Rare SYNERGY II+ SYNTH w/Kaypro Computer + Software

synergy_demo_divx.avi

YouTube Uploaded by jeanielotsacats on Sep 9, 2011

"This is a demo of the Synergy II+ synthesizer. Based on the Bell Labs Digital Synthesizer created by Hall Alles in 1975, the Synergy II+ remains one of the rarest and most sophisticated digital synthesizers in music history. There are only a few dozen of these left in working condition today."


via this auction

Additional video at the auction and below.

"DKI SYNERGY II+ SYNTHESIZER WITH KAYPRO 2X

VOICE PROGRAMMER, SYNHCS 3.22 SOFTWARE,

COMPLETE SYNERGY VOICE LIBRARY AND MANUALS

In 1975 an engineer at Bell Labs, Hal Alles, created the world's most sophisticated digital synthesizer. A set of cards in a IEEE-696 computer chassis, it used an RS-422 digital instrumentation interface to talk to a minicomputer. There was no preset voice program, no predetermined synthesizer architecture. Each researcher at Bell Labs had to write a custom program on a DEC PDP minicomputer just to produce sounds from the Alles digital synthesizer.

The Alles synthesizer (eventually known as the Bell Labs digital synthesizer) offered the user a pool of digital oscillators with variable waveforms. It had no fixed synthesis architecture. Unlike other synthesizers -- for example, a typical analog Moog synthesizer with 3 oscillators in parallel -- the Bell Labs digital synthesizer let the user arrange the oscillators in any architecture desired. The Bell Labs digital synthesizer could use 2 oscillators per voice or 32 oscillators per voice, or anything in between.

But Alles went further. He designed the Bell Labs digital synthesizer with immensely flexible envelopes and filters. It had two types of digital filters, A filters and B filters. It had 16-point amplitude and frequency envelopes, far more complex than the simple-minded ADSR envelopes used even today, and it used two different 16-point envelopes for each oscillator. The user defined a maximum envelope and a minimum envelope for both frequency and amplitude. Then the Bell Labs digital synthesizer automatically interpolated the shape of the final envelope between those two radically different 16-point envelopes depending on how hard the keys on the synthesizer keyboard were struck.

The Bell Labs digital synthesizer was complex and unwieldy. But it could produce an amazing range of timbres. Most digital synthesizers have a distinctive overall "sound" -- metallic and sharp (the Casio FZ series), or cold and sterile (the K5 additive synthesizer), or fuzzy and hummy (the Emu Morpheus). But the Bell Labs digital synthesizer had no typical "sound" -- it could caress your ears with timbres as organic and velvety as an analog synthesizer, or whack you upside the head with sounds as brash and sharp as a phase distortion digital synthesizer.

The Bell Labs digital synthesizer could produce anything from raunchy timbres as harshly brutal as a Mack truck smashing through a brick wall to delicate evocations as diaphonous and ethereal as a butterfly's wing. It could sound hi-tech and futuristic and digital, or retro and touchy-feelie and analog.

Laurie Spiegel programmed the Bell Labs digital synthesizer using the C programming language, then brand-new, on a DEC PDP-8 minicomputer, to generate many notes from single keys on the synthesizer keyboard. You can hear the Bell Labs digital synthesizer on Laurie's CD Obsolete Syetems on the track called "Improvisations on a Concerto Generator." Don Slepian used the Bell Labs digital synthesizer to general digital soundscapes with arpeggios synchronized to the player's tempo. (You can hear it on Slepian's CD Ocean of Bliss, tracks 1 and 2.) Max Mathews and Larry Fast used the Bell Labs digital synthesizer to make breathtaking music. Fast used it on several tracks on his CD Games.

In 1978, the synthesizer manufacture Crumar licensed the design of the Bell Labs digital synthesizer. They hired another engineer, Stoney Stockell, to turn Alles' collection of IEEE-696 circuit boards in a minicomputer chassis into a commercial digital synthesizer with a built-in keyboard and front knobs. (The original Bell Labs digital synthesizer had 4 joysticks, 10 buttons and 16 sliders, but no other controls. It didn't even have a synthesizer keyboard. Researchers had to wire up an external organ keyboard to the RS-422 lab interface to communicate with it.)

With 32 digital oscillators and 2 sixteen-point frequency and amplitude envelopes for each oscillator, the Synergy digital synthesizer had 128 envelopes total, with 16 points each. No other synthesizer had ever used such a complex architecture. There were too many oscillators and envelope points even to be controlled by the dozens of buttons and knobs on the Synergy's front panel, so an external computer was used. To voice the synthesizer, a Kaypro 2 computer got connected to the Synergy via RS232 serial interface, and Crumar programmers wrote a Z80 assembly language program for the Kaypro 2.

When Crumar licensed the Bell Labs digital synthesizer, they changed their name to DKI (Digital Keyboards Incorporated). The DKI Synergy synthesizer originally sold for $3500, not including the Kaypro 2 computer -- that added another $1795. Attached to the Synergy by an RS232 serial port, the optional Kaypro 2 came with SYNHCS: the Synergy Host Control System. This was the program that let the user program the Synergy's staggeringly sophisticated digital synthesis architecture and create and store user-defined synthesis architectures on Kaypro floppy disk. The SYNHCS program has many different pages that let the user define the number of oscillators and the shape of the max and min envelopes, set the oscillator architecture, set up aperiodic vibrato and envelope loop points, define the A and B digital filters, edit voice banks, set up real-time perofrmance presets for the Synergy II+ synthesizer and store Synergy timbres and real-time performance banks on Kaypro floppy discs.

The Synergy came in two models: the Synergy I, with 24 sounds in ROM and no MIDI and no user programmability, and the Synergy II+, which added a modification board inside the synthesizer to allow MIDI in and out and full programmability and user storage of new timbres by means of the Kaypro 2 computer.

DKI originally hoped that users would buy the Synergy and then keep on buying Synergy ROM cartridges, like customers buying one razor and many razor blades. Wendy Carlos signed on to create timbres for the Synergy, and eventually 22 different banks of 24 voices were created for the Synergy, for a total of 524 Synergy timbres. These timbres ran the full gamut from spacey digital sounds to chimes and gongs, to ethnic instruments like drums and xylophones and membranophones, to plucked and struck sounds, to brass and woodwinds, and rich strings and subtle keyboard timbres like the celesta and the vibraphone and the electric piano.

The Synergy doesn't sound like any other synthesizer. It's warm and vibrant. It sounds alive. This is party due to the unprecedented sophistication of the synthesizer envelopes, which interpolate between 16-point max and min values depending on how hard each synthesizer key gets pressed on the keyboard. In part it's due to the interaction of the A filters and B filters with the digital oscillators, since each digital filter gets defined for each separate oscillator. And in part the unique sound of the Synergy results from the synthesizer's aperiodic vibrato, which add user-controlled unpredictability to the amplitude and frequency envelopes of each oscillators, just like a real acoustic instrument, where each note on a violin or each note on a flute sounds slightly different.

All the timbres on this YouTube video were created using the Synergy with multitrack tape. This video shows SYNHCS running on the Kaypro 2x and sending the Wendy Carlos voice bank number 1 to the Synergy:" [video above]

CLICK FOR MORE »

New Waldorf Iridium Trailer, Sound Demo, Official Announcement Press Release & New Pics

Follow-up to this post.

"Waldorf Music makes more waves by bringing flagship’s futuristic functionality and advanced tonality to desktop with Iridium Synthesizer

REMAGEN, GERMANY: having opened eyes and ears when introducing its forward-looking flagship Quantum Synthesizer keyboard to widespread critical acclaim in 2018, Waldorf Music is proud to introduce its Iridium Synthesizer ‘sibling’ — sharing futuristic functionality and advanced tonality and applying those traits with welcomed added extras to a compact desktop form factor living up to the high-quality synthesizer developer’s demanding design standards — as of June 12…

Following in the Quantum Synthesizer’s trailblazing footsteps, the Iridium Synthesizer features a generous high-resolution multitouch display working — with haptic help — in perfect harmony with an adroitly arranged control panel positioning all functions for speedy operation. Noticeably new to the demonstrably different Iridium Synthesizer is its integrated 4 x 4 pad matrix, used to call up sequences, chords, scales, and arpeggios. A quick glance under the hood, however, reveals that the Iridium Synthesizer still shares the same selectable sound generation processes per oscillator (OSC 1, OSC 2, and OSC 3). As such, it can convincingly and comprehensively reproduce the sound spectra of the following five synthesis types: Wavetable, Waveform, Particle, Resonator, and Kernels.

CLICK FOR MORE »

New Radiator Laser Synthesizer Videos

Published on Aug 2, 2019 Neon Captain

Only five days to go on Kickstarter here. A new laser synth with audio out from Neon Captain including the makers behind Kilpatrick Audio. Funding is currently at $94,164 of the $60,510 goal.

Playlist at the time of this post:

1. Dueling Radiators

What's better than a Radiator Laser Synthesizer? Two Radiator Laser Synthesizers!

2. Object cloning with the Radiator Laser Synthesizer

Here's a brief demonstration of the cloning feature we're implementing on the Radiator Laser Synthesizer.

3. Radiator Laser Synthesizer RGB and HSV Color Modes

A demonstration of working with RGB and HSV color effects with the Radiator Laser Synthesizer.

4. Radiator Laser Synthesizer: Abstracts and Presets

A brief tutorial on how to use the Radiator Laser Synthesizer

5. Radiator Laser Synthesizer Effects

A quick preview of the Radiator Laser Synthesizer and some of the effects it creates

6. Radiator Controls and Abstracts (short)

Showing the process of operating the Radiator Laser Synthesizer

7. Radiator Laser Synthesizer Controls and Abstracts

Showing the process of operating the Radiator Laser Synthesizer

8. Radiator Beams and Abstracts 01

The Radiator Laser Synthesizer driving three laser projectors. One for abstracts, and two for beams.

9. IG Currents VJ (Short)

The Radiator Laser Synthesizer at the Currents New Media Festival in Santa Fe.

10. The Radiator Laser Synthesizer Live Play

Playing the Radiator Laser Synthesizer live with music by The Chemical Brothers

11. Radiator Glow Promo

Radiator Laser Synthesizer with ultraviolet laser projector on zinc sulfide screen.

12. Radiator Laser Synthesizer Can you feel it?

A small overview of some of the effects the Radiator Laser Synthesizer can create.

13. Radiator Laser Synthesizer UV projection.

This is a Radiator Laser Synthesizer projecting through on X-Laser Ghostwriter UV projector onto a screen painted with zinc sulfide glow paint.

14. Radiator Performance at Currents

Live performance with the Radiator Laser Synthesizer at the 2019 Currents New Media Festival in Santa Fe, New Mexico.

15. radiator: the laser synthesizer (Kickstarter Video)

Vermona Perfourmer

images via this auction.

Note the colored knobs.

"Vermona Perfourmer with CV gate inputs / Midi in and out and the optional wood sides. Also included is a good stack of "preset" overlay sheets so you can mark your settings, copy of the User Manual, product flyer and the power cable.

This is literally 4 seperate monosynths that can either be tied together in Unison for a HUGE monosynth sound, a 2x2 duo polophony mode and also a 1 x 4 polophony mode. I used it in 1 x 4 mode, hooked up to a sequencer with each synth on a seperate Midi channel for 4 seperate music tracks. Super easy to use (NO MENUS TO FLIP THROUGH)

The PERFOURMER is a true analog synthesizer, providing a nearly unlimited diversity of basses, leads, pads and effect sounds through its incredibly flexible sound generation circuitry and its easy user interface.
In addition, the PERFOURMER can be used as a complex filterbank with its 6 filter inputs!
Even though the PERFOURMER is not a modular system, you can configure its structure as a semi-modular. The basic concept is reminiscent of classic synthesizers like the Oberheim 4-Voice or the Korg MONO/POLY.
The PERFOURMER consists of four voices. Each of them is a completely separate synthesizer which can be played and tweaked individually . You can link the synthesizer channels in any combination with each other and play them in three modes.

Synthesizer Channels
The PERFOURMER's four synthesizer channels are identical and have the following structure:
- One VCO with six waveforms, which are divided into two different octaves and a noise generator which produces white noise. The pitch can be adjusted smoothly in a range of +/- 13 halftones.
- A 4-pole lowpass filter with resonance and variable keytrack.
- A fast ADSR envelope that can modulate the VCA and VCF.
- An LFO with four waveforms which modulates the VCO frequency and the CUTOFF frequency, as well as the VCA.
- One VCA that can be modulated by the ADSR envelope, a fixed GATE envelope or the LFO.
FM
The synthesizer channels 1 to 3 can function as modulator for their neighbouring synthesizer channel. For example, synthesizer 1 can modulate the VCO frequency and the CUTOFF frequency of synthesizer 2. Or synthesizer 2 can modulate synthesizer 3, etc.
The modulation intensity can be adjusted separately for VCO and VCF.
MODES
All four synthesizer channels can be linked in arbitrary fashion and can be used in one of the following three modes:
- UNISON: All combined channels work as one monophonic synthesizer.
- DUOPHONIC: This mode separates the PERFOURMER into a two-voice synthesizer. Synthesizer 1 and 2 are voice no. one and synthesizer 3 and 4 work as voice no. two.
- POLYPHONIC: All combined channels work as a polyphonic synth.

Depending on the selected mode and in which way the synthesizer channels are combined, the PERFOURMER can be used as a fat monophonic synthesizer with 4 oscillators, 4 filters, 4 VCAs, etc., but also as a two, three, or four voice polyphonic synthesizer.
All synthesizer channels, that aren't combined with any other, work as simple monophonic synthesizers.

PERFOURMER as a filterbank
The PERFOURMER has six filter inputs.
There is one filter input per channel. The input signal will be added to the oscillator's signal of the respective channel.
On the rear panel of the PERFOURMER are two more inputs that are routed in parallel to all four synthesizer channels and which can be used alternatively to the oscillators' signal.
The CUTOFF frequencies of the single synthesizer channels can be controlled by MIDI.

Connecting Features
As well as the filter inputs, there are individual outputs per channel that can also be used as a channel insert. It's easy to connect the PERFOURMER to other equipment! It's also possible to tap the unprocessed VCO signal from each synth channel.
You can increase the sonic possibilities of the PERFOURMER by "internal patching" between the channels. For example, you can create a synthesizer that consists of two PERFOURMER channels with two envelope generators and LFOs. It's also possible to double the slope of the filters by connecting two of them in a row.
The PERFOURMER can be controlled by MIDI, and optionally can be equipped with four CV/GATE inputs (1V/octave)."

Future Retro XS Synthesizer Tips and Tricks

Published on Jun 26, 2015 FutureRetroSynths

Playlist:
Future Retro XS Synthesizer Tips and Tricks: Making envelopes more exponential
XS Synthesizer Tips and Tricks: Creating exponential waveforms
XS Synthesizer Tips and Tricks: Create two tones from one oscillator
XS Synthesizer Tips and Tricks: Understanding mixer levels
XS Synthesizer Tips and Tricks: Creating Clap Sounds
XS Synthesizer Tips and Tricks: Creating snare drum sounds
XS Synthesizer Tips and Tricks: Controlling oscillator levels with envelopes
XS Synthesizer Tips and Tricks: Controlling oscillator intervals with the mod wheel
XS Synthesizer Tips and Tricks: Make a self generating patch
XS Synthesizer Tips and Tricks: Creating hi-hat sounds
XS Synthesizer Tips and Tricks: Oscillator/Sub-Oscillator Sync
XS Synthesizer Tips and Tricks: Filter feedback
XS Synthesizer Tips and Tricks: Ring-modulating two sine waves
XS Synthesizer Tips and Tricks: Processing external audio
XS Synthesizer Tips and Tricks: Understanding accented envelopes and velocity
XS Synthesizer + Orb Tips and Tricks: Dual Glide plus LFO sequencers
XS Synthesizer Tips and Tricks: Transposing Orb sequences with a MIDI keyboard
XS Synthesizer Tips and Tricks: creating dark sounds
XS Synthesizer Tips and Tricks: More audio treats
XS Synthesizer Tips and Tricks: Chaotic patch I
XS Synthesizer Tips and Tricks: Chaotic patch II
XS Synthesizer Tips and Tricks: Recreating TR-808 style drums
XS Tips and Tricks Exploring amplitude modulation

Vermona Perfourmer

via this auction by noisebug

"The PERFOURMER is a true analog synthesizer, providing a nearly unlimited diversity of basses, leads, pads and effect sounds through its incredibly flexible sound generation circuitry and its easy user interface. In addition, the PERFOURMER can be used as a complex filterbank with its 6 filter inputs!

Even though the PERFOURMER is not a modular system, you can configure its structure as a semi-modular. The basic concept is reminiscent of classic synthesizers like the Oberheim 4-Voice or the Korg MONO/POLY.

The PERFOURMER consists of four voices. Each of them is a completely separate synthesizer which can be played and tweaked individually . You can link the synthesizer channels in any combination with each other and play them in three modes. The PERFOURMER's four synthesizer channels are identical and have the following structure:

* One VCO with six waveforms, which are divided into two different octaves and a noise generator which produces white noise. The pitch can be adjusted smoothly in a range of +/- 13 halftones.
* A 4-pole lowpass filter with resonance and variable keytrack.
* A fast ADSR envelope that can modulate the VCA and VCF.
* A LFO with four waveforms which modulates the VCO frequency and the CUTOFF frequency, as well as the VCA.
* One VCA that can be modulated by the ADSR envelope, a fixed GATE envelope or the LFO.

The synthesizer channels 1 to 3 can function as modulator for their neighbouring synthesizer channel. For example, synthesizer 1 can modulate the VCO frequency and the CUTOFF frequency of synthesizer 2. Or synthesizer 2 can modulate synthesizer 3, etc. The modulation intensity can be adjusted separately for VCO and VCF.

All four synthesizer channels can be linked in arbitrary fashion and can be used in one of the following three modes:

* UNISON: All combined channels work as one monophonic synthesizer.
* DUOPHONIC: This mode separates the PERFOURMER into a two-voice synthesizer. Synthesizer 1 and 2 are voice no. one and synthesizer 3 and 4 work as voice no. two.
* POLYPHONIC: All combined channels work as a polyphonic synth.

Depending on the selected mode and in which way the synthesizer channels are combined, the PERFOURMER can be used as a fat monophonic synthesizer with 4 oscillators, 4 filters, 4 VCAs, etc., but also as a two, three, or four voice polyphonic synthesizer.
All synthesizer channels, that aren't combined with any other, work as simple monophonic synthesizers.

The PERFOURMER has six filter inputs.
There is one filter input per channel. The input signal will be added to the oscillator's signal of the respective channel. On the rear panel of the PERFOURMER are two more inputs that are routed in parallel to all four synthesizer channels and which can be used alternatively to the oscillators' signal.
The CUTOFF frequencies of the single synthesizer channels can be controlled by MIDI.

As well as the filter inputs, there are individual outputs per channel that can also be used as a channel insert. It's easy to connect the PERFOURMER to other equipment! It's also possible to tap the unprocessed VCO signal from each synth channel.
You can increase the sonic possibilities of the PERFOURMER by "internal patching" between the channels. For example, you can create a synthesizer that consists of two PERFOURMER channels with two envelope generators and LFOs. It's also possible to double the slope of the filters by connecting two of them in a row."

Vermona Perfourmer

via this auction

"The PERFOURMER is a true analog synthesizer, providing a nearly unlimited diversity of basses, leads, pads and effect sounds through its incredibly flexible sound generation circuitry and its easy user interface. In addition, the PERFOURMER can be used as a complex filterbank with its 6 filter inputs!

Even though the PERFOURMER is not a modular system, you can configure its structure as a semi-modular. The basic concept is reminiscent of classic synthesizers like the Oberheim 4-Voice or the Korg MONO/POL

The PERFOURMER consists of four voices. Each of them is a completely separate synthesizer which can be played and tweaked individually . You can link the synthesizer channels in any combination with each other and play them in three modes. The PERFOURMER's four synthesizer channels are identical and have the following structur:

One VCO with six waveforms, which are divided into two different octaves and a noise generator which produces white noise. The pitch can be adjusted smoothly in a range of +/- 13 halftones.
A 4-pole lowpass filter with resonance and variable keytrack.
A fast ADSR envelope that can modulate the VCA and VCF.
A LFO with four waveforms which modulates the VCO frequency and the CUTOFF frequency, as well as the VCA.
One VCA that can be modulated by the ADSR envelope, a fixed GATE envelope or the LFO.

The synthesizer channels 1 to 3 can function as modulator for their neighbouring synthesizer channel. For example, synthesizer 1 can modulate the VCO frequency and the CUTOFF frequency of synthesizer 2. Or synthesizer 2 can modulate synthesizer 3, etc. The modulation intensity can be adjusted separately for VCO and VCF.
All four synthesizer channels can be linked in arbitrary fashion and can be used in one of the following three modes:

UNISON: All combined channels work as one monophonic synthesizer.
DUOPHONIC: This mode separates the PERFOURMER into a two-voice synthesizer. Synthesizer 1 and 2 are voice no. one and synthesizer 3 and 4 work as voice no. two. POLYPHONIC: All combined channels work as a polyphonic synth.

Depending on the selected mode and in which way the synthesizer channels are combined, the PERFOURMER can be used as a fat monophonic synthesizer with 4 oscillators, 4 filters, 4 VCAs, etc., but also as a two, three, or four voice polyphonic synthesizer. All synthesizer channels, that aren't combined with any other, work as simple monophonic synthesizers.

The PERFOURMER has six filter inputs. There is one filter input per channel. The input signal will be added to the oscillator's signal of the respective channel. On the rear panel of the PERFOURMER are two more inputs that are routed in parallel to all four synthesizer channels and which can be used alternatively to the oscillators' signal.

The CUTOFF frequencies of the single synthesizer channels can be controlled by MIDI.

As well as the filter inputs, there are individual outputs per channel that can also be used as a channel insert. It's easy to connect the PERFOURMER to other equipment! It's also possible to tap the unprocessed VCO signal from each synth channel
You can increase the sonic possibilities of the PERFOURMER by "internal patching" between the channels. For example, you can create a synthesizer that consists of two PERFOURMER channels with two envelope generators and LFOs. It's also possible to double the slope of the filters by connecting two of them in a row. The PERFOURMER can be controlled by MIDI, and optionally can be equipped with four CV/GATE inputs (1V/octave).
So that's the blurb. I have to say that I've found this synth a joy to use. Being Semi modular it has much of the flexibly of a modular setup and in sheer terms of experimentation you can make some unbelievable sounds. The thing however that stands out most to me is the quality of it's output, the bass and the lead sounds that this thing is capable of are really something and though perhaps nodding in the direction of a minimoog, it's clearly got it's own sound. If you're brave enough to stack up all 4 voices, the building will literally shake!! While it rips it up with the best of them, it's also capable of some more ambient sounds also particular note goes to the throbbing bass and the fantastic filters."

Synth Shop Hieber-Lindberg, Munich, Germany

via cheater cheater:

"I thought your readers could be interested that there's
such a nice place in Munich for synths.. it's not exactly Five G but
then they don't have to fly to Japan for it.. :)

Hi guys,
Last Saturday I have visited the music shop Musikhaus Hieber-Lindberg
in Munich, Germany. I was tipped off by Florian, who said it could be
interesting. You can find their website at
http://www.hieber-lindberg.de (unfortunately only in German, but it's
easy to find your way around, and Google Translate works well)

The Shop

CLICK FOR MORE »

Single Synth Tracks by Alexander Bobrov

Published on Oct 14, 2015 Alexander Bobrov

Playlist:
1. Dave Smith Prophet 08 Synthesizer - Nu-Disco #2 Demo, by al l bo
2. ARP Odyssey Synthesizer - Nu-Disco Demo, by al l bo
3. Moog Voyager Synthesizer - Nu-Disco Demo, by al l bo
4. Evolution EVS 1 Synthesizer - Deep House Demo, by al l bo
5. Red Sound DarkStar XP2 Synthesizer - Nu-Disco Demo, by al l bo
6. Crumar BIT 01 Synthesizer - Deep House Demo, by al l bo
7. Novation Ultranova Synthesizer - Deep-House Demo #1, by al l bo
8. Novation Ultranova Synthesizer - Deep-House Demo #2, by al l bo
9. Technics SX WSA 1R Synthesizer - Nu-Disco Demo, by Clouds Testers
10. Roland MKS-80 Super Jupiter Synthesizer - Nu-Disco Demo, by al l bo
11. Dave Smith Prophet 08 Synthesizer - Nu Disco Demo, by Clouds Testers
12. E-MU Planet Phatt Synthesizer - Pop Demo, by al l bo
13. E-MU Ultra Proteus Synthesizer - Nu-Disco Demo, by al l bo
14. Moog Voyager Synthesizer - Indie Dance Demo, by Clouds Testers (Dave Smith Prophet 08 polyphonic pads at "chorus")
15. Korg X3 Synthesizer - Nu-Disco Demo, by al l bo
16. Dave Smith Prophet 08 Synthesizer - Synth-Pop Demo, by al l bo
17. Dave Smith Prophet 08 Synthesizer - Indie Dance Demo, by al l bo
18. Dave Smith Prophet 08 Synthesizer - Indie Dance Demo #2, by al l bo
19. Dave Smith Poly Evolver Synthesizer - Synth-Pop Demo, by al l bo

All tracks are the single synth except drum and piano in the Voyager track and guitar in the 1st Ultranova and Emu Planet Phatt track.

"Publisher: Clouds Testers The Legendaries (C) 2015

Follow me @ my soundcloud synthlab channel:

https://soundcloud.com/al-l-bo-synthlab

or @ my main soundcloud page:

https://soundcloud.com/albostudios"

Last Call for The Schmidt!

If you have $25,000 to spare and want a Schmidt, now is the time! Just be sure to send some support my way for the tip.

"e:m:c calls last orders for final 25-unit production run of Schmidt subtractive super-synth

'I feel really honoured that musicians around the world love the Schmidt Eightvoice Polyphonic Synthesizer, which simply started as a small-scale bass synthesizer project before I took a chance on building the synthesizer of my dreams. That e:m:c has decided to build another 25 units of this exclusive — and expensive — instrument makes me proud!'

- Stefan Schmidt, 2016


LANGENAU, GERMANY: e:m:c (electronic music components) — German distributor of several key electronic musical instrument brands, including Mellotron (Sweden), Moog (USA), Vintage Vibe (USA), and MIDI Solutions (Canada) — is proud to announce that it is taking orders on a second self-financed (and final) 25-unit build run of the exclusive (and expensive) Schmidt Eightvoice Polyphonic Synthesizer, surely one of the most ambitious analogue synthesizer projects ever undertaken...

The no-expense-spared Schmidt Eightvoice Polyphonic Synthesizer was, without doubt, a showstopper when namesake hardware and software designer Stefan Schmidt’s hand-crafted first prototype unit debuted at Musikmesse 2011 in Frankfurt, Germany. Within a year it was being shipped Stateside for its first proper public airing at The NAMM Show 2012 in Anaheim, California. Indeed, it is somewhat fitting that following a repeat performance at The NAMM Show 2013 that same super-synth prototype made its way over to Santa Monica for an audience with none other than Hollywood hotshot Hans Zimmer, one of the most successful, influential, and prolific film composers of all time with a sumptuous synthesizer-filled studio setup second to none! It’s still there... the rest, as they say, is history.

History has it, then, that the Schmidt Eightvoice Polyphonic Synthesizer is quite possibly the most expensive analogue eight-voice polyphonic synthesizer the world has yet seen and heard. Hardly surprising given the investment involved in its drawn-out development, both in terms of funding and man hours. Hardly the stuff of commercial viability in an accepted age of market value-driven optimisation, often resulting in compromised products. Put it this way, though: this is the synthesizer that Stefan Schmidt always dreamed of, created against all odds without any compromises whatsoever (with more than a little help from friends Axel Hartmann — co-founder and owner of renowned industrial designers designbox, whose distinctive design talents took the Schmidt Eightvoice Polyphonic Synthesizer prototype to another level entirely, thanks to some serious funding from e:m:c President Stefan Hund).

But bolstered by those tradeshow successes, supported by his partners at e:m:c, Stefan Schmidt set about putting his dream synthesizer into (build-to- order) production. A limited run of 25 units was admirably announced. Anyone arguing about its ‘second-tier’ five-figure price point probably couldn’t afford one. But bear in mind that those that could were buying into a thoroughbred analogue eight-voice polyphonic synthesizer with a fully- analogue signal path (with precise digital control) that’s truly a sound designer’s dream machine.

More meaningfully, a quick glance at its complex four-oscillator structure should be more than enough to convince even the most skilled synthesist that the Schmidt Eightvoice Polyphonic Synthesizer is capable of creating complex timbres that go way beyond the capabilities of conventional analogue synthesizers. Speaking of which, Oscillator 4 is worthy of special mention. Thanks to its chain of five ring modulators fed by six pulse-waves, each with different pulse-widths, it can create colder, wavetable-like sounds — despite being fully analogue. These truly unique features are hitherto unheard of in any analogue synthesizer, let alone an analogue polysynth! Subtractive synthesis clearly knows no bounds here, helping to make the Schmidt Eightvoice Polyphonic Synthesizer a shining example of no-expense-spared synthesizer design, deploying discrete sound generation circuitry throughout — no integrated oscillator/filter circuits on a single chip, for instance — in keeping with the highest possible production standards, while each and every parameter is directly accessible via dedicated controls on a seriously spacious front panel to die for.

Fortunately, for Stefan Schmidt and his supportive e:m:c production partners, all 25 units subsequently sold; Hans Zimmer would not be the only seriously satisfied Schmidt Eightvoice Polyphonic Synthesizer owner, after all. And that could so easily have been the happy ending to this success story, with the Schmidt Eightvoice Polyphonic Synthesizer surely going down in the annals of history as one of the bravest moves in electronic musical instrument design as a bold statement that flies in the face of the fast-paced and superficial age we unfortunately find ourselves living in today.

Today, though, with 25 instruments already hand-crafted in Germany and duly delivered to seriously satisfied owners around the world, e:m:c is proud to announce that it will be building a final batch of 25 more. Maintains"

The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

CLICK FOR MORE »

Macbeth Elements Synthesizer VIDEO 1

Published on Mar 23, 2014 macbethsynthesizers·106 videos

"Presenting the MacBeth Elements Synthesizer!
The MacBeth Elements synthesizer is a full scale Electronic Music Synthesizer built around analogue circuits and sound!
Where to start? I get lost 7 minutes in!
This VIDEO 1.....Video 2 shortly!
The Elements Synthesizer is currently available to order at Alex 4/Schneiders Buero, Analogue Haven and Awave it can be bought directly as well"

MacBeth Elements SynthesizerVIDEO2

Published on Mar 24, 2014 macbethsynthesizers·108 videos

"Here is another video of the MacBeth Elements Synthesizer...more spaced out meanderings! I will be doing what I call *standard* demos....but some people seem to like the off beat stuff that I'm doing...! All sounds on here- one machine! Available for purchase from Analogue Haven/Schneiders/Alex4/Awave....and direct! Release date June 2014"

MacBeth Elements SynthesizerVIDEO3

Published on Mar 24, 2014

"Here's a slightly more dramatic video- a face off between the Elements Synthesizer and the MacBeth MK1 Monster 5U Modular Synthesizer! The keyboard and modulation functions are driving the bottom row of the Mk1 Modular - that is (including the Elements synthesizer) 6 audio oscillators. The Elements Spring Reverberator is well active here too....! The row above on the Mk1 is another 3 Oscillators/Mixer/Filter/EGs etc and that is being driven in a percussive way froma Korg SQ-10 Voltage Controlled sequencer...watch out for one of my (own) x-series modules fly out of the rack I'm at as I bash away! I wasn't screwed in- and it made a soft landing! As mentioned in previous videos- the Elements Synthesizer is available for pre-order from Analogue Haven/Schneiders'/Alex4 and Awave! THings should be out in June!"

MacBeth Elements Synthesizer VIDEO4 (A)

Published on Mar 25, 2014 macbethsynthesizers·109 videos

"Here's a short burst of arpeggiated sound coming from the MacBeth Elements synthesizer.....for me, it's a familiar sound from some of my favourite Brit records from the seventies! It's a short burst- and the demo is called VIDEO4 (A) as my darned cam battery ran out out of charge! I'll do 4 (B) shortly....but this gives you another taste of things coming!"

MacBeth VIDEO5: Elements Synth- Spring Reverberation- Send/Return

Published on Apr 9, 2014 macbethsynthesizers·110 videos

"This VIDEO5 of the Macbeth Elements synthesizer! Here I explore some of the qualities of the deep Spring Line Reverberator that come with the synth- there is a Send/Recieve to the Spring Line Tank- it's not just the Spring line that you can attach to the Elements- as was suggested to me at the Frankfurt Musik Messe- why not use other things too......towards the end of this video- I've connected a Yamaha RX50 that I dug out to experiment with. I use pitch shifting and echo! The best part of the Spring Line unit circuit that I've done- is that it is practically, noise free!"

MacBeth Elements Synthesizer VIDEO6: Look North.

Published on Apr 11, 2014 macbethsynthesizers·111 videos

"This is my Sixth video of the Elements Synthesizer which features the 'Send/Return' Jack on the back! I've coupled once again the somewhat ancient Yamaha RX-50 effector that I have here. Also used- a Korg Sq-10 sequencer and some of the MacBeth Mk1 5U modular units...I wanted to record this as I was pretty blown away by the hugeness of sound! Again- whilst plying the Elements- it's the control/tactile feel of the larger controls that makes this thing very instrumental/mental!"

VIDEO7: DRONE- LIKE! MacBeth Elements Synthesizer

Published on Apr 14, 2014 macbethsynthesizers·112 videos

"I recently got asked to do a drone-like video of the Elements Synthesizer.....! So, here I go- can't keep my hands off the synth though! Also included- some sample and hold from the Mk1 Modular....again, I've put the vintage Yamaha RX-50 in the effects loop instead of the Spring Reverberastion Tank!....and indeed, that curatain needs fixed!"

New Storn System Analog Hardware Synthesizers from Bandung Indonesia

Above: screen grab from http://stornsystem.com.

via the Storn blog:

"The 'STORN' brand name itself, derives from SynThesizer electRONic, it’s gonna be 'STRON' when united, however it is not easy or even a catchy word, so that we split up the word and turn it into STORN, an identical easy to hear and ear friendly word. Storn System begins inadvertently research in the 2000s, it started off with curiosity, fascination and interest to create musical instruments such as Analog Synthesizer that can be use to played out with the band. For the first time we just custom analog synthesizer, sound effect, music instrument modification, repairing music instrument.

From that ystorn-system-analog-synthesizer-lavatoryear we attempting to customized and build our own Analog Synthesizer. Our very first Analog Synthesizer produced is mono synthesizer semi modular called 'LAVATORY' in 2005 use by Ade Habibie a musician from Jakarta Indonesia, and the first Keyboard custom modification is for Elang from Polyester Embassy band.

Just after repetitive trial error and then finally convinced, we made a decision to officially commercial as Analog Synthesizer maker in Bandung Indonesia on the year 2005, many thanks for unstoppable supports from our fellow folks, analog synthesizer rulez!.

And so in this 2013 we start to develop our very own boutique custom designed analog synthesizer modular to suit demands and stop to receive custom made or service devices, we begin to concentrating our aim to become one of analog synthesizer creator and join the little business niche.

Hopefully we make analog synthesizer which might be an alternative solution for musicians and bands on the planet for producing experimental sounds that expected, therefore we desire that with the addition of Storn System on the global community is to get rid of the boundary in between Indonesian music and global music, we would like to provide a message that lots of folks in Indonesia, that has capability beyond logic.

We also want to said that each and every analog synthesizer that we designed it all self-taught that we learn from the exploration, as for each analog synthesizer we develop with all heart and blood, simply because we are also musicians and know your hunger.

Storn System – Analog Synthesizer Maga

The 'first' analog synthesizer that we create in the 2013 called 'Maga' taken from the name of the 4th calendar month of Sunda and the 'Maga' word has two syllables so easy to mention, the name was taken when we starting the research in the fourth month or April 2013.

'Maga' is a semi modular analog synthesizer that have analog and digital technology, but the resulting sound is a 'pure analog'. The digital part works to controlling MIDI and patch system restore for modulation routing only.

wait for next description and panel picture, we working on it"

Below: Storn Rhythm Machine from their Facebook page.

Note, this is the first Storn System post.

The Schmidt Returns

The Schmidt is back with a new production run. The press release follows (additional pics below):

"Schmidt-Synthesizer starts shipping fourth batch of no-expense-spared Schmidt Eightvoice Analog Synthesizer namesake

LANGENAU, GERMANY: having since sold out of its previous built-to-order batches of between 25 and 27 instruments each, the first of which followed from interest in namesake hardware and software designer Stefan Schmidt’s hand-crafted prototype unit’s show-stopping debut at Musikmesse 2011 in Frankfurt, Germany, Schmidt-Synthesizer is proud to announce that it has started shipping an eagerly-anticipated fourth batch of its no-expense-spared Schmidt Eightvoice Analog Synthesizer — available in classic anthracite- or cool white-coloured configurations with visually improved hardware operation, courtesy of cosmetic colour changes to several key knobs, and feature-enhancing firmware, currently at version 3.6 — as of December 16…

Starting shipment of the fourth (25-unit) batch of the still-sought-after Schmidt Eightvoice Analog Synthesizer has taken time with time spent waiting while production partner e:m:c (electronic music components) successfully solved procurement problems relating to hard-to-source components. “Now nothing stands in the way of further construction of these unique instruments,” says Schmidt- Synthesizer Product Manager Axel Fischer.

“From a hardware perspective, the new Schmidt Eightvoice Analog Synthesizer is identical to the previous batches, save for the fact that 11 knobs have been changed to a grey colour, making for a more clearly arranged operational layout,” Axel Fischer finally notes — not before highlighting some welcomed additions: “It includes the current firmware, which adds an easy-to-use onboard polyphonic step sequencer capable of recording 40 steps with each step made up of up to six notes — designed to be used as a live performance tool, and an arpeggiator.”

Apart from that, the beautifully-built Schmidt Eightvoice Analog Synthesizer’s specifications as an eight-voice polyphonic, true analogue dream machine with digital control and preset memories — 1,028 single sounds and 256 multi-sounds are available at any given time — are as they were before. But bearing in mind that it includes almost everything subtractive synthesis is capable of, including some truly unique features — for example, creating colder, wavetable-like sounds thanks to its chain of five ring modulators fed by six pulse-waves, each with different pulse-widths — that have never before been implemented in an analogue synthesizer let alone an analogue programmable polysynth, those impressive specifications are well worth revisiting, as highlighted here: discrete sound generation circuitry — no integrated oscillator/filter circuits on a single chip; dual and true multitimbral modes; separate audio outputs per voice, plus summing outputs and headphone output; 61 keys, semi-weighted with velocity and aftertouch; sophisticated glide/portamento capabilities; several realtime modifiers, fully programmable per preset; comprehensive MIDI (Musical Instrument Digital Interface) implementation with USB (Universal Serial Bus) port and DIN (Deutsches Institut für Normung) connectivity; adjustable-angle capacious control panel with dedicated knobs and buttons for all sound programming functions; precise information on parameter names and current values via a large LCD (Liquid Crystal Display) with changeable colour background; multi-colour LEDs (Light Emitting Diodes); internal power supply; and, last but not least — though there is clearly so much more besides, an included flight case.

As a case in point, the fourth batch of the no-expense-spared Schmidt Eightvoice Analog Synthesizer surely epitomises the age-old adage: anything worth having is worth waiting for. Indeed, it has been well worth the wait. With e:m:c recently receiving a sizeable order from the only store it supplies, anyone interested in owning a premier league instrument that will be hand crafted in Germany to meet the highest possible production standards with a metal and wood — carefully selected with a close eye on environmental sustainability — casing that is as beautiful as it is sturdy should seriously consider placing an order directly with Schmidt-Synthesizer’s production partner. After all, the Schmidt Eightvoice Analog Synthesizer is truly a subtractive synthesis world unto itself!

Schmidt-Synthesizer and production partner e:m:c (electronic music components) have had to increase pricing for the fourth batch of the no-expense-spared Schmidt Eightvoice Analog Synthesizer by approximately 10%. Within the EU (European Union) it is €21,900.00 EUR (including VAT) for one in classic anthracite, while white weighs in at €22,900.00 EUR (including VAT), with shipping costs not included. Outside of the EU it is €18,500.00 EUR (excluding VAT) for one in classic anthracite, while white weighs in at €19,300.00 EUR (excluding VAT), with customs and shipping costs not included. Interested parties should contact e:m:c here: info@emc-de.com

For more detailed information, please visit the dedicated Schmidt Eightvoice Analog Synthesizer website here: http://www.schmidt-synthesizer.com/en/index.html

Enjoy taking a Schmidt Eightvoice Analog Synthesizer ‘sneak peek’ in the suitably-impressive surroundings of the Giesshalle (casting hall) at Sayner Hütte, a German industrial heritage building in Bendorf, here:"

Schmidt Synthesizere Intro

Published Nov 9, 2017

Click the pics for larger versions.

CLICK FOR MORE »

New Waldorf Iridium Keyboard Synthesizer w/ Polyphonic Aftertouch

Sounddemo video upload by WaldorfMusicChannel

"Trailer & sound demo for our brand new Waldorf Iridium Keyboard Synthesizer with polyphonic aftertouch – no external effects and processing were used."

Waldorf teaser revealed.

Update:

Matt Johnson Jamiroquai Exclusive!! Waldorf Iridium Synthesizer keyboard version

video upload by

"This new synth is an absolute beast with 2 synth engines and amazing poly aftertouch!

All rights reserved."

And the press release:

Waldorf widens range of high-quality synthesizers with polyphonic aftertouch pressure-providing Iridium Keyboard

REMAGEN, GERMANY: having introduced Iridium as a high-class synthesizer in a compact desktop form factor with welcomed added extras building upon the high-quality synthesizer developer’s demanding design standards set by its Quantum keyboard flagship’s futuristic functionality and advanced tonality, Waldorf Music is proud to take the concept further forward by announcing availability of its Iridium Keyboard counterpart — radically redesigning its desktop synthesizer namesake around an all-new 49-key FATAR TP/8SK semi-weighted polyphonic aftertouch pressure-providing keyboard as the first such implementation of that keyboard in the world, with an expanded front panel proffering one-knob-per-function control as a workflow-raising result of this high-class synthesizer’s palpable physical makeover, also allowing for six freely-programmable Macro buttons with which users can define functions from a wide range of features for additional performance control — as of March 4…

It is, however, hardly surprising that Waldorf Music has chosen to name its latest high-quality synthesizer Iridium Keyboard since the instrument in question is physically designed around award-winning Italian digital piano, organ, and synthesizer keybed manufacturer FATAR’s all-new TP/8SK keyboard, configuring 49 semi-weighted sensitive keys with polyphonic aftertouch and three contacts as possibly one of the best synthesizer keyboards money can buy. Best of all, tremendous tonal changes flow freely when playing the Iridium Keyboard live since polyphonic aftertouch is transmitted individually for each note played. Performers can conceivably play and hold down any number of keys simultaneously, subsequently moving each finger individually. In other words, individual keys are affected by the pressure applied by each finger, thereby creating, for instance, individual data streams for modulation purposes, whereas with monophonic (Channel) aftertouch all notes played will respond in the same way. With a powerful Mod Matrix offering 40 independent modulation assignments, each with individual settings for Source, Amount, and Destination, Iridium Keyboard far from disappoints when it comes to powerful modulation options, of course — just like its Iridium desktop synthesizer namesake. Notably, Iridium Keyboard is also capable of processing MPE (MIDI Polyphonic Expression) data, duly making multiple parameters of different notes separately controllable to effectively enable it to behave more like an acoustic instrument in terms of spontaneous, polyphonic sound control.

Clearly, the 851 mm (W) x 355 mm (D) x 110 mm (H) physical dimensions of Iridium Keyboard has resulted in some marked differences to the original Iridium desktop design, with a one-knob-per-function control approach afforded by its naturally expanded front panel, albeit aided still by its industrial-grade highly-responsive touchscreen display to provide an interactive overview of the Mode page selected (via associated LFOS, OSC 1, OSC 2, OSC 3, FILTERS, MOD, and EFFECTS buttons), parameter changes, and additional information. Indeed, Iridium Keyboard also incorporates six freely-programmable Macro buttons adjacent to the Pitch and Mod (modulation) wheels with which users can define functions from a wide range of features for additional performance control, combining to further enhance its performance pedigree.

Put it this way: while Iridium Keyboard — duly described by Waldorf Music as “...a high-class synthesizer with an extraordinary polyphonic aftertouch pressure keyboard featuring a wide range of unique sounds with approved Waldorf quality — made in Germany!” — ships with specifically created new sounds and samples in addition to all those included in the Iridium desktop from the likes of Kurt Ader, BT (Brian Transeau), Richard Devine, Thorsten Quaeschning (Tangerine Dream), and Howard Scarr, to name but a notable few, its impressive specification otherwise mirrors that of the original Iridium — itself described by Waldorf Music as “...a high- class desktop synthesizer featuring a wide range of unique sounds with approved Waldorf quality — made in Germany!” — as a 16-voice digital synthesizer. Sounds from Waldorf Music’s Quantum synthesizer flagship — an eight-voice, hybrid affair as a result of offering two analogue low-pass filters per voice — can conveniently be loaded into Iridium Keyboard and vice-versa.

As another entry fit for Waldorf Music’s rich history, Iridium Keyboard — with its industrial design bearing the high-class hallmarks of Axel Hartmann, one of the most respected synthesizer designers in the industry who was also responsible for the company’s wavetable synthesis-based Microwave debut back in 1989 — takes pride of place in the high-quality German synthesizer developer’s distinctive family tree as another direct descendent of the legendary PPG Wave synthesizer series that made their mark throughout the Eighties by bringing the distinctive sound of wavetable synthesis to the musical masses. Musically, though, the Iridium Keyboard — like its Iridium desktop synthesizer sibling — brings much more to the production table than its acclaimed ancestor, featuring five different synthesis models for each of its three oscillators (OSC 1, OSC 2, and OSC 3): Wavetable — a table consisting of single-cycle waveforms; Waveform (virtual analogue) — a standard oscillator model to create typical analogue waveforms; Particle (sampling and granular sampling) — allowing for extensive manipulation of sample-based sounds; Resonator — manipulates multi- samples from the internal (2GB) sample flash memory or noise via an exciter and various spectral parameters that can be modulated, matchless for generating awe- inspiring animated sounds and drones, which can, for example, easily be integrated into a Eurorack modular synthesizer environment via the Iridium Keyboard’s integrated control voltage connections (CV In1, CV In2, CV In3, and CV In4); and Kernels — effectively enabling one oscillator to become up to six sub-oscillators that can be interlinked through FM at audio rate and arranged in user-definable constellations. Clearly, Iridium Keyboard can create a wide range of unique sounds like no other.

Other fanciful features include three true stereo path digital filters per voice that convincingly cover all conceivable classic filter variants — various digital filters are additionally offered by the FORMER section, such as Comb, classic Waldorf high- and band-pass, and notch filters from Waldorf Music’s Largo and Nave software synthesizers, plus PPG models, alongside signal enhancer effects, such as Drive and Bit Crusher, and more; six envelopes, six LFOs, and much more besides are available for use as sources in the Mod Matrix, routable to almost any numerical value in Iridium Keyboard.

Connectivity-wise, the well-spec’d Iridium Keyboard communicates well with the outside world, thanks to two audio inputs (for processing external signals); CV inputs as well as Gate In and Trigger In connections (for forwarding external signals to the Mod Matrix); Clock In and Clock Out connections (to synchronise with other gear); USB and DIN MIDI connections; USB Host port (provided for MIDI devices and also handling data exchange); Control and Sustain Pedals inputs; a headphone output (with dedicated volume control); and last, but not least, two audio outputs.

On the face of it, then, with a performance pedigree fit for taking its wide-ranging unique sounds further forward, the reassuringly-weighty (12.0 kg) Iridium Keyboard certainly more than lives up to its billing as “...a high-class synthesizer with an extraordinary polyphonic aftertouch pressure keyboard featuring a wide range of unique sounds with approved Waldorf quality — made in Germany!”

FREE! Synthesizer Expander Module | Cherry Audio

video upload by Cherry Audio

"In celebration of the 2023 holiday season and Cherry Audio's fifth year, we've released the FREE Synthesizer Expander Module, a virtual instrument plugin based on a classic 1974 analog synthesizer.

Get it today! https://cherryaudio.com/santa

Synthesizer Expander Module is Cherry Audio's free emulation of the classic self‑contained synthesizer module of the same name. Though it was a simple, barebones monosynth, the Synthesizer Expander Module possessed a unique tone quality, courtesy of its 12 dB/oct state-variable filter. With lowpass, bandpass, highpass, and notch modes, this flexible filter was the star of the show. We've precisely recreated it here with a filter section and Phasor effect programmed by award-winning synth designer Mark Barton (MRB).

'Sleigh Ride' by Mitchell Sigman, created with Synthesizer Expander Module"

Press release follows:

December 1, 2023: In celebration of the 2023 holiday season and Cherry Audio's fifth year, the company has released the FREE Synthesizer Expander Module, a virtual instrument plugin based on a classic 1974 analog synthesizer. The plugin is available immediately from Cherry Audio at cherryaudio.com/santa.

Synthesizer Expander Module is Cherry Audio's free emulation of the classic Oberheim® self‑contained synthesizer module of the same name. Though it was a simple, barebones monosynth, the Synthesizer Expander Module possessed a unique tone quality, courtesy of its 12 dB/oct state-variable filter. With lowpass, bandpass, highpass, and notch modes, this flexible filter was the star of the show. We've precisely recreated it with a filter section and Phasor effect programmed by award-winning synth designer Mark Barton (MRB).

And best of all, it's absolutely free! Synthesizer Expander Module joins other free virtual instruments from Cherry Audio, such as the popular Surrealistic MG-1 Plus and the highly acclaimed Voltage Modular Nucleus virtual modular platform. As it celebrates its fifth anniversary in the desktop music production space, Cherry Audio is concluding an astoundingly successful year with this holiday gift to all musicians.

Despite being a free plugin, Synthesizer Expander Module is fully featured. It will delight both vintage synth fans and today's music producers. Synthesizer Expander Module features include:
Ultra-accurate dual oscillators
Multi-mode filter emulation by award-winning synth designer Mark Barton (MRB)
Massive unison mode
100 presets for Basses, Leads, and Percussion
Unique "Phasor" effect section emulating the vintage Oberheim stomp box, also replicated by Mark Barton
Studio-quality Echo effect with tempo sync
Complete MIDI control and DAW automation for all controls, with easy-to-use MIDI learn and mapping (Preset and Global)
Highly optimized DSP for optimal performance
User-adjustable oversampling control
Did we mention totally free?
Synthesizer Expander Module is available at no cost exclusively from Cherry Audio and provided in AU, VST, VST3, AAX, and standalone formats for Windows (7 and above) and macOS (10.13 and above), including native support for Apple Silicon. Visit cherryaudio.com for additional product details, system requirements, and sound demos.

Modular Analog Synthesizer Project with Synthesizers.com

Modular Analog Synthesizer Project 01 Published on Jun 25, 2014 rakershine

"Steve Averill playing with his Synthesizers.com modular analog synthesizer entry system. Demonstrates basic VCO and VCF functionality."

Modular Analog Synthesizer Project 02

Published on Jul 22, 2014 rakershine

"Steve Averill demonstrating modular analog synthesizer modulation and portamento. Moog clone modules from synthesizers.com."

CLICK FOR MORE »

DK SYNERGY II+ SYNTHESIZER, KAYPRO II & SYNHCS SOFTWARE

synergyII timbres Uploaded on Sep 5, 2010 xenmaster0


s 2 demo 1 441 final 320x240stream Uploaded on Sep 5, 2010 xenmaster0

Warning: this is a long post and can't be paged with the "click for more" link otherwise the videos will not load. Also, no time to parse the entire listing, so everything captured below for the archives.

via this auction

"DIGITAL KEYBOARDS SYNERGY II+

WITH KAYPRO II & SYNHCS 3.182 PROGRAMMING SOFTWARE, 14 FLOPPY DISCS OF SYNERGY TIMBRES, and 3 SYNERGY ROM CARTRIDGES

This is the legendary Synergy synthesizer. It comes with the Kaypro II CP/M computer I bought with the Synergy and the SYNHCS software used to program the Synergy. Three Synergy ROM cartridges are included, WC-1 and WC-2, the Wendy Carlos Voice cartridges 1 and 2, and the VCART 4 cartrdige, along with a null modem cable that you use to connect the Synergy synthesizer with the Kaypro II computer.

Using the Kaypro II computer running the Synergy Host Control System software (SYNHCS), you gain access to the full capabilities of the Synergy synthesizer. With the Kaypro II computer + SYNHCS software, you can program the Synergy synthesizer to generate any kind of sound you can imagine. Then you can save the timbres you create on floppy disk and organize those timbres into banks of sounds, and send them to the Synergy synthesizer. (Originally the Synergy was sold with ROM cartridges but with the Kaypro you don't need 'em because you can send new timbres to the Synergy from the Kaypro. I am, however, also including one original Synergy ROM cartridge.)

You will also get the complete set of 13 Synergy voice library banks on floppy disk, L1 through L13 (on 7 floppy discs) as well as the 6 Synergy VCart voices banks 1 through 6 (6 floppy discs). You also get the WC-1 and WC-2 voice banks on floppy disc. Each synergy ROM cartridge or CRT file holds 24 timbres. So you get the complete set of 20 x 24 voices, or 480 Synergy voice library timbres. This is the complete set of timbres that were offered for the Synergy II+. You also get the Wendy Carlos WC-1 and WC-2 voice cartridges (these are duplicates of the WC-1 and WC-1 voice banks on floppy disc) plus the VCART4 cartridge. The VCART4 cartridge has been disassembled so that you can resolder the socket to use a ZIF (zero insertion force) socket if you prefer, and burn your own ROMs and swap them out in the ZIF socket. I'll include information on how to do that. As a practical matter, the Kaypro II computer can transfer voice files to the Synergy II as fast as swapping out EPROMS, but it's nice to have the ability.

The SYNHCS control program included with this Kaypro is the latest version, from October 11 1985, version 3.182. You can see the version number in one of the photographs of the Kaypro II screen. It's later than the version 3.15 SYNHCS that sold with most Synergy/Kaupro II combos. SYNHCS V 3.182 fromOctober 1985 is the final version of SYNHCS, and includes menu options the earlier SYNHCS didn't have -- the earlier version 3.15 dates from September 1983. This later version October 1985 version 3.182 of SYNHCS has features the earlier SYNHCS didn't have, and it's not generally available. I got it from Stony Stockell. I'm pretty sure that only a handful of other people have this latest final version of SYNHCS from 10/11/85.

There are 18 floppy discs all told: 7 discs containing Synergy voice banks 1 through 13 (2 banks per disc, so 7 discs there total) and Vcarts 1 through 6 (6 discs there) and the Wendy Carlos 1 and 2 Vcarts on a single floppy disc. along with the Kaypro CP/M 2.2 boot disk to boot up the Kaypro II computer and a disc of CP/M utilities, like UNERASE and some other very useful utilities. That makes 16 floppy discs. I've also included a CP/M 2.2G boot disc in case you want to use another model of Kaypro II. The boot discs differed depending on whether your Kaypro II had ROM 81-149C, ROM 81-232, or ROM 81-292. All that is spelled out in detail in one of the information sheets I'm including with this Synergy II+. I'm also including SYNHCS V 3.12, the earliest versionof SYNHCS, in case you pick up another Synergy II with older ROMS.

Some of these Synergy voice banks were designed by Wendy Carlos, and all of 'em sound gorgeous.

The Synergy synthesizer boasts a unique sound, unlike that of any other synthesizer. It can caress your ears with silken delicacy or hammer you with brutal rancor. The Synergy can sound raucous or subtle, and it can change from one to the other as you hit the keyboard harder. There's a reason for this: it has arguably the most complex and sophisticated synthesizer architecture ever created, unparallelled evern today. The Synergy's amplitude envelopes are more complex, its oscillators are arranged in a more sophisticated way, and its advanced features like digital noise source, quasiperiodic vibrato and digital formant filter still have not been fully duplicated by any other digital synthesizer -- even today."

"THE BELL LABS DIGITAL SYNTHESIZER AND THE SYNERGY II+

The Synergy is based on the Bell Labs Digital Synthesizer designed by Hall Alles. The Bell Labs Digital Synthesizer used a remote computer to program the synth, with access by a different kind of port (RS-488 serial port, then common for programming lab equipment over a serial link). The remote computer at Bell Labs had to use software written by the composer (Laurie Spiegel, for example, whowrote programs on a DEC minicomputer in the then-new C programming language to control the Bell Labs Digital Synthesizer) to program the synth. When Digital Keyboards licensed the design of the Bell Labs Digital Synthesizer, they also built an 8-bit microcomputer that could program a version of the Synergy called the GDS.

About 700 Synergy I synths were sold all told, but less than 100 are still working today. A small handful of (I believe no more than 6) GDS systems were built in addition to the originl non-programmable Synergy I synths: GDS stands for "General Development System." These were versions of the Synergy with 16 front-panel digital sliders to control parameters of the synthesizers that hooked up to an associated CP/M computer thta used 8-inch floppy discs. With the GDS, you could program the Synergy and store voices on 8" disk via an S-100 buss CP/M computer based on the Ohio Scientific Challenger. Wendy Carlos bought a Synergy General Development System, Stockell kept one in his basement, Klaus Schulz had one, and someone else reportedly bought one (I don't know who).

When Kaypro started producing the Kaypro II CP/M computer in the early 1980s, Stony Stockell, the lead engineer on the Synergy synthesizer, saw an opportunity to replace the cumbersome General Development System with a cheaper setup for programming timbres on the Synergy, so he hired someone to write the Synergy Host Control Program in Z80 assembly language to program the Synergy using the Kaypro II instead of the S-100 buss IEEE 696 CP/M computer used with the GDS.

The new SYNHCS software was much more straightforward and didn't require any programming on the user's part. The Kaypro II was a standalone computer running CP/M, once again easy to use (unlike the Bell Labs minicomputers, which the user had to program to get anything out of 'em, even to send a note to the synthesizer!) and the Kaypro used a simple null modem cable linked to the RS-232 serial port in the back of the Synergy to program timbres, download and upload voice banks, and control the synthesizer's many subtle functions from the Kaypro.

The general method of programming involves pressing a specific button on the front of the Synergy to access a given function, then typing in a value in the Kaypro II to adjust the synthesizer parameter. Once you get the sound you want, you save it on the Kaypro floppy disk as a single .VCE file. Then you can load the VCE file off the Kaypro floppy disk and send it to the Synergy to recreate that timbre whenever you want. The SYNHCS program lets you arrange timbres defined by VCE files into banks which get saved as a single large files called a .CRT files, so SYNHCS combines the functions of synth programming and a synth librarian (and remember that this was back in 1981-1982!).

There was no such thing as the MIDI protocol when Hal Alles designed the Bell Labs Digital Synthesizer in 1974-1975, and no such thing as a finalized MIDI spec when Stoney Stockell adapted Alles' design into the Synergy in 1978-1980 for Crumar's Digital Keyboards subsidiary.

MIDI became a big deal between 1981 and 1984, so Stockell retrofitted the Synergy synthesizer with an add-on circuit board that added full MIDI in and out capabilities. This was the Serial I/O board, which Crumar sold for owners of the original Synergy I synth to upgrade to a fully programmable Synergy II+ along with the SYNHCS software and the voice library discs and the Kaypro II. These new modified versions of the Synergy were called the Synergy II+. This Synergy II+ of course includes a MIDI IN and OUT port, along with the RS-232 serial port for programming the timbres via the Kaypro computer.

The last and most sophisticated version of the SYNHCS software was version 3.182, which is the version I'm including with this Synergy II+ synthesizer. To quote from the manual PRELIMINARY OPERATION OF THE SYNERGY II WITH COMPUTER, "The SYNHCS version 3.xx significantly extends the capabilities of the Synergy II+ synthesizer even beyond the original General Development System." Yes, this combination of the Kaypro II plus null modem cable plus Synergy II+ plus the final SYNHCS version from 1985 gives you more abilities than Wendy Carlos had when she programmed the Synergy voices for her albums Digital Moonscapes and Beauty In the Beast.

CLICK FOR MORE »