several years for live performances as well as studio recordings. Kindly dedicated to Klaus, we considered it is about time to reengineer and resurrect this wonderful instrument to the very last detail to bring back the authentic sound and feel of the highly sophisticated beauty. With greatest respect to the spirit of the old Trumansburg days, there will be a pristine model but no such thing as a stock 3P-2020, since everything remains customizable to your very own personal taste."

List of modules per block:

SEQUENCER SYSTEM

SW960 x2
SW961CP
SW962CP x2

SYSTEM SW-3P-2020

SW914 Fixed Filter Bank
SW905 Reverberation Unit
SW994 Multiples
SW991 Filter and Attenuator
SW901A Oscillator Driver
SW901B Oscillator x 6
SW901A Oscillator Driver
SW CP3 Mixer x 2
SW904B Voltage Controlled High Pass Filter
SW904C Filter Coupler
SW904A Voltage Controlled Low Pass Filter
SW992 Control Voltages
SW912 Envelope Followr
SW901A Oscillator Driver
SW901B Oscillator x 3
SW901 Voltage Controlled Oscillator
SW903A Random Signal Generator
SW CP3 Mixer x 2
SW902 Voltage Controlled Amplifier
SW993 Trigger and Envelope Voltages
SW911 Envelope Generator x 3
SW911A Dual Trigger Delay
SW984 Four Channel Matrix Mixer
SW CP Multiples & Attenuators
SW Control Interface
SW Balance Output
Power Switch

CLICK FOR MORE »

New Modules from SYNTH-WERK

via SYNTH-WERK

"we are very proud to introduce our new modules which will enable us to offer more exciting systems in the near future…

Production Start will be beginning of 2020.

The SW 960 family…

SW 961 and SW962 are also available in CP format.

CLICK FOR MORE »

CLUB OF THE KNOBS - SEQUENCER COMPLEMENT B

Published on Dec 19, 2019 synthprocess Club of the Knobs Synthesizer

"Club Of The Knobs Modular Analog Synthesizer manufactory now offers the SEQUENCER COMPLEMENT B. In contrast to the original, the interface 961 has been replaced against two CP958 Dual Scale Programmer. Thus not only the output of the sequencers can be quantized but using one channel of the CP958 in keyboard-mode allows to transpose the sequences without additional external devices. Wishing you a happy new decade - and celebrate the sequences!"

The Sequencer Complement B was an original Moog Design. You can find some posts featuring the Complement B here.

In contrast to the original Sequencer Complement B, we have exchanged the Interface 961 against two of our CP958 Dual Scale Programmer. This offers the advantage that not only the outputs of the C960 Sequencers can be quantized, it is even possible to use one channel of the CP958 in keyboard mode to transpose the sequences without additional external devices. New in our range is the (original) CP962 Sequential Switch.

Price: 3700,- euro (plus VAT and shipping)

Introducing the PRO-1 by BEHRINGER

Published on Oct 28, 2019 BEHRINGER

CLICK FOR MORE »

Moog Music Introduces the Moog Synthesizer IIIc Limited to 25 Units Worldwide

Moog Synthesizer IIIc (Or: Music For Riding Dragons)

Published on Apr 28, 2017 Moog Music Inc

"In the late 1960s, Bob Moog and a team of ten skilled technicians began hand-building cutting-edge musical instruments that they called "synthesizers" -- instruments that would radically change the landscape of music.

Fifty years later, we are proud to announce the return of the Moog Synthesizer IIIc to production for a very limited time.

Every Synthesizer IIIc will be built using all-original documentation, art, and circuit board files. Moog Synthesizer IIIc production is highly limited. Only 25 units will be produced and sold worldwide.

Sequencer Complement B sold separately."


via Moog Music

"The Moog Synthesizer IIIc Returns to Production

Throughout the 1960s, Dr. Robert Moog collaborated with over 100 composers of electroacoustic music to create the synthesizer concept, born of thousands of design decisions and countless conversations. At the time, the available method of producing electronic music was the “classical studio,” a makeshift production environment cobbled together from individual electronic sound-generators such as surplus telecommunications devices, radio equipment, and early tape machines. Moog and the musicians he worked with streamlined this classical studio technique into a system of standardized sound modules.

In 1965, Bob Moog began taking orders for individual modules and customized modular systems. By 1967, he and a team of ten skilled technicians were hand-building production models in an unassuming brick storefront in Trumansburg, NY. The cutting-edge musical instruments that they called “synthesizers” signaled electronic music’s maturation from an awkward and shy intruder in the realm of music to a dynamic and significant medium of musical expression.

The first models were aptly named Synthesizer I, II, and III. With the introduction of the Moog Synthesizer IIIc -- the “c” referring to the walnut “console” cabinet -- musicians could purchase a complete instrument pre-configured for logical access to a range of facilities usually associated with the largest classical studios.

Each synthesizer took weeks of patient, steady crafting to complete, but the payoff would be rich -- a tool that would change the landscape of music.

The world got turned on to the idea of the synthesizer -- and electronic music -- through the visionary works of experimental musicians like Wendy Carlos and Isao Tomita. Sonic masterpieces like Switched On Bach and Snowflakes Are Dancing were made possible by the early modular Moog Synthesizers. These original modular systems designed by Bob Moog are inimitable in sonic character and remain highly coveted for their limitless reconfigurability and vibrantly organic musicality.

Fifty years later, we are proud to announce the return of the Moog Synthesizer IIIc to production for a very limited time.

'Through archival designs, so-called obsolete electronics, and outmoded production processes, we are rediscovering the magic of our past. It’s a privilege to build instruments in this way; it lets us reimagine what future tools can be. There is so much potential in this history.' - Anna Montoya, Moog Production Engineer / photo via deadaudioblog

Every Synthesizer IIIc will be built using all-original documentation, art, and circuit board files. Each instrument features thirty-six hand-stuffed, hand-soldered modules, including ten 901-Series audio oscillators, the 984 Matrix Mixer, and the 905 Spring Reverb. All modules are securely mounted into two hand-finished, solid walnut console cabinets at the Moog factory in Asheville, NC.

Moog Synthesizer IIIc production is highly limited. Only 25 units will be produced and sold worldwide."

Howard Jones Sequencing in Style with Moog Model 15 & Sequencer Complement B x 2

via @howardjones

"Ooh this is nice @moogmusicinc sequencing in style!"

Moog Modular Systems

Arturia Announces V Collection 5 Including New NED Synclavier Port, Hammond B3 and More

Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016

Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:

"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.

- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.

- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based

- the partials/timbre frame functionality was vastly expanded"

Video description:

"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.

Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"

Arturia announces the Synclavier V

Published on May 19, 2016 ARTURIA

Update: It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.

"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.

The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.

While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.

Update: some details on the synth engine:

Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.

Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.

Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.

Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.

With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!

Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.

Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."

You'll find Arturia's page on the Synclavier V here, and Synclavier Digital's website here.

Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:

"Arturia advances industry-standard V Collection of virtual classic keyboards

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…

With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.

B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!

Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).

Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"

The Analog Lab press release:

"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...

Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.

Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.

Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.

For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.

Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).

Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.

Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"

Arturia B-3 V Tutorial

Published on May 19, 2016

"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."

"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...

B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.

Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.

One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!

Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.

Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!

B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.

All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"

Arturia Stage-73 V Tutorial

Published on May 19, 2016

"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."

https://www.arturia.com/products/analog-classics/analoglab/overview

Update: And the official press release for the new Farfisa-V:

"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...

Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.

Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!

Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.

As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!

NAMM 2015 - MOOG - The Coolest Synth Ever Made

Published on Jan 26, 2015 THE MUSICIAN NETWORK (TMNtv)

Quick demo of the System 35 at this years NAMM. Note the price mentioned below also includes the optional Sequencer Complement B not visible.

"While we walked thru the MOOG booth at Winter NAMM 2015, we came across this ***incredible*** hand-built HUGE custom synthesizer manufactured by the company. It sells for......wait for it......$22,000 dollars and MOOG is planning on only making 40+ units during 2014 and that's IT. When they are "gone their gone" - so, if you want one.....you better purchase one thru one of their authorized dealers = ASAP. Finally, just listen to how FULL & TRUE the tones are coming out of this beauty!!! Simply - in our opinion - absolutely the COOLEST synthesizer EVER MADE by the company & man (Bob Moog) who = Started It All !!!! Enjoy, The Musician Network (TMNtv)"

NAMM 2015 - Moog Modular Re-issue NAMM Floor Demo Video

Published on Jan 21, 2015 sonicstate

Sound on Sound's Gordon Reid shows Sonic State's Nick Batt the new Moog Modular system at NAMM 2015 with Keith Emmerson smiling on.  Bob Moog, Brian Eno, Klaus Schulze and Herb Deutsch are featured in the background pics as well.

Update: I originally thought Klause Schulze was Jean-Jacques Perrey. Thanks goes to Qwave for the correction in the comments.  Herb Deutsch also added to the list.

"It is Klaus Schulze (with a special steel worker helmet) in the very beginning of the video behind Nick. The picture was taken during the Stahl Symphonie ("Steel Symphony") at the Ars Electronica festival in Linz (Austria) on the 8th September 1980."

"And at 20:24 you see Bob Moog with Herb Deutsch on the left picture in the back. And it is Eberhard Schoener (german musician, composer, conductor, and arranger) on the right picture. He got the a III P Moog Modular system as one of the very first musicians in Germany. Btw: in the next bavarian village used to live Florian Fricke (Popul Vuh), who also got a Moog Modular III P with the sequencer complement B very early. And Mr. Fricke sold his Modular to Klaus Schulze on the 22nd of December 1975. I think you will now see why I did the little detour about Florian Fricke."

Moog Announces New Modular Systems for 2015 with Back to the Future Sounds Documentary

Back to the Future Sounds Published on Jan 19, 2015

"On January 19, 2015 Moog Music Inc. announced their plans to recommence a limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973.

To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances on the new Moog modular systems by Holy Ghost! (DFA Records), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Opal Tapes/ Spectral Sound), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw/Leaving). Each artist played a patch on one or more of the new Moog modular synthesizers recorded in one take with no overdubs."

Suzanne Ciani | System 55

Published on Jan 19, 2015

"In this video, electronic music and sound design pioneer Suzanne Ciani explores the Moog modular System 55 for the first time in decades. Ciani came to the Moog factory in Asheville, NC to play the first System 55 newly handcrafted by Moog in over thirty years. The patch, created and performed live, was shot in one take and features a sequence designed on the 960 Sequential Controller that's driving three 921B oscillators into a 904B High Pass filter whose cutoff is being modulated by a 921 oscillator. A second set of 921B oscillators is also being played manually into a 904A Low Pass filter whose cutoff knob is also being modulated by the 921 oscillator. The resulting sound of each is then sent through its own dedicated MF-104M analog delay for ambience. The audio has been captured directly with no eq, compression, or editing applied."

And the press release:

"ASHEVILLE, NC – January 19, 2015 — January 19, 2014 Asheville, NC: 50 years ago, at its first introduction, the Moog modular synthesizer represented as radical a transition as Kandinski’s abstracts or Kodak’s cameras – offering both a break from yesterday and a startling glimpse of tomorrow. And, as with all cultural explosions, the impact of Dr. Bob Moog’s invention was impossible to evaluate from the epicenter. It’s only now, 50 years down the line that we can get some measure of the importance, and the sheer untapped potentiality of the Moog Modular Synthesizer.

Today, it is with great excitement that Moog Music Inc. announces their plans to re-commence the limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973.

To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances by contemporary modular artists like Holy Ghost! (DFA), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Spectral Sound/Opal Tapes), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw). Each artist played a patch live, in one take, with no overdubs on one or more of the new Moog Modular systems.

The foundation for this announcement was laid last year at Moogfest 2014, when Moog released the Emerson Moog Modular system – a faithful recreation of Keith Emerson’s legendary modular instrument, which was the culmination of three years worth of research and engineering. Now Moog will use the techniques learned recreating the EMMS manufacturing process to once again build these modular systems. Crucially, in deference to the unique character and appeal of the original instruments, these systems will be made entirely to their original product specifications and manufacturing techniques and processes.

Working from the 1970s schematics, the System 55, the System 35 and the Model 15 will be meticulously handcrafted, as a true recreation of the original. The modules are built from the original circuit board films - just as they were in 1973- by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. The front panels are photo-etched aluminum, a classic process rarely still used in today’s synthesizer manufacturing, to maintain the classic and durable look of vintage Moog modules.

Upon their first release in 1973, the System 55, the System 35 and the Model 15 represented a high watermark for modular synthesis, and their inimitable tones can be heard shaping many much-loved albums. They were fundamental in the development of contemporary soul, RnB, and disco from giving Stevie Wonder’s classic run of 70s LPs their questing, innovative edge, to providing Giorgio Moroder with the pulsating machine melodies that ushered in electronic dance. At the same time, these were the instruments that inspired Brian Eno to push further out into seas of layered tranquillity on his pioneering ambient albums, or provoked bands like Yes and Tangerine Dream to blast their sonic freak outs into the cosmos.

However, the reintroduction of these instruments is not about reliving the past – while much incredible work has been done with the Moog Modular, there is so much further yet to be explored in this relatively young instrument. Artists had only begun to grasp the vast possibilities of these large format modular synthesizers when they went out of production over thirty years ago. Decades of electronic experimentation have enabled musicians to move on from viewing the Moog Modular as a replacement for traditional instrumentation. Now a new generation of artists, with a greater understanding and more complex tools, will have the opportunity to explore the power of these singular sonic machines. Today, the modular synthesizer is viewed in the manner Bob Moog originally intended: to “discover endless offbeat, unconventional, and even irrational ways of working.”

The dedicated nature of the Moog modular rebuilding process is such that the units will come in extremely limited quantities. There will be 55 units of the System 55, priced at $35,000 per instrument; 35 of units of the System 35, priced at $22,000 per instrument; and 150 units of the Model 15, priced at $10,000 per instrument.

Alongside these Moog Modular Systems will be the Sequencer Complement B Expansion Cabinet, a dual 960 Sequential Controller, an accompaniment to the System 35 and System 55, that has been out of production for over 30 years– as well as an optional 5-Octave duo phonic keyboard."

http://www.moogmusic.com/content/moog-modular-synthesizers

Vintage Moog Scans Including Price Lists & Modular Systems

More scans added to the bochures flickr set By Chris Kann

Click through for tons more including other vintage brochures. Pictured here are original price lists for the Minitmoog, Micromoog,  Satellite, Sonic Six, Minimoog, Taurus Pedal Synthesizer, MOOG System 15, 15A, 35, 25A, 55, 55A, Sequencer Complement A, Sequencer Complement B, and individual modules.  Further below are details on the Synthesizer 55 and Synthesizer 15.  Click on each pic for a larger shot you can reead, and again, see the full flickr set above for tons more. 

CLICK FOR MORE »

NOT NAMM: Yusynth Sequential Router

via electro-music.com
"I have just finished testing my new YUSYNTH module called Sequential Router (I hesitated to call it a sequential multiplexer).
It is meant to be an utilty module designed as a complement to Moog 960 like analogue sequencer.

The idea is to route the three rows of CVs from the sequencer to two outputs (e.g. to drive VCOs).
There are three CV inputs called 1,2 and 3 and two outputs A and B.
A SHIFT/CLOCK input makes it possible to step sequentially through the six rotary switches. The switches offer 9 routing selections.
The shift input receives a GATE signal from the first step of the sequencer.
The position of a switch defines the routing for the corresponding stage : for example A2-B1 means the CVs from input 2 are routed to output A
while the CVs from input 1 are routed to output B.
This makes it possible to create long and complex and intermangling sequences from three short sub-sequences.

It must be noted that I used Maxim analogue switches which provide nearly null resistance and can handle voltages
in the -15V to +15V range !!!! As such the inputs and outputs can be exchanged, that is, inputs become outputs and conversely !

Other fun, you can use it with audio signals, in such a case the outputs are the left and right channel and the inputs receive
any audio signal that you can sequence through and multiplex to the stereo channels.

Next is a short MP3 file demonstrating this module : the main sequence is 48 step long and build with three 8 steps subsequences.
Some additional effects were also layered from other modules and some nice arpeggio created with the P-SEQUENCER module
designed by Alain Coupel http://www.acoupel.com.

SEQ-ROUTER-DEMO

The full-circuit and assembly instruction should be made available on my site next week I think (I still need to trim a few component values)
_________________
Yves"

KORG microSAMPLER Full Details

"The latest addition to the Korg "micro" series serves up sampling with a powerful performance punch! The microSAMPLER delivers multi -mode sampling, resampling, Pattern Sequencing and over the top effects – and all under a fun-to-use intuitive interface. More than just a sampler, the microSAMPLER is a complete sound design studio for creating up-to-the minute loops and phrases.

Giant Sampling / microSIZE
The microSAMPLER hosts a solid complement of top-end sampling features to expand your creative potential. This full-fledged instrument offers sixteen-voice polyphony, reverse playback, editing operations such as Normalize and Truncate, and a Time Stretch feature that lets you change the tempo without affecting the pitch. Selectable sample rates of 48 kHz, 24 kHz, 12 kHz, and down to 6 kHz let you sample at rates beyond CD clarity or add in that Lo-Fi vintage vibe. Each bank contains 36 samples (a maximum of approximately 160 seconds of recording time for monaural samples at a 48 kHz sampling rate) and sixteen patterns of sequence data; the microSAMPLER lets you store eight such banks in internal memory. The Keyboard mode takes a single sample and assigns it chromatically across the keys for instant playability. With its recessed controls, bright LEDs and informative display, the microSAMPLER is fun to use and easy to operate – for beginners or seasoned pros.

Swiss Army Sampling
Too many instruments simply offer sampling as an added feature. The microSAMPLER is all about sampling, in every creative form. Five distinct sampling methods allow you to work the way you want, to get the results you need. The microSAMPLER offers traditional One-Shot and Loop sampling, plus a number of creative sampling modes – Loop, Key Gate and Auto-Next. When it comes to sampling, the microSAMPLER has it all.

* Loop sampling for recording grooves and phrases, drum loops, etc.
* One-Shot sampling for grabbing and triggering single events such as drums, etc.
* Gate sampling for playing a sound musically across the keyboard
* Auto-Next sampling for capturing phrases as multiple samples. For grabbing a groove as separate samples on individual keys, choose the AUTO NEXT mode and use Tap Tempo to match the BPM of the source material. The microSAMPLER will automatically divide the sample equally across multiple keys. Each key can be set to capture anything from a 64th note to a full two measures. This method lets you automatically perform the same type of sampling as KEY GATE.
* Key Gate sampling is best for grabbing multiple samples from the same source. With Key Gate, you can take multiple samples from the same source or phrase and assign them to different keys as you play them! The individual keys assign the sample and enable recording all at the same time. This intuitive method of sampling, editing, and mapping in a single step is fun, interactive and fast.

In addition, there's a resampling function that lets you play existing layered samples processed by an effect and played by the pattern sequencer – and capture it all as a new sample. You can even sample while playing, allowing the sampling process itself to become part of your expressive performance.

Sample anytime, anywhere – or anything!
The microSAMPLER can run on batteries, so you can perform on the go – or capture samples anywhere. Both line input and mic input are provided to allow a broad range of input sources including electronic musical instruments, CD, and voice. A gooseneck microphone is included so you can capture sounds with ease. The convenient caddies (located beside the mic jack) provide a cradle for your portable MP3/audio player when using it as a sample source. Truly, the world is yours to sample anytime and anyplace.

Pattern Possibilities
The pattern sequencer uses an overdub operating style that lets you continually layer your performances. You can switch between patterns during playback for seamless performances. Up to sixteen patterns (16,000 notes per pattern, or a maximum 64,000 notes) can be stored in each bank.

The KAOSS Effect(s)
Developed for Korg's KAOSS PAD series, the effect engine serves up a great selection of effects – so important when editing samples. The twenty-one effects include not only traditional delay and chorus, but also ring modulator and grain shifter, and even a Looper that's derived from the Loop Recording feature of the KAOSSILATOR Dynamic Phrase Synthesizer. The effects can be applied to any sound while resampling, allowing the effects to be used over and over again for more sonic expression.

Made to be Played
The microSAMPLER features our new Natural Touch micro keyboard, offering greatly enhanced playability and expressive power. By adjusting the proportion of the black keys and white keys, we've made chords easier to finger, and the touch has been improved so that rapid phrases can be played more easily – and with less fatigue. The box-shaped keys project a sense of quality, and also allow smoother glides and smears. The controllers you need for an exciting performance are laid out on the panel for intuitive operation. The status of the samples assigned to each key (and the item being edited) is indicated by the lit state of the LEDs running along the top of the keyboard, ensuring excellent visibility even on stage.

USB-eautiful
By using the free editor/librarian software for the microSAMPLER, you can manage a gigantic sample library that's all your own. You can back up sample and pattern sequence data to your computer via USB, or load samples and patterns back in just as easily. . Importing and exporting of WAV/AIFF data on your computer is also supported. The possibilities are endless…

Keyboard:
37 Natural-Touch mini-keys, velocity sensing

Sampling Specs:
Sampling Rates: 48 kHz, 24 kHz, 12 kHz, 6 kHz
Bank Structure: 36 Samples per Bank (160 Seconds max.)
Available Banks: 9 Total (8 User +1 ROM)
Sampling Time:
48 kHz: 160 seconds (mono) per bank; x 8 Banks = 21.33 minutes (max.)
24 kHz: 320 seconds (mono) per bank; x 8 Banks = 42.66 minutes (max.)
48 kHz: 640 seconds (mono) per bank; x 8 Banks = 85.33 minutes (max.)
48 kHz: 1280 seconds (mono) per bank; x 8 Banks = 170.66 minutes (max.)

Polyphony:
16 voices

Sampling Modes:
One-Shot; Gate; Loop; Key Gate; Auto-Next
Resample in any mode

Keyboard Modes:
Sampling Mode: 36 Sample Playback Keys + 1 Audio Input
Keyboard Mode: Single sample assigned chromatically across the keyboard

Effects:
Structure: 1 Master FX
Effect Types: 21 (Compressor, Filter, 4-Band EQ, Distortion, Reverb, Delay, L/C/R Delay, Auto-Panning
Delay, Modulation Delay, Tape Echo, Chorus, Flanger, Vibrato, Phaser, Tremolo, Ring Modulation, Grain
Shifter, Pitch Shifter, Talking Modulator, Looper)

Pattern Sequencer:
Patterns: 16 Patterns per bank; x 8 Banks
Note Count: 64,000 notes total; 16,000 per bank
Resolution: 480 ppq (parts per quarter note)

Audio Connections:
Input: ¼" Jack (rear); XLR Balanced (top); with Mic/Line switch; Level knob
Outputs: L/Mono, R; ¼" unbalanced
Phones: ¼" Stereo Jack

Other Connections:
MIDI: In, Out
USB: Type B

Display:
Custom LCD; 37 LEDs above keys

Power Supply:
9 VDC (AC Adapter); 6 AAA Alkaline batteries – approx. 4 hours (sold separately)

Dimensions:
W x D x H: 20.31" x 9.37" x 2.56"
Weight: 4.19 lbs

microSAMPLER Editor Librarian Software:

Operating Requirements:
PC: Microsoft Windows XP (SP3 or later); Windows Vista (SP1 or later); USB port
MAC: OSX Version 10.4 or later; USB port"

Details and specs saved for the archives.