XILS-lab Releases miniSyn’X

"XILS-lab launches low-cost luscious soft synth emulation of Eighties polysynth par excellence!

'I’ve just got miniSyn’X and am so excited, because the Synthex is a fantastic rarity. Thanks to XILS-lab for giving everyone the opportunity to play with it.'

- Jean-Michel Jarre (April 2015)

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of miniSyn’X — an authentic, cost-conscious soft synth emulation of a much-loved Eighties-vintage analogue polysynth of Italian origin that helped define the sound of an era — as of April 8...

miniSyn’X is a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polyphonic, duo-timbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) Windows (XP, Vista, and 7/8) that faithfully emulates the still-sought-after sound of the Synthex, a luscious, 1982-vintage, eight-voice programmable analogue polysynth independently designed by Mario Maggi and built by Italian home organ manufacturer Elka. Indeed, it was much loved by synth luminaries of the day — not least French synth wizard Jean-Michel Jarre, whose well-known Laser Harp performances still emanate exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/ programmer Paul Wiffen and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s multi-million-copy-selling Rendez-Vouz album of 1986. Pity, then, that the Synthex did not sell in such Jarre-like quantities during a four-year, three-stage (50-, 800-, and 1,000-unit) production run, with one last post-production unit being built especially for Stevie Wonder, such was the legendary American singer-songwriter/multi- instrumentalist/record producer’s love for the future-classic instrument that initially failed to fly in the face of the-then ‘art nouveau’ digital age of dominating desirable FM synthesis from Yamaha’s considerably cheaper, MIDI-equipped DX7, and subsequent super-selling, all- singing, all-dancing digital designs from the likes of Roland (D50) and Korg (M1).

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Arturia Introduces V Collection Classics

Published on Apr 1, 2015 Arturia Web

"Arturia launches legendary soft synth classics collection to lead into musical temptation

GRENOBLE, FRANCE: following in the footsteps of its super-successful V Collection 4 premium software collection, launched to critical acclaim late last year, music software and hardware developer and manufacturer Arturia is proud to announce availability of V Collection Classics — conveniently rounding up five of its most sought-after Analog Classics soft synth emulations of five legendary analogue synthesizers from five legendary brands into a musically tempting, competitively-priced package — as of April 2...

ARP, Moog, Oberheim, Roland, and Sequential Circuits... classic analogue synthesizer-manufacturing names all. And all of those classic companies — past and present — have produced at least one legendary instrument that truly impacted the music industry throughout the Seventies and into the Eighties and beyond. Indeed, the sought-after sounds of these instruments still resonate today. Think ARP 2600 (1970-81), MinimoogTM (1970-81), Synthesizer Expander Module® (1974-79), Jupiter-8 (1981-84), and Prophet-5 (1978-82). And Arturia has played a not inconsiderable part in bringing these still- sought-after sounds into today’s computer-centric recording and performance workflow thanks to TAE® (True Analog Emulation), an advanced proprietary technology allowing accurate modelling of analogue circuitry behaviour on personal computers. Conveniently, all five of Arturia’s award-winning Analog Classics soft synth emulations of those analogue classics are available to musically tempt as a must-have, competitively-priced package... please welcome, V Collection Classics! Come join us, then, as we make the musical introductions...

Arturia’s ARP 2600 V is a truly versatile sound creation tool with a massive musical bite; indeed, its raw and dirty character is perfectly suited to creating massive drum ’n’ bass stabs to growlin’, funky bass lines and spaced-out drones, with much in-between. From the starship funk lead lines of the Seventies to the gangsta whine of mid-Nineties hip-hop, the ever- present MinimoogTM has been making its phat presence felt for four-plus decades; Arturia’s award-winning Mini V even offers polyphony and additional modulation options, effectively turning it into an authentic-sounding Memorymoog emulation... well, sort of. Oberheim’s Synthesizer Expander Module® (SEM) started life as an add-on synthesizer module for fattening up Minimoogs before becoming a sought-after sound in its own right, with up to eight embedded in Oberheim’s groundbreaking Seventies-vintage polysynths; still sought-after today for its stunning-sounding multimode filter, Arturia offers all this and more in its outstanding Oberheim SEM V emulation. The runaway success of Roland’s then-flagship Jupiter-8 programmable analogue polysynth took the synth world by storm upon its 1981 release, boosting its already superlative sonic capabilities by adding an arpeggiator that helped make many mega hit singles shine forth musically — think Duran Duran (‘Save A Prayer’) and Howard Jones (‘New Song’); similarly, Arturia’s Jupiter-8 V is a real musical workhorse, capable of creating a very versatile range of sounds — stretching from fat to ‘crystalline’ — while going above and beyond the capabilities of the original instrument, thanks to its additional modulation possibilities and inbuilt effects. Last but not least, the Prophet-5 is truly a legend in its own lifetime as the world’s first fully-programmable polyphonic synthesizer; again, Arturia’s Prophet V faithfully brings back to life those historic and superlative sounds, together with those of the 1986-vintage, California-created classic Prophet VS Digital Vector Synthesizer, Sequential’s first digital design (and, alas, the final synth, sadly, from the iconic innovative instrument manufacturer). Must we say more?

Maybe just one more thing, then: thanks to V Collection Classics"

korg prophecy virtual analog synthesizer

Published on Feb 7, 2015 bulishearth

KORG Prophecy's on eBay

The video description comes from Sound on Sound

"It's not a new synth -- it's seven! Korg's amazing new Prophecy offers analogue and FM synthesis, and physical modelling, and still costs under £1000. Unsurprisingly, SOS staff have been dying to review one ever since it was unveiled at this year's Frankfurt Musik Messe. Lucky man GORDON REID won the toss...

This is the story as it was told to me... In 1987, the former Sequential Circuits design team (responsible for classics such as the Prophet 5 and Prophet VS) began working for Korg. The company immediately bundled them out of sight, locked them in a room full of computers and said "design something for us". Locks were locked, bolts were bolted, and most people forgot that they had ever existed.

Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was a timorous knock from inside. Locks were unlocked and bolts were drawn. When the door was opened, a pasty-faced individual peeked out, blinked in the light, and said, "We've designed something. It's called a Wavestation". "What does it do?" asked the guys from Korg. "Well, it's sort of a wavetable synthesizer, with vector synthesis, and wave sequencing". "Not bad" said the guys from Korg. "Now get back inside and design something else".

Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was another timorous knock from inside. The door was opened, and an even pastier-faced individual peeked out, blinked in the light, and said "We've designed something else". "What does it do this time?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And it can be programmed to handle any new synthesis techniques that may come along in the future... and it does them all simultaneously. We've called it the Open Architecture Synthesis System, or OASYS for short."

The executives at Korg were delighted, and instead of shoving the team back into their room, bought them dinner at an expensive Japanese restaurant. But there was a problem. At £10,000, the OASYS was expensive. Very expensive. So Korg turned to the developers and said, "Sorry guys, we've got to put you back in your room. We need something cheaper, something that will appeal to the average musician. Something, to be blunt, that we can sell in the mass markets."

Months passed. Every day somebody from Korg would shove some food and water through the hole in the door. Then, quite recently, there was a knock from inside. An extremely pasty-faced individual peeked out and said, "We've done what you asked". "What does it do?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And, before you shove us back in the room... it does all that for less than £1,000." Thus did the Prophecy, as they say, come to pass.

OUTSIDE AND IN

Externally, the Korg Prophecy is a light but robust 37-note monosynth with a velocity- and aftertouch-sensitive keyboard. The styling is, to my eyes, new and refreshing, although a few people have commented on its similarities to the Yamaha VL1... A 2 x 40-character backlit LCD dominates the control panel, and is surrounded by buttons to the left and right, and knobs underneath. Conventional modulation and pitch-bend wheels, plus the 'log' (a combined mod-wheel and pressure-sensitive ribbon controller), round off the package. Most people will either love it or hate it. I love it...

Round the back, you'll find the inevitable MIDI In, Out and Thru, alongside inputs for an expression pedal, an on/off (sustain) foot-switch, and a socket for an EC5 MIDI controller. This can be used for patch selection when your hands are otherwise occupied. There's also a socket for a RAM card that will store arpeggiator patterns as well as patches. And, finally, there are the stereo audio outputs.

Internally, the Prophecy is just a computer, although it boasts no fewer than five processors. Three of these are the Texas Instruments TMS57002 DSPs used in the Korg G-series effects. The other two are for housekeeping: an NEC V55 looks after the user interface, key-scanning, and display, and a Toshiba H8 (which I've never heard of) looks after the three DSPs."

New Synth Gear and Makers in January 2015

After this year's massive New Years post, I thought it might be interesting to see how many new makers and new gear announcements we received in a single month.

This may or may not become a monthly theme on the site depending on interest.  If you think it's worth while, leave a comment.

At a high level we had 12 new makers, one new old maker previously never featured on the site, and a whopping 193 new synth related products. Check out the module list below.  The list is a combination of what was either announced or released this month.

The list in order of appearance:

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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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New MOOG SUB 37 Paraphonic Polyphonic Synth Coming to NAMM?

Click the pic for the full size shot.

Some discussion on The MATRIXSYNTH Lounge and MATRIXSYNTH Facebook.

Update: [see Update4 below] for those not familiar with Paraphonic synths, a definition via wikipedia followed by a couple of notes:

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Sequential Circuits Prophet 5 SN 3610 with MIDI

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

via this auction

"You are looking at a really nice Prophet 5 Synthesizer, version 3.3 with MIDI installed. The unit works perfectly with no issues. In the past year, it's been to Wine Country Productions for the installation of a new battery and a general health check up and calibration. About 3 years ago, the keyboard bushings were all replaced, so the keyboard plays as good as possible. The wood is good to excellent in condition with a few minor scratches here and there. One small gouge on a bottom corner also - not really seen. Front panel, as shown, is also excellent with only one small scratch along the top. Comes with factory patches installed and with the Prophet 5 Technical manual, a 3 ring binder with tons of info on servicing and maintenance."

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KORG POLYSIX Analog Synthesizer 1981 | HD DEMO

YouTube Published on May 10, 2012 by AnalogAudio1

"The Korg Polysix is a classic analogue polyphonic synth. It was the best sold analog synthesizer. Roland answered one year later with the Juno-60.

The Korg Polysix has per voice:

1 VCO + suboscillator (PWM possible), 24 dB lowpass filter, 1 ADSR envelope, 1 LFO (sine waveform only). It also has an very useful FX section, which lets you forget that you have 1 VCO per voice. ENSEMBLE, CHORUS and PHASE effects are possible. The Polysix has the same useful ARPEGGIATOR like the Mono/Poly. It is synchronisable with drum machines, sequencers,...

The Polysix has 32 RAM memories for your patches. With the tape interface, the whole RAM memory can be stored on tape/cassette. Of course you can save the memory data as WAV files as well. The Korg Polysix was inspired by the Sequential Circuits Prophet-5 - in fact, the Polysix has SSM chips like the early Prophets. For this reason, it has a warm, "american" analog sound...

The Polysix can produce fat pads with the "ensemble" effect, which reminds me on old string machines. It also can produce great bass and lead sounds in unisono mode. Weird sounds are possible with the arpeggiator in combination with filter resonance.

The hardware is solid, well made - except the original internal battery, which tends to leak. Especially when the Polysix is not turned on for a long time.

The audio signal was recorded straight from the Polysix' output, without any additional effects or dynamics.

_______________________________________________________________

THE SOUND PROGRAMS IN THIS MOVIE:

Do you have a Polysix and want to play with the powerful sounds heard in the video?

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The PPG 1003 "Sonic Carrier" - World's First Programmable Synth?

via Wolfgang Palm on Facebook
Be sure to see the video below.

"This was the first programmable synthesizer (1977)."

Programmable as in patch memory. The 1003 was a programmable monophonic synth with two oscillators, digitally controlled keyboard, and it was duophonic.

But was it the first?

Excerpts via Part 4 of the PPG Story:

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Sequential Circuits Prophet 10 analog polysynth

via this auction
"Sequential Circuits Prophet 10, REV 3, analog 10 voice polyphonic synthesizer serial # 91 manufactured 1981 in very nice but not mint condition, for a thirty year old electronic musical instrument. New lower price with a low reserve, the Prophet 10 has the early basic MIDI circa 1983-84 in/out only retrofitted by SC, according to the updated addendums 1982-83 to the original SC owners manual dated sept. 1981, also comes with 5 original SC foot pedals and a custom made for the P 10 Ultimate A-frame type adjustable height stand to hold the synth , and a Anvil type flight case which holds all the pedals as well. Also included are several rare, I believe CEM ic chips for future backups that were accumulated by the previous owner of this synth. The synth plays 100% , except the poly- sequencer and obsolete tape drive I have not used at all, so I cannot be certain about the sequencer. All other controls do function including the pitch/mod wheels, poly-mod sections, the LFO sections, glide, etc. I was told buy the previous owner when I bought this P 10, that it does need about 10-15 minutes or so to properly warm up. I was playing it some today mixing waveforms/oscillators and and running them through the P 10's VCF's and all keys upper and lower do sound, the VCA on these P 10 analogs produce powerful and loud pads/chords, bass, and or lead sounds, and all 10 voices play loud and clear, I noticed today while playing this P 10, that you can just hit one preset note ,one key and it will sound two or three or even multiple voices on just the one note/key, I am not sure if the original factory presets are still in memory, but there are a lot of different awesome sounds in both upper and lower banks. There are no broken or missing knobs or controls anywhere and all leds appear to work. Shipping weight is about 150 lbs. total"

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Hataken Interview

Back on March 31, I put up a post on Hataken, a Japanese DJ artist who primarily uses analog synths. At the time, Shane Chisolm, the manager of Don Juan Dracula mentioned Hataken was working on a remix version of DJD's "Take Me Home". Shane asked me if I'd be interested in doing an interview with Hataken, and I thought why not. It would be interesting to hear his perspective on the world of synths as a live DJ artist. The following is the result of that interview. Note, this is a long one. You will want to use page down to scroll through. If it is too long for you, I recommend reading one or two questions each time you visit the site. Each DIY item below would typically have been a separate post. There is a lot of interesting stuff here. That said, I start with an introduction followed by asking Hataken how it all started for him. Note the focus is primarily on synths as this site is about everything synth, and Hataken delivers. The gear he has both worked with and designed to meet his specific needs is overwhelming. There's also an interesting interlude on experimenting with frequency counters to produce specific frequencies of sound known to have healing properties, and of course there is a bit of the age old discussion of digital and analog.

Before we start the interview, I want to thank Hataken for taking the time out for this, and I want to thank Shane for suggesting it. It's a fascinating history of a DJ synth artist with interesting perspectives that I'm sure I will come back to over time. Be sure to check out the video and link to more at the end. And of course be sure to check out Hataken's website.

1. Can you tell us a little bit about yourself?

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The First Synth to....

Update: The new home for this list is now here. You can add to the list there or comment here and I will update both lists. Note that the complete list however will be there as I do not plan on updating this list with updates made there. That would be too much work and would compete with me being able to put up new posts here. Can't let that happen. : ) Related but separate from that list also see https://120years.net. That said...

If you are going to add to the list in the comments, use the same format.

Year - Manufacturer - Model - First at
1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader
1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader
1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument.
1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis
1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer
1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite
Both were researched as a way to transmit speech over copper wires (id est, telephone lines)
1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer
1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Worstation (electromechanical) and the Electronum - first sequencer.
1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music
1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet'
1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. See Laurie Spiegel with one here.
1963/64 - Buchla - model 100 modular - 1st "modern" modular synth
1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth.
1969 - EMS - Synthi VCS-3 - first non-modular mini-synth
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1971 - Tonus/Arp - Soloist - 1st preset mono synth
1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX-7.
1972 - Triadex Muse - first digital synth
""is the first digital musical instrument and was produced in 1972. It was
designed by Edward Fredkin and Marvin Minsky at MIT. It is an algorithmic
music generator: it uses digital logic circuits to produce a sequence of
notes based on the settings of various parameters. It has four small sliders
in that control Volume, Tempo, Pitch, and Fine Pitch. It is not known how
many were made, but they are considered extremely rare.
The Muse is the subject of U. S. Patent 3610801"
1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synthclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year."
1973 - Dartmouth Digital Synthesizer - NED - Synclavier prototype - first digital synth
1974 - Roland - SH-3A - first commercial additive synth
1974 - RMI - Harmonic Synthesizer - first commercial additive synth
1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.
1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the Buchla 502 or FVS was released first.
1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth with patch memory (this, along with the model 1020, might have been the 1st synths to use DCO's as well)
1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers with the CS80 to be the first synth with poly aftertouch
1977 (late) - Oberheim - OB-1 - 1st commercial programmable mono synth with patch memory
1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth
1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff
1979 - NED - Synclavier - First FM
1979 - Fairlight CMI - First Sampler, First Workstation
1980 - Performance Music Systems - Syntar - First self contained keytar
1982 - Sequential Circuits - Prophet 600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI)
1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream
1983 - OSC - OSCar - First real-time additive with analog filters
1984 - Sequential Circuits - SixTrak - first multitimbral
1985 - Casio - CZ-101 - First battery-powered all digital mini-synth
1987 - Kawai K5 and Technos Axcel - first additive synths
1989 - E-Mu Systems - Proteus - First dedicated ROMpler
1992 - Seer Systems - first host-based software synthesizer in 1992
1994 - Yamaha - VL1 - first physical modelling synth
1995 - Clavia - Nord Lead - 1st Virtual Analog
1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality.
1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously
1997 - Seer Systems - Reality - First Modular Soft Synth
2002 - Hartmann Neuron - first neuronal synth
2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your head.

I thought it might be fun to have a "first synth to..." post. There's been a lot of buzz over Sonic State's Top 20 Synths of All Time with good reason. What exactly is a "top synth?" Is it it's influence on the music scene? It's rarity and lust appeal? The number of synths sold? According to Sonic State their list was the result of Sonic State reader's voting for their favorite synths. Blame the voters if you don't like what you see. Based on what has come up on the list so far, the E-Mu Proteus and Roland JV-1080 for example as well as the Roland Jupiter 8 not even making the top ten, I'm guessing a bit of it has to do with the vote and... possibly the most influential/ground breaking synths for their time. The JV1080 and Proteus? Not super sexy in this day and age, but what they offered in their time? Who knows. It's obviously subjective. But there is something that isn't. The most influential synths of all time not because they were super sexy or utilitarian, but because they offered something that was not previously available.

I thought what might be interesting to create a list of the first synths to feature a particular technology or feature. For example what was the fist synth to bring FM to the table? Was it the DX7 or a predecessor? What was the first digital synth and when? The first additive synth? I have a good idea and could probably look it all up, but that wouldn't be any fun, so.... You tell me. I am going to make this an open post that will live over time. You get to participate by putting an entry in the comments. I will update the list and when I do I will change the time stamp of the post to keep it current. That said, for the archives, this post went up with a time stamp of 4/11/07 7:20 PM PST. I'll start the list (btw, do correct me on the MOOG, what model should we be talking about here? The A, B, C or D or all of them?).

Year - Manufacturer - Model - First at
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1978 - Sequential Circuits - Prophet 5 - 1st Programmable Polyphonic Analog
... List continues above.

Update 3/34/12: Also see the first synthesizers to offer patch storage here.

Sequential Circuits Prophet 5 Rev 2

Click here for shots via this auction.
Details from isatellite:
"This is the famous Sequential Prophet-5, a rare Rev. 2 version, in near mint collector's quality condition. It is considered by many to be one of the best analog polysynths ever made. This one has been babied, and maintained throughout it's life. It comes with 5 new old stock spare SSM chips (VCOx2, VCF, VCA, ENV) worth over $500 so you can be sure this synth will be running for many years to come.

History: When I bought it I had a Kenton Electronics MIDI kit installed in it. It has been used on pretty much every song I've ever done and was featured as the main lead in the song Automat. I used it live once at the Autobahn show in Ohio back in 2003 and it was a solid performer live. It has been one of my favorite synths and I really hate to see it go. This synth has guts, and nothing sounds like it. I've owned 5 Prophet-5's throughout the years and this one sounds the best. I've owned many Rev. 3's and they have generally been more unreliable than this synth. You'd be hard pressed to find one in better condition at any price.
Version: This is the later version Rev. 2, just before they switched over the CEM chips. It uses the much better sounding SSM chips throughout, and has the rare cassette upgrade. This is how a Prophet-5 was supposed to sound, before it got a complete circuit redesign by Sequential Circuits. Jerry Harrison of Talking Heads said he preferred this version to the other Prophets. OMD swore by their Rev. 2 and were upset when Sequential changed the internals. Some have called this the Rev. 2.2 model, but that numbering has been debated.

Condition: See untouched photos for details. These were taken this morning, straight out of my camera. Based on 15 years of owning literally dozens of vintage synths, I would rate it a 9.9/10. It is in near mint electronic and cosmetic condition. I know the word mint is overused on eBay, but take a look at the photos and judge for yourself. As you can see, the cosmetic condition of this synth is pristine. There is no wear whatsoever on the graphics, knobs, silver switches, or lettering. The logo plates are all original and reflect like a mirror. The large Prophet-5 logo on the back is simply stunning and in pristine shape. Looks much better than the heatsync on the Rev. 3 models. There is no sun damage and all of the parts retain their original coloring. The wood is a gorgeous walnut with only a few small marks here and there on the wood edges that are barely noticeable in the photos. There is one indentation in the wood on the righthand side that is very minor and not noticeable in the photos. Rev. 2 Prophets almost invariably have a crack in the wood at the upper right due to a design defect in the modulation section. This synth has been taken care of and has no cracks in the wood. A couple of the knobs have marks on them, but they are all original, not Wine Country reproductions. Small mark on the top of the modulation wheel...barely noticeable. Small indentation on the right of the Prophet-5 logo on the face of the synth. The underside has some marks and paint scrapes in places. There are still two pieces of velcro stuck to the bottom where I had a controller attached for turning on a bubble machine during the performance of Bubbleboy in 2003. One screw is missing from the bottom of the synth. The red LED screen is bright and clear, and the plastic lens has only extremely light scratches from dusting it...but they would not show up in the photos. A little plastic polish and the lens will shine as new. The keys are highly reflective with only the occasional mark here and there. The internal components are all present and accounted for, and the internals are clean and free of rust and debris. This is the mintest example of a Rev. 2 Prophet-5 that I have ever owned or seen ever in over15 years of collecting synths. If you're picky about the condition of your gear, and you want the very best Prophet-5 ever made in pristine condition, this is the synth for you. I realize I'm asking a lot for this synth and it may not be the synth for your price range. If so, please don't send me threatening e-mails. If you can find another in this shape at any price, then buy it. It would be worth it. I'm the type of person that will pay additional $ for something that is the best of its kind, with no rust, and no issues. And this is the best example I have seen of a Rev. 2 Prophet-5 anywhere, at any price.

Functionality: This synth has been babied and maintained in top functioning condition its entire life. I literally just brought it back this weekend from having my tech go over it in detail and make sure everything was functioning 100%. It tunes up after about 20 minutes of warm up, and then never drifts after that. A few years back Tony Clark of Great Lakes Modular modified the power supply so that it was more stable than typical Rev. 2 Prophets. All of the knobs and buttons function perfectly, with no scratchy pots. I have never had to clean the sliders or pots, and they all work as new. All keys trigger perfectly with no double-triggering. I spent a great deal of money buying and installing completely new bushings about a year ago. The keys play like butter. All inputs and outputs, MIDI, velocity (from MIDI), aftertouch (from MIDI), modulation, pitchbend, keys, buttons, and pitchbender - everything works perfectly. There is nothing functionally wrong with this synth. The Kenton MIDI kit provides MIDI in, out, and thru and is considered to be the best MIDI kit available for the this synth. For more info on everything that the Kenton MIDI kit can do, please check out the Kenton site at kenton.co.uk. In case you are worried about the reliability of this synth, I have only had one SSM chip replaced during the 11 years I've owned it."

Red Martian

One of the people I met at this year's PNW meeting was Stephen Jones. You might recognize the name from this post on the custom wood case for the Sequential Circuts Pro One. You can find more info on the case and other custom work on Synthwood. I actually need to put a couple of posts on the custom T8 and Multi-traks there.

For this post, however, I want to focus on Stephen's band Red Martian. If you like Severed Heads, you will like Red Martian. I asked Stephen what his music was like and what bands influenced him. Not only is he influenced by Severed Heads, but one of their tracks was actually remixed by them. Pretty cool. BTW, you know my policy on only posting music if it showcases a given synth. Well the track "Behind the Mask" features a Prophet 5. Details:

"On behind the mask casey recorded his drums with live bass and keyboard. I then went back and tapped out a gate track along with his human tempo and used that to trigger the backing sequence. All of the synthesizer sounds were done on the Prophet 5. I got the mono lead sounds by killing voices and playing it it unison. "no moogs here". The vocals were done with a SVC-350 vocoder along with the Prophet 5."

Check out their MySpace page to get to the track directly and check out their main site for more. This is good stuff.