Synclavier Go! Eighties Synth for iPad - First Sounds

Published on Jan 22, 2019 redskylullaby

"First sound design attempts with Synclavier Go App for iPad
I plan to do a more detailed sound design tutorial when I have time"

NAMM Leaks: The Synclavier is Coming to the iPad w/ Physical Knob Controller

Spotted this one on Synthtopia

"Synclavier Go! (for iPad) and Synclavier Pocket! (for iPhone and iPod Touch) re-create the original Synclavier II FM Synthesis engine, with a touch-screen interface inspired by the original hardware. The Synclavier DSP Engine – used by Arturia in its Synclavier V product line – is a faithful recreation of the FM- and Additive-Synthesis functions of the original instrument.

Synclavier Knob is an authentic re-creation of the control knob used in the original Synclavier instrument. This USB-powered version o?ers an unparalleled experience for the sound designer and synthesist, especially when compared to traditional mouse-driven computer interfaces.
Pricing and Availability

The new iOS apps are expected to be available on Jan 23. Pricing is TBA. Availability and pricing for the Synclavier Knob is TBA. Details are still to come at the Synclavier site."

Synclavier II FM Harmonics + Eventide H3000 Crystal Echo's

Published on Nov 10, 2018 100 Things I Do

"I wanted to try adding and subtracting harmonics in real time on the Synclavier II. I do this normally on the V as the limitations of processing power in my original Syncalvier II with its B processor stops it from working as smooth in real time. So, the trick here is to know where the limitations are and try and avoid them (big value jumps being the main one).

While I liked the sound I thought I would also go back and reinvestigate the Eventide H3000 Crystal echos patch. This was used heavily for so long in everything everyone did, and these days the type of effect is built into many reverbs. But, how does the original stand up today ? :D"

Synclavier II - Clip #1 - Harmonic Additive Synthesis

Published on Dec 2, 2017 100 Things I Do

"After many months of waiting my Synclavier II system finally arrived! As you will see it was an almost complete refurbish of the 1982 Synclavier II system. Its amazing how warm the Synclavier sounds when you consider its 8bit digital synthesis. Other FM synths of the time that were more available to us mere mortals really sound nothing like it.

I asked for the Keyboard to be left in its bare wood state I will finish this with danish oil very soon (might put a clip up on me doing this if anyone is interested ?)

Changing things up a little I have decided to do a few clips in series on the Sync, There seems to be a absence of Synclavier videos on Youtube! Clip 1 is focused on the Additive Synthesis, #2 will be focused on FM and #3 hopefully with be making a track. Would anyone be interested an a Synclavier II v Artiriua Synclavier V comparison also maybe ?

If anyone is still reading ... I would be interested to know if you prefer the text over the clip as I work to continue or would you rather I talked more about what I was doing and my intensions as I make patches ? Let me know your thoughts! I see a lot of synth videos with "NO TALKING" as a selling/advertising point... is this really a thing ?"

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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!

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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Festa In Soffitta - '80s Italo with Emulator, Juno-60, Memorymoog and DMX

YouTube Uploaded by SynthManiaDotCom on Dec 10, 2011

"People ask me to post more Italo Disco synth demos, so here you go. A song in the typical early/mid '80s style.
E-mu Emulator: orchestra hit, Synclavier
Roland Juno-60: synth bass, synth strings
Moog Memorymoog: synth brass, syn vox
Oberheim DMX: drum machine"

Interview with Kim Ryrie & The History of Fairlight

YouTube Uploaded by DEQXAUS on Nov 25, 2010
Segment on the history of Fairlight begins at 1:47
"Kim is interviewed by audio industry journalist Edgar Kramer. In this part Kim talks about his personal history with speaker design, music synthesis and the founding of Fairlight Industries, and the longstanding quest for true 'being there' speakers. For more information go to deqx.com"

via Nino via Volken

via Wikipedia: "The Fairlight CMI (Computer Musical Instrument) is a digital sampling synthesizer. It was designed in 1979 by the founders of Fairlight, Peter Vogel and Kim Ryrie, and based on a dual-6800 microprocessor computer designed by Tony Furse in Sydney, Australia.[2][3] It rose to prominence in the early 1980s and competed in the market with the Synclavier from New England Digital."

Synths in TV and Film

Note: some of the videos below have been pulled from YouTube, but I'm keeping mention of them up as a reference that they are out there.

Let the page load before scrolling - it's a long one.
Be sure to see the Synth Movies list and see the Synth Movies and Synth TV and Film labels for more.

1. Close Encounters of the Third Kind
Synths: ARP 2500 played by Phillip Dodds, head of ARP Engineering, Yamaha CS-?.


2. Fame Synths: ARP 2600, MOOG Minimoog

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Sequential Circuits Prophet T8

Title link takes you to shots via this auction.

Note that in the last shot below those are not separate voice boards. That's one giant board. you can see the traces go through each voice section.

Details:
"This rare 8 voice (16 oscillator) synth has the latest 3.8 eprom update, as well as midi, polysequencer, polymod section, 76 note weighted action keyboard with attrack and release velocity, and aftertouch (polyphonic pressure). Same keyboard as used on the Synclavier. The T8 holds 120 patch/programs. It will split or layer programs or play all 16 oscillators in unison. This T8 was hard calibrated several years ago and autotunes perfectly in tune across the whole keyboard. Every key is pearly white (or black), sits even and works correctly with exception of one key which only needs counter weight adjustment. This one key does work completely with respect to all functions like velocity, AT, RV. There are slight variations in response between keys which is typical for the T8."

Driscoll Modular

Update: Some comments with additional info from Ken below. Click on comments at the end of this post.

Wow. Josue Arias sent this to me. You can put this on the list of the rarest of the rare. I'm not one to benchmark rarity against, but I've never seen or even heard of one of these before. The only thing that comes up on Google is this site with a brief reference of the Driscoll. The Analog Heaven archives come up dry as well.

Josue refers to the Driscoll as a Driscoll/Serge modular. He states, "the 'serge' part is just because the similar modules in it (Slope generators, Random voltages, cv processors, Analog shift register,...) and because my system even have a serge 5 stage sequencing programmer!, but driscoll designed the same functions than the serge modular using another electronic aproach and design, so is not a clone(!)"

The Driscoll was built in the 70s by Australian composer/designer/engineer Julian Driscoll. Josue, believes the original Driscoll was a 10-12 panel system.

As for the sound?
"The sound for this synth is incredible, its really "organic", it sound like creatures more than electronics : ) I have it next to my 4 panel serge and I really like the driscoll sound a lot more."

http://www.cyndustries.com/bugmusic/17.mp3

"All the water drops/woodblocks/marimba/rithms, comes from the driscoll. I think it show the organic qualities. I`m ataching you a couple of photos but they are from my old studio"

Wow. Thanks for sharing this Josue.

Update:
Josue gave me the ok to post the following thread. Thanks Josue!
-------------------------------------------------------------------------------------------------------------------------------------------------------

I`ve found some of the conversaions I had with australian composer
Warren Burt, He used the Driscoll and even it have a CD now for sale
made with it!:

"Hello Mr. Burt,

I`m Josue Arias, a musician and sound engineer from Madrid(SPAIN)
I just got the old Segemodular tape from 1983, and I`ve found you have
a nice piece there called "You want, maybe, something a little intense
diatonic?"

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