Synthaquarium Homemade Synthesizer

Home-made Synthesizer played by Step-Sequencer

YouTube via KrassesZeug | September 02, 2010

"https://sites.google.com/site/synthaq...

My home-made Synthesizer is played by a 16 step sequencer. Meanwile different modulations are done to alter the sound of the synth."

Home-made Synth LFO

KrassesZeug | September 02, 2010
"My home-made Synthesizer is played by a step sequencer. Modulations are done manly by a low frequency oscillator (LFO), that influences only the cut-off frequency of the voltage controlled filter (VCF). The frequency of the LFO ranges from ~1 Hz into the audio frequency range."

Home-made Synthesizer Envelope

KrassesZeug | September 02, 2010

"The envelope (ADSR-type) of my home-made synthesizer is shown in this video. The melody is triggered by a 16 step sequencer. The envelope controlls both, the voltage controlled filter (VCF) and the voltage controlled amplifier (VCA)."

Change Player Size Watch this video in a new window Oscilloscope - Pulse-width modulation of my home-made Synthesizer

YouTube via KrassesZeug
"The pulse-width modulation (modulated by hand) of one pulse oscillator of my home-made Synthesizer is shown on an oscilloscope."

Oscilloscope - Sawtooth, Triangle & Pulse of my home-made Synthesizer

"The raw waveforms of my home-made Synthesizer (Sawtooth, Triangle & Pulsewave) are shown of an oscilloscope. By switching the octave on can see the higher frequencies in the oscilloscope."

Oscilloscope - Mixing Oscillators of my home-made Synthesizer

"The mix of several oscillators of my diy synth are shown on an oscilloscope."

I Dream Of Wires Coming to VOD & Worldwide DVD Release - Berlin Screening with Morton Subotnick

I Dream of Wires is coming to video on demand via iTunes and Vimeo on Demand on August 10. The DVD will be released in Europe, Africa, Asia and Latin America on July 31st. To celebrate, there will be a screening in Berlin with a performance and Q&A session with Morton Subotnick.

"To celebrate the August VOD/DVD release of I DREAM OF WIRES, the definitive and acclaimed electronic music documentary about the rise, fall and rebirth of the modular synthesizer, MONODUO FILMS presents a very special screening and electronic music event in Berlin.

On Tuesday July 28, I DREAM OF WIRES will celebrate it’s release premiere in Berlin, followed by a live performance by the legendary Morton Subotnick. Taking place at Babylon Kino Berlin, Morton Subotnick, accompanied by his frequent collaborator, video artist Lillevan, presents FROM SILVER APPLES OF THE MOON TO A SKY OF CLOUDLESS SULFUR REVISITED: VI, marking Subotnick’s first live appearance in Germany since 2011.

Morton Subotnick’s contributions to electronic music cannot be overstated; as a founding member of the seminal San Francisco Tape Music Center, Subotnick played a key role in the conception and development of the influential Buchla modular synthesizer. Armed with his Buchla, Subotnick composed and recorded the landmark 1967 LP, SILVER APPLES OF THE MOON, widely regarded as a modern classic, and the first all-electronic music album to connect with popular music audiences. In 2010 SILVER APPLES was selected for the National Recording Registry of the Library of Congress. Long considered one of the essential milestones in electronic music, it continues to have great effect on later generations of artists.

Subotnick’s interview in I DREAM OF WIRES, alongside interviews with influential electronic musicians including Trent Reznor, Gary Numan, Carl Craig, James Holden and Vince Clarke, is pivotal in the film, and provides a revealing insight into this true electronic music visionary.

The film will be introduced by I DREAM OF WIRES' director Robert Fantinatto, who will also join Morton Subotnick for a post-screening Q&A. This July 28 event is more than just a celebration of the modular synthesizer; it’s a rare opportunity to learn and experience the historical roots of electronic music.

I Dream Of Wires is an independent documentary about the history, demise and resurgence of the modular synthesizer - exploring the dreams and obsessions of people who have dedicated part of their lives to this fascinating, esoteric electronic music machine. Over 100 inventors, musicians and enthusiasts are interviewed about their relationship with the modular synthesizer - for many, it’s an all-consuming passion.

Through tracing the history of the modular synthesizer, I Dream Of Wires also outlines the history of electronic music as a whole, from its very beginnings at the dawn of the electric age. The film provides a fascinating look at how technology has shaped the electronic music landscape. Today, the modular synthesizer is no longer an esoteric curiosity or even a mere music instrument - it is an essential tool for radical new sounds and a bona fide subculture.

Interviews include:
- Legendary electronic musicians: Trent Reznor (Nine Inch Nails), Morton Subotnick, Gary Numan, Vince Clarke (Erasure).
- Contemporary dance & electronica artists: Carl Craig, James Holden, Legowelt.
- Synthesizer manufacturers: Doepfer, Modcan, Make Noise.

Event Details
Babylon Kino
Rosa-Luxemburg-Strasse 30,
10178 Berlin
28.07.2015 | 8PM
20€ Presales
25€ At the Door
+10€ w/DVD

Tickets Available:
Yapsody: https://wires.yapsody.com
Babylon Kino: http://www.babylonberlin.de

RELEASE INFORMATION

VOD and DVD Release of I Dream of Wires in Europe, Africa, Asia and Latin America will start as follows:
* DVD available July 31 through Cargo Distribution / Amazon
* VOD available August 10 through ITunes and Vimeo on Demand

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Moog Introduces New Model 10 Synthesizer

Making a Moog Synthesizer Published on Sep 17, 2019 Moog Music Inc

"At the Moog Factory in Asheville, North Carolina, every Moog modular synthesizer is hand-built to its original factory specifications. Individual modules are brought to life just as they were nearly 50 years ago: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Each module is then hand-tested, finished with an aluminum panel, and placed into a custom tolex cabinet before the synthesizer leaves for its new home. Watch "Making a Moog Synthesizer" and step inside the Moog Factory to see how Moog synthesizers are built with love and care by the employee-owners at Moog Music.

Original score created by Bana Haffar and composed on a Moog Model 10 Synthesizer."

via Moog Music

"The Moog Model 10 Synthesizer returns to production at the Moog Factory in Asheville, NC – making this iconic analog synthesizer available again to artists after nearly 50 years. Every Model 10 is hand-built to its original 1971 specifications and is a true recreation of the original. Individual modules are brought to life just as they were nearly 50 years ago: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Each module is then hand-tested and placed into a custom tolex cabinet before the synthesizer leaves for its new home.

Watch Making a Moog Synthesizer [above] and step inside the Moog Factory to see how Moog synthesizers are built with love and care by the employee-owners at Moog Music.

The Model 10 is faithful in every way to its 1971 counterpart (the first compact modular synthesizer model created by Dr. Robert Moog) – all the way down to its hand-soldered electronic circuits. The Model 10 is comprised of 11 discrete analog modules, including the 907 Fixed Filter Bank, revered for its vast sound shaping and timbral possibilities, and three 900-Series oscillators, the foundational sound behind Wendy Carlos’ Switched-On Bach and Isao Tomita’s Snowflakes Are Dancing.

The predecessor to the Model 15, the Model 10 design focuses on purity of sound, speed, and simplicity while providing the enormous sonic depth and dimension found only in a vintage Moog modular synthesizer."

Novation Summit Hybrid Synthesizer Overview

Published on Sep 29, 2019 Gear4music

"Novation's flagship 16-voice polyphonic synthesizer. The Novation Summit Hybrid Synthesizer is a versatile bi-timbral synth featuring 16-voices of polyphony with a 61-note keybed.

The Novation Summit is equally at home in the studio or live on stage. The core of the Summit Synthesizer is a trilogy of FPGA New Oxford Oscillators per voice. The versatile oscillators enable subtractive, wavetable and FM synthesis. It also features dual analog filters, inspired by the Oxford Synthesizer Company's OSCar.

The Summit features a wide range of controls including an analog filter, analog mixer and analog distortion. It also boasts integrated high-grade FX such as Reverb, Delay and Chorus.

The multi-timbral design means you can split and layer sounds for truly unprecedented sound design. Create everything from leads, arps and pads to soundbeds and beyond with Novation's more versatile synthesizer to date."

Playlist:

Novation Summit Hybrid Synthesizer, part 1
Novation Summit Hybrid Synthesizer, part 2 - Oscillators, Wavetables, FM
Novation Summit Hybrid Synthesizer, part 3 - Filters and Envelopes
Novation Summit Hybrid Synthesizer, part 4 - Modulation and Routing
Novation Summit Hybrid Synthesizer, part 5 - Effects
Novation Summit Hybrid Synthesizer, part 6 - Multimode
Novation Summit Hybrid Synthesizer, part 7 - Audio Input

David Van Koevering Has Passed Away

Update: this post will be pinned on top for the day. You can find newer posts below.

Brian Kehew wrote in to let us know synth legend David Van Koevering passed away yesterday at the age of 77. Per Brian, "So many people in the industry knew him; such a long and varied life!" Indeed. The following is the obituary sent to him from Van Koevering's family.

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Waves of Inspiration: The Legacy of Moog Exibition Updates

"Exhibition features Keith Emerson's Legendary “Monster Moog” Modular Synthesizer through October 18th, 2009

CARSLBAD, CA/ASHEVILLE, NC – The Museum of Making Music (Carlsbad, CA), in partnership with the Bob Moog Foundation, has opened Waves of Inspiration: The Legacy of Moog exhibition, to run through April 30, 2010. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives and an examination of the impact of his work on the world of music.

MONSTER MOOG INSTALLATION
On August 30th, Keith Emerson's (Emerson, Lake and Palmer, The Nice) mammoth “Monster Moog” modular synthesizer was added to the exhibit after it was featured the previous evening in a musical celebration of the exhibit opening by Emerson and Erik Norlander. Emerson used this remarkable instrument on numerous recordings over the past 40 years, including his solo in “Lucky Man” (1969), possibly the most popular synth solo in history. He also used the synthesizer on countless world tours and is generally credited with pioneering the use of the Moog modular as a touring musician.

The “Monster Moog” began as a modest system, but grew over time as Emerson
requested that Moog create custom additions for his touring instrument, including extra modules, custom sample-and-hold, and several pre-sets, an innovative addition for that time. The synthesizer grew into a massive cabinet of five sections and over 75 modules. It stands more than four feet above its special base – almost 8 feet high. Its sound is noticeably clearer and stronger than any other keyboard Emerson plays – it is an instrument of significance and legend, and arguably the most famous synthesizer of all time.

Bob Moog and Keith Emerson enjoyed a special relationship of toolmaker and musician that grew in to a lifelong friendship. Moog is noted for listening to musician's needs and technical specifications which he then used to improve his instruments: This dynamic is explored throughout the Waves exhibit.

KEITH EMERSON

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The First Synth to....

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

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

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

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

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

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

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

Hataken Interview

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

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

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

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Happy New Year! The Year in Synths 2013

Happy New Year Everyone!

What a busy year it has been in the world of synths.

This is going to be one doozy of a post, so bear with me. This post is a review of the year in synths for 2013. We begin with Tributes to Those We Lost This Year, followed by New Manufacturers & Makers, Older Manufacturers Added to the Site, New Gear Announcements, Top 10 Posts by Traffic,  My Standout Posts for the Year, and finally This Years' Synth Events. I did my best to keep things as short and concise as possible.

Let's begin with the hardest part of the post.

Tributes to Those We Lost This Year

RIP Bernard Parmegiani - Electronic & Acoustic Composer
Lou Reed RIP
RIP Dick Raaymakers aka Kid Baltan
RIP George Duke - DreamWeaver
RIP Ralph Dyck, Sept 28, 1941 – May 20, 2013
RIP Ray Manzarek

All missed and never to be forgotten. Take a moment to remember them.

------

New Manufacturers & Makers

Starting last January, I decided to keep a running list of every new manufacturer and maker introduced to the site during the year.  This is something I haven't done before and I thought it would be interesting to see how many there were in the year.   It's easy to focus on the big synth announcements throughout the year, but what about all the new makers and brands? I shouln't have to go considerably into the significance of new designers on the scene, so I'll just say two things regarding them.  One, the number of new makers is a direct reflection on the interest in our scene, and two, these are the creators of new gear which directly translate into new designs not previously available to us.  Think about that for a moment.  These are makers and designs that did not exist before.  They are part of our synth history.  So what is the total count of new synth designers for the year? A whopping 113. Think about that a bit. One hundred and thirteen new synth designers and brands this year alone.

Here they are (note a handful date back to 2012, but 2013 marked their momentum and availability):

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Vintage Synthesizer Books

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

via Senso Reverb

Note auction links are affiliate links. See the site's privacy policy for more info.

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KORG Officially Introduces the prologue: a New Generation of Customizable (SDK) Analog Synthesizers

Published on Jan 17, 2018 Korg
Update: this was originally posted at 10:07 PM Pacific. Moving it up as new videos from Kraft Music and Reverb have been added below.

The prologue-16 comes in at $1,999.99, and the prologue-8 comes in at $1,499.99.

The big surprise: "The prologue offers an SDK (Software Development Kit) that allows developers to program, customize and extend the capabilities of the multi-engine and digital effects and is expected to be available for download in the spring of 2018. The prologue provides 16 user oscillator slots and 16 user effect slots, and users can use the prologue Librarian software (also expected to be available for download in the spring of 2018) to load into their prologue new oscillators and effect programs created by developers with the prologue SDK (Software Development Kit)."

General description: "The ultimate multi-voice, multi-timbre and multi-engine is here. prologue is a fully-programmable, full-featured, professional synthesizer, preceded by the four-voice polyphonic minilogue and the monophonic monologue. Equipped with a full-sized keyboard and powerful analog circuits that are descended directly from the earlier models of the series, prologue expands the variety of sounds and the possibilities for user customization. The lineup is comprised of two models that cover musicians’ needs for not only stage use, but also studio, home, or touring use: 16-voice 61-key prologue-16, and the eight-voice 49-key prologue-8. These instruments are capable of sounds that go beyond existing analog synthesizers."

KORG prologue | A new-generation of flagship analog synthesizer (Teaser Trailer)


Two videos from one of our longtime sponsors, KRAFT Music:

Published on Jan 17, 2018 Kraft Music

"Nick Kwas performs on the Korg Prologue Polyphonic Analog Synthesizer at Kraft Music. Find exclusive Korg Prologue Polyphonic Analog Synthesizer BUNDLES at Kraft Music."

And one from our new sponsor, Reverb (this overview is different than the above):


Published on Jan 17, 2018 Reverb

"Introducing the Korg Prologue Polyphonic Analogue Synthesizer. Fully programmable, equipped with either a 49-key (for the 8-voice) or 61-key (for the 16-voice) keyboard, the Prologue is an ambitious instrument that builds off of the precedent set by the Minilogue. Join us as we explore the sonic functionality of the Prologue today.

Buy the Prologue 8: https://goo.gl/ZRCDWF

Buy the Prologue 16: https://goo.gl/T1VRQB

Read More on Reverb: https://goo.gl/DA9cEc"

KORG's SoundCloud Playlist for the prologue:

And the full details and pics via KORG:

"16/8-voice analog sound

The prologue is a polyphonic analog synthesizer with 8 or 16 multitimbral voices. KORG’s analog synthesizer development in recent years has culminated in the prologue, which was designed using 11,000 discrete electronic components. Although the prologue is a flagship instrument, it still retains the inviting feel and accessibility of its predecessors. It features a pure analog path, impeccable sound quality, stunning presence unlike any other poly synth, and the same intuitive interface as the minilogue and monologue, granting you intuitive access to a vast world of analog synthesis.

The prologue uses a structure of 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to distinctive, original circuitry, such as wave shaping to shape the oscillator’s overtones and a sync/ring switch, prologue also features a two-pole low pass filter with enhanced sharpness, drive that adds powerful distortion, and a low cut (high pass) switch. Every detail has been improved on from minilogue and monologue. Its sound covers every sonic possibility: fat basses, powerful leads, and the beautiful pads that you expect from a polyphonic synthesizer.

Newly developed multi-engine

The ingenuity of prologue goes beyond its analog design. The newly developed multi engine is provided as VCO3, adding digital waveforms and FM. This multi engine, which is equipped with three different sound engines, can be combined with the analog VCOs to expand prologue’s sonic potential far beyond that of a traditional analog synthesizer.
Noise generator

There are four types of noise generator, indispensable for percussive sounds or sound effects. Experience how digital filtering can produce direct changes in the color of the noise.
VPM oscillator

The VPM (Variable Phase Modulation) / FM oscillator was newly developed for prologue. Its metallic and sharp sounds with their complex overtones could never be obtained by analog means. With 16 types of oscillator and the SHAPE knob, you’ll be intuitively guided through complex sound design. Combine these wave shapes with prologue’s gorgeous analog filters, and prepare for sounds you never thought possible.
User oscillator

The user oscillator section lets you load oscillator programs of your own creation. Sixteen slots are provided, and one type of morphing wavetable oscillator is built-in as a preset.

Digital effects

The high-quality digital effects feature pristine 32-bit floating-point processing, and add a further polish to the sound of the prologue. With two effect units provided (a modulation effect and delay/reverb), you can choose from a wide variety such as chorus or ensemble, warm tape delay, or diverse reverbs. The user effect slots let you load effect programs of your own creation.

"User-customization

The prologue offers an SDK (Software Development Kit) that allows developers to program, customize and extend the capabilities of the multi-engine and digital effects and is expected to be available for download in the spring of 2018. The prologue provides 16 user oscillator slots and 16 user effect slots, and users can use the prologue Librarian software (also expected to be available for download in the spring of 2018) to load into their prologue new oscillators and effect programs created by developers with the prologue SDK (Software Development Kit).

What types of sound will you create by combining the expanded digital oscillators with analog synthesis? You can create original programs and share code to participate in the user community. Start with sample code provided by KORG. The prologue belongs to you."

Analog comp/booster

The exclusive VU meter is available only on the prologue-16, and indicates the newly developed master effect L.F. COMP. It’s a low end booster/compressor using an analog circuit, delivering a solid sense of presence that cannot be obtained from a simple EQ. You’ll particularly notice the difference in high-volume stage performances where maximum dynamics can be utilized."

TONTO Week: Malcolm Cecil, A Tribe Called Red, and The National Music Centre in Calgary

The Story of TONTO Published on Jan 22, 2014 National Music Centre

"The Original New Timbral Orchestra (TONTO), the world's largest analog synthesizer, has found a new home at the National Music Centre in Calgary, Alberta. This is the story of how TONTO went from a dream to a reality, and then found a new life and home at NMC."

Note the above video is from January 22, 2014. You should all be familiar with TONTO.

Update: It has come to my attention that John Leimseider has passed away. He was scheduled to give a TONTO Demonstration with Malcom Cecil on Nov. 17 per below. The demonstration will remain scheduled with Malcom Cecil, however the Synthesis 101 course on Nov. 14 has been canceled.

Details on the event:

TONTO Week puts "holy grail of synthesizers" in the spotlight from November 14-18

Week of activities to feature TONTO co-creator Malcolm Cecil, A Tribe Called Red, Phantom of the Paradise screening, and more

(Calgary, AB — September 13, 2018) After years of careful restoration, the National Music Centre (NMC) will commission one of the crown jewels of its music and technology collection, The Original New Timbral Orchestra (aka TONTO), during TONTO Week from November 14-18.

To commemorate this milestone, NMC will host a week of music programming timed to coincide with Alberta Electronic Music Conference (AEMCON), running concurrently at Studio Bell during TONTO Week. NMC Members receive discounted or free admission to all TONTO Week events (not including AEMCON conference passes), so purchase your membership online today at studiobell.ca/members. Individual tickets are available at nmc.ca/whats-on. AEMCON conference passes are available at albertaelectronicmusic.com.

Members of A Tribe Called Red will be the first musicians to create new music with the legendary synthesizer, and they’ll demo TONTO during a public workshop and incorporate the instrument into an evening Studio Bell After Hours set. “After seeing TONTO for the first time back in 2014, I knew that I had unfinished business at the National Music Centre,” said 2oolman of A Tribe Called Red. “I have been waiting patiently ever since to get my hands on that instrument.”

Malcolm Cecil, one of the co-creators of TONTO, will be in attendance to deliver demonstrations and lectures on the history of the instrument. NMC will also host a screening of the cult classic film, Phantom of the Paradise, in which TONTO appeared, and other activities associated with the instrument.

TONTO is one of the world’s largest analog synthesizers. Created by Malcom Cecil and Robert Margouleff in 1968, its creation marked the first attempt at making a universal language for different synthesizers to communicate with each other, which was a revolutionary achievement. Under the band name Tonto’s Expanding Head Band, Cecil and Margouleff released the highly influential album Zero Time. The album demonstrated the rich, layered sounds of the massive synthesizer and attracted significant attention.

Used on multiple Stevie Wonder and The Isley Brothers albums in the 1970s, TONTO helped shape albums by a long list of notable artists such as Minnie Riperton, Joan Baez, the Doobie Brothers, Quincy Jones, Randy Newman, Bobby Womack and more, and was prominently featured in Phantom of the Paradise.


“I needed to find a home for TONTO that would survive me and where it could be used,” said Malcolm Cecil after NMC acquired the instrument in 2013.

“We made a promise to Malcom to ensure that TONTO would be used again in the creation of new music and that its legacy would live on,” said Adam Fox, NMC’s Director of Programs. “It took several years to properly restore the instrument, and now it’s finally ready to enter its next chapter. We couldn’t be more excited to hear where NMC’s Artists in Residence take TONTO next.”


TONTO WEEK SCHEDULE

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Yamaha VL7 (version 2) Virtual Acoustic Synthesizer with BC3 SN KPO1679

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

via this auction

"The Yamaha VL7 is a monophonic Virtual Acoustic Synthesizer with 49 keys. The unit is in excellent condition, and the OS is version 2 . I have included a Yamaha BC3 Breath Controller. I am also including a bottle of mouthpiece disinfectant; had to make sure the BC3 worked, but also needed to keep it sanitary! Please spray the mouthpiece before using it the first time. I downloaded the manuals and printed them. I realized when the printing was almost finished I hadn't set the printer pages for 'double-sided' printing, so the manuals are a bit thick.

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New Arcano Systems Gem-8 Retro 8-bit Computer and Chiptune Synthesizer on Kickstarter

Published on Mar 15, 2016 Arcano Systems

"Gem-8 is an 8-bit, WiFi-enabled personal computer and chiptune music synthesizer inspired by the home computers of the 1980s. Back the Kickstarter campaign to receive Gem-8 as a reward.
https://www.kickstarter.com/projects/..."

Arcano Systems previously brought us the MIDI NES Chiptune Synth as well as the Obscura MIDI 8-bit Chiptune Synth.

Details via Kickstarter:

"Gem-8 is an 8-bit, WiFi-enabled personal computer and chiptune music synthesizer inspired by the home computers of the 1980s like the Commodore 64, the Apple IIe, and the ZX Spectrum. This 8-bit AVR-based personal computer features 256-color VGA video output, PS/2 keyboard input, audio line output with 8-bit quantization, 8 digital input/output pins, and a serial expansion port to connect peripheral devices.

Specifications:

Processor: Atmel Atmega1284

RAM: 16 kB

Video: 256-color VGA

Keyboard: PS/2 (compatible with IBM PC AT scancode set 2)

Audio: 8-bit-quantized line out (standard stereo connector with same signal in both channels)

Peripheral Interfaces: serial expansion port + 8-pin female GPIO pin header

Two peripherals have already been created for Gem-8: a WiFi card and a MIDI interface. The WiFi card allows Gem-8 to connect to the internet using the preloaded serial terminal application. Gem-8 is particularly well suited to accessing online multi-user domains, text-based multiplayer online games, and bulletin board services that use the Telnet protocol. The MIDI interface peripheral connects a MIDI keyboard or other MIDI musical instrument to the Gem-8 computer, allowing users to create their own C64 and NES-video-game-style chiptune music using the preloaded chiptune synthesizer application. The Gem-8 chiptune synthesizer application also features video synth visualization capabilities. Currently, the Gem-8 synthesizer software features 8 waveforms and 4 effects settings for a total of 32 unique patches.

[Middle Pic: Gem-8 MIDI interface and Gem-8 WiFi card (based on the ESP8266-12 WiFi module)]

Using additional applications included in Gem-8 OS, users can set the digital states of 8 output pins, which can interface with external components like LEDs and relay modules. Gem-8 users are also able to set the duty cycles of up to 8 pulse-width-modulation signals, which can be used to control servos or to vary the intensity of external LEDs.

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Roland Announces JUNO-60 Software Synthesizer

video by RolandChannel

"The Roland JUNO-60 helped define the sound of the ’80s and is highly prized for its vintage vibe and unmistakable character. Simply put, it’s the sound you hear in your head when you think of fat, punchy analog synthesizers.

With the JUNO-60 Software Synthesizer, you get the full authentic experience of this legendary keyboard in a modern software instrument for DAW-based music production. Roland’s PLUG-OUT format is also supported for computer-free operation via the SYSTEM-8 hardware synth, with all parameters automatically mapped to capture the hands-on JUNO-60 workflow.

The JUNO-60 Software Synthesizer is just the latest member of Roland Cloud’s Legendary series, which includes plug-in versions of the JUNO-106, JUPITER-8, TR-808, TR-909, D-50, and many other classics. Roland Cloud is also home to an ever-expanding collection of creative tools to keep your music flowing, including the powerful ZENOLOGY software synth, Model Expansions, Sound Packs, Zenbeats, and much more."

And the press release:

Iconic 1980s Polysynth Now Available as a Legendary Series Plug-In Through Roland Cloud

Los Angeles, CA, February 16, 2021 — Roland announces the JUNO-60 Software Synthesizer, the latest addition to the Legendary series of software-based Roland instruments available through Roland Cloud. The original Roland JUNO-60 hardware synth helped define the sound of ’80s music and is still highly prized for its vintage vibe and unmistakable character. With the JUNO-60 Software Synthesizer, the authentic experience of this influential keyboard is now available as a modern software instrument for Mac and Windows DAWs.

Released in 1982, the JUNO-60 was among the earliest models in Roland’s iconic JUNO series, and is an all-time favorite for many synth aficionados. With a winning formula of a single DCO, fat sub-oscillator, and characterful VCF—plus a massive swirling chorus effect—the instrument has found its way onto innumerable tracks through the years. Powered by Roland’s proprietary Analog Circuit Behavior (ACB) technology, the software version recreates the sonic experience and approachable architecture of the JUNO-60 in startling detail, allowing users to craft rich, inspiring sounds with little effort.

The JUNO-60 Software Synthesizer fully captures the original’s balanced magic—including the odd quirks and charming limitations—and enhances it with useful modern additions. The filter has been modeled to perfection, and users have the ability to switch to the HPF circuit of the next-generation JUNO-106 and its characteristic bass bump. The oscillator range has also been extended, and there’s a second envelope for extra flexibility. Polyphony has been expanded to eight notes, with the option to limit it to the original’s six (or less) for an old-school vibe.

A huge part of the JUNO-60 sound is its lush chorus circuit. Like the original, the software version has two push-button chorus modes, plus a third “secret” mode accessed by pressing both buttons at once. Taking things further, there’s an additional chorus option with the sound of the vintage BOSS CE-1 pedal, along with a selection of reverb, delay, flanger, and overdrive effects.

The JUNO-60 Software Synthesizer is VST3, AU, and AAX compatible and also supports Roland’s PLUG-OUT format for computer-free operation with the SYSTEM-8 hardware synth. And for DAW-focused workflows, it’s possible to use the SYSTEM-8 or a Roland Boutique JU-06/JU-06A for one-to-one, hands-on control of the JUNO-60 plug-in.

The JUNO-60 Software Synthesizer is just the latest member of Roland Cloud’s Legendary series, which includes plug-in versions of other Roland classics like the JUNO-106, JUPITER-8, TR-808, TR-909, D-50, and more. Legendary titles are available with the Ultimate membership level of Roland Cloud. All paid levels – including Core and Pro – start with a free 30-day trial of Ultimate, allowing users to try out the JUNO-60 and all Ultimate features. In addition, any Roland Account holder can purchase Lifetime Keys for individual Legendary series titles. This provides unlimited access for as long as their account is active, even if they don’t have a Roland Cloud membership.

For more information on the JUNO-60 Software Synthesizer: ➤ JUNO-60: https://www.roland.com/us/products/rc..."
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If you are curious why the JUNO-60 is available as a PLUG-OUT for the SYSTEM-8, but not the Jupiter-X or Jupiter-Xm, the SYSTEM-8 uses ACB (Analog Circuit Behavior) technology, while the Jupiter-X and Xm use ABM (Analog Behaviour Modeling) via Roland's new ZEN-Core engine. The following touches on the differences between them.

Roland ACB versus ABM - Getting real answers from #Roland​
video by Nu-Trix The Synth Guy

Yamaha Officially Introduces the New Montage Synthesizer

MONTAGE Development Story

Published on Jan 21, 2016 yamahacorporation

Update: Two new videos from Kraft Music added under the press release below.

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New Moog Mavis Semi-Modular Analog Desktop & Eurorack Synthesizer - Demos & Details

Priced at $349. The differentiator on this model is in the (East Coast) wavefolder - see video #6 & 12 in the playlist.

Update: New vids added.

Playlist (you can use the player controls to skip around):

1. Meet Mavis: A Moog Semi-Modular Analog Synthesizer - Moog Music
2. Moog MAVIS Semi-Modular Synthesizer: A Beginner’s Guide + Demos - Sarah Belle Reid
3. 7 Fun Patches With the New Moog Mavis
4. Moog Mavis Semi Modular Analog Synthesizer Voice : DIY Standalone Synth + Eurorack Module - Perfect Circuit
5. Moog Mavis Semi-Modular Synth: Overview and Demo with 5 Patch Presets - Patchwerks
6. First Look: Moog Mavis semi-modular synthesizer - Marcus Schmahl
7. Review: MOOG's MAVIS goes west! // 18 modular and wavefolding patch ideas explored // Full tutorial - loopop
8. Moog Mavis Is More Complex Than Its Size Suggests - HAINBACH
9. Everything Moog Mavis. - mylarmelodies
10. Moog Mavis Sound Demo (no talking) with Empress Reverb - Limbic Bits
11. Moog Mavis Sound Demo (no talking) - Bonedo Synthesizers
12. MAVIS - The New Moog Synthesizer 🐸 - PanicGirlVids

The press release:

"Meet Mavis: The Newest Addition to the Moog Semi-Modular Family
Mavis, a new all-analog semi-modular synthesizer, delivers legendary Moog sound in an affordable and compact musical machine. An inspiring and expressive instrument, Mavis offers serious value to anyone looking to learn synthesis or explore Moog sound in a new way.

This build-it-yourself synthesizer kit is ready to come to life as a powerful, patchable analog instrument, either mounted in a Eurorack case or on its own. Mavis's intuitive design allows for immediate musical exploration (no patching required) and is ready to guide your journey through the expansive world of modular synthesis through its flexible patch bay and accompanying educational resources.

Mavis features the first-ever Moog wavefolding circuit, allowing for additive synthesis to sit alongside traditional subtractive synthesis, unlocking sounds never heard before on a Moog instrument. Mavis offers incredible value through its clever collection of circuits, including two oscillators, full ADSR, a ladder filter, sample and hold, attenuators, mixer, mults, and much more, providing all the tools needed for creative patching and sound design.

Mavis delivers huge depth of sound to any creative looking to begin their journey into synthesis, expand their Moog ecosystem, or enhance their Eurorack setup."

Additional details & pics:


"As one of their most affordable semi-modular synthesizers to date, Moog's Mavis is equally at home as a standalone instrument, companion to the Mother series, or active member of a bustling Eurorack system. Shipped as an easily assembled kit, the excitement of putting together your own instrument gives way to a wonderful journey of sonic exploration.

Mavis packs all of the essential elements of a full synthesis voice into a compact package—oscillator, filter, ADSR envelope generator, and VCA—as well as some special surprises, including Moog's first-ever wavefolder! Best of all, everything is accessible through 24 patch points, overriding the internal normalled connections and putting Mavis's signal flow under your control.

As with all Moog's best synths, Mavis begins with an all-analog VCO, with this particular design featuring a blend control crossfading between sawtooth and pulse waveforms. PWM and pitch modulation are available with independent level controls, and may be shaped by the LFO, envelope generator, or a mix of the two. The hallmark of any Moog synth, the resonant lowpass ladder filter, makes an appearance on Mavis, and may be similarly controlled with the LFO and/or envelope with positive or negative polarity. As for the VCA, leave it wide open for drones or shape it with the ADSR for lush swells or snappy plucks.

Mavis subscribes to the same modular philosophies as Moog's legacy instruments as well as their hit Mother series. With the 24-point patch bay, additional elements are available to coax more interesting patches out of Mavis. Split and distribute signals with the multiple, inject uncertainty with the sample and hold, and balance audio or control signals with the DC-coupled mixer. Most surprising of all is the inclusion of a diode wavefolder—the first such design on any Moog instrument—bringing a touch of West Coast-style waveshaping into their world of traditionally subtractive designs.

Though Mavis can exist totally independently, it shines in collaboration with others. Place it on your desk alongside your other patchable instruments, or remove Mavis from its enclosure and mount it in a Eurorack case as a 44hp module for highly nested interactions. Mavis ships with a handful of patch cables, overlay sheets, and a protective plastic dust cover for when the instrument isn't in use. Whether you're just starting out or looking for a fully-featured Moog synth voice, Mavis delivers in spades.

MAVIS FEATURES

Fully analog semi-modular synthesizer
Easily assembled
24 patch points
VCO with sawtooth and pulse waveforms
PWM and frequency modulation
Resonant lowpass filter
4-stage ADSR envelope generator
Analog VCA
Utilities section includes mixer, multiple, sample and hold, and more
First-ever Moog wavefolder design
Onboard keyboard with scale and glide controls
May be removed from enclosure and mounted as a 44hp Eurorack module
Includes patch cables, patch sheets, dust cover, and assembly tools"

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1981 Electronic Music Resource Book by Robert Ceely

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

via this auction

Cool synth art.

"A great Rare Electronic Music Resource Book by Robert Ceely NEV Multimedia Publication. Excellent Condition, very slight surface wear the cover. You can refer to the pictures we guarantee 100% you will be more than happy with the excellent condition, very clean. Published in 1981 original price of $27.95 on inside stamped. To All Beepers: Past, Present, and Future, 21 chapters: introduction, waveforms, modifiers, controllers, connections, The Tape Recorder As A Composition Tool, Putting It All Together, Notation, Suggested Class Assignments, Studio Configurations, Compositional Limitations Of Current Electronic Music Synthesizers, ARP 2600 Synthesizer, Buchla Music Easel, EML-101 Synthesizer, EML-200 Synthesizer, EML-301 Synthesizer, EML-401 Synthesizer, Mini Moog Synthesizer, Modular Moog Synthesizer, Polyfusion Modular Sunthesizer, Synare 2 Percussion Synthesizer. A great Rare Music Book it would make a great addition to anyone's collection or home."

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New Waldorf M Wavetable Synthesizer

video upload by WaldorfMusicChannel

"Here is the brandnew Waldorf M Wavetable Synthesizer with analog filters and stereo VCA and much more to explore..."



"Sound demo for our brandnew Waldorf M Wavetable Synthesizer - no external effects and processing was used."

Waldorf M - Wavetable Synthesizer - Live Looping Ambient Session

video upload by

"This is the Waldorf M - Wavetable Synthesizer. In this track I used Ableton to live-loop four patches.

I will release more videos with the M, if you have any questions or want me to show a feature of the synth please let me know in the comments.

It is an honor to be part of the Waldorf beta testing team, I have been working with the synth for the last months and am very happy to finally show you what I have been doing with it. The factory library contains some of my own sounds, watch out for "MSt" when you test it at a shop or at home!"




Priced at:
1.879,00 € (~2,221.53 USD / ~£1,605.17)

"With M, we are musically returning to our roots by bringing back classic Microwave and ‘modern’ Microwave II tone generation as a new-generation classic hybrid wavetable synthesizer with an analogue lowpass 24 dB/Oct VCF — SSI 2144 Improved Ladder Type — with resonance and analogue saturation feature, true stereo analogue VCA with panning option, and much more to explore in a desktop-friendly form factor featuring a wide range of unique sounds. Plentiful presets — totalling 2,048 sound programs (divided into 16 banks, each with 128 sounds) — professionally programmed by world- renowned sound designers also include all of the classic Microwave sound sets, such as MW1 Factory Sound Set, MW1 Soundpool 1-5, the fat-sounding Analogue and Bassco, as well as PPG Wave 2.3 sounds cleverly converted for the original Microwave. Moreover, it also features freshly-programmed sounds utilising M’s myriad new features — from true hard Sync (when working in its Modern Microwave II/XT mode) to the ARP (arpeggiator) and MIDI-syncable global LFO (Low Frequency Oscillator).

But beating at M’s musical heart as an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER — as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage — are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control). Consequently, there is no hard Sync or ring modulation available in the Classic Microwave I mode, where 16-bit wavetables are bit-reduced to 8-bit and a 240 kHz non-anti-aliased sample rate is offered, whereas the Modern Microwave II/XT mode offers a 40 kHz sample rate with band-limited wavetables, although both oscillators — OSC 1 and OSC 2 — offer the same panel parameters.

Two LFOs are generating a periodic waveform with adjustable frequency Rate and Shape that can be used for modulation purposes, are also always at hand. However, unlike other Waldorf synthesizers, there is no modulation matrix in M. Making a conscious design decision to set up M’s modulation facilities directly on the corresponding display page, to paying tribute to the 1989-vintage Microwave.

Back in the here and now, M takes performance to a whole new level, thanks to that advanced ARP with 16 preset patterns, chord mode, and an ability to synchronise to MIDI clock. Furthermore, four programmable ENVELOPES allow adventurous users to manipulate sound parameters via rate or timed modulations.

Musically making a connection to the outside world is important to any synthesizer, so M offers six (rear panel-positioned) stereo analogue outputs — arranged as MAIN OUT (L/Mono and R) and AUX OUT (A, B, C, and D), the latter of which can be used to route each of the four Multi (multitimbral) parts to different outputs, if desired; a stereo headphone output (with an associated Volume knob in addition to the topside Master Volume knob); 5-pin MIDI IN, OUT, and THRU DIN connectors, complimented by a USB 2.0 MIDI port (for computer connection to transmit and receive MIDI data); an SD Card slot (for updating M’s firmware, importing/saving sound patches, and importing/saving M-specific data, such as user wavetables); and — last but not least — a Kensington® compatible security lock slot."

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