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 »

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):

CLICK FOR MORE »

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"

Analogue Solutions Ample Synthesizer Now Available

Analogue Solutions Ample Synthesizer -- All Sounds Ample video upload by rezfilter

"Here's a little retro track I put together using only the Ample synth from Analogue Solutions. All parts were sequenced or played live from the Ample, utilizing the onboard Patternator sequencer throughout.

Ample begs to be touched, sequenced, pinned, and played. It's a culmination of all great things from AS."

Check with the dealers on the right for availability. Press release follows.

Analogue Solutions announces availability of Ample as ANALOGUE 3 VCO PATCH PIN SYNTHESISER blending best of past and present products

SHATTERFORD, UK: after a successful soft-launch at SynthFest 2023 in Sheffield, UK on October 7, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Ample to a wider audience as a desktop-friendly ANALOGUE 3 VCO PATCH PIN SYNTHESISER — beautifully blending the best elements of several of its past and present products to form a truly analogue modular system skilfully presented as a precision- engineered electronic musical instrument in a spacious (550mm x 262mm x 83mm) steel and aluminium case that also embraces ergonomic features such as VESA mount compliance, should desktop space be at a premium, all of which adds up to being a perfect fit for its appropriate appellation — as of November 29…

Ample adheres to Analogue Solutions’ tried-and-tested no-compromise construction formula, featuring a full rugged steel and aluminium case — no plastic mouldings here; high-quality metal potentiometers with smooth action, fully sealed against dust intrusion; high-quality knobs with spun aluminium caps; high-quality double-sided circuit boards; high-quality 16-bit DAC (Digital-to-Analogue Convertor) for stable MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion; stable analogue oscillators; gold-plated touch plates; plus true retro analogue voice and modulation circuits to give an authentic retro sound. Since Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesisers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators), in other words, Ample is in good company as an ANALOGUE 3 VCO PATCH PIN SYNTHESISER.

But by beautifully blending the best elements of several past and present products — namely, the sound elements of Fusebox fabricated originally as an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesiser that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities in a beautifully-built box; the jack points introduced in the long-discontinued line of Concussor modular synth drum modules (themselves dating back to the time when Analogue Solutions was the third company to start producing Eurorack format-compatible modules, magical as that might sound in today’s ever-expanding era of thousands of Eurorack modules being produced by hundreds — if not thousands — of developers, both bigger and smaller); the patch pin matrix introduced in the long-lasting Vostok semi-modular synthesiser series (that knowingly nodded and winked at its Russian ‘roots’ from a visual standpoint); the lo-fi echo featured in Dr Strangelove as a small and affordable desktop signal processor (that ushered in Analogue Solutions’ so-called synthBlocks series); and last, but by no means least, the sequencer and CV touch plates introduced in Generator as a highly-versatile multi-channel analogue step sequencer — to form a truly analogue modular system skilfully presented as a precision-engineered electronic musical instrument is what really makes Ample stand out amongst Analogue Solutions’ present-day products.

Put it this way: while Ample shares all of those features from some of Analogue Solutions’ ‘greatest hits’, it still has a sound of its own thanks to the circuits on offer: OSCILLATING is handled by three analogue VCOs (Voltage-Controlled Oscillators), each providing a wealth of features and modulation choices, with the VCO3/LFO 1 legend visually highlighting that the third oscillator can easily be utilised as an LFO (with saw, square, and triangle wave modulation signals), while LFO2/SYNC has a triangle wave output to total two LFOs; the LP VCF (Voltage-Controlled Filter) section is anchored around a four-pole 24dB-per-octave low-pass filter; the VCA (Voltage-Controlled Amplifier) can be set to THRU so it is always ‘open’ (allowing Ample to be used as an effect processor); the two envelope generators — EG 1 and EG 2 — each offer full control over ATTACK, DECAY, SUSTAIN, and RELEASE; extensive modulation routing choices allow for a wide range of resultant sounds extending into percussion and ‘modular’ territory, further extended by patching with the jack sockets and pin matrix; MIDI is intentionally kept simple so users can concentrate on creating new sounds and making music, with all- important control over filter cutoff available via MIDI Velocity; patchable CV control sockets allow the synth in question to effectively be rewired to make new sounds, as well as easily patched together with external Eurorack and other modular systems; the PATTERNATOR is a vintage-style 16-step sequencer; the six touch plates each output a set voltage, so can be used to pitch notes or as modulation signals — either way, they are truly inspirational in action; the pin matrix represents a neat (and flexible) way to patch the synth; and the ECHO section provides easy access to adding a little lo-fi echo or delay.

Audio applications abound when working with Ample as a synthesiser — excelling at analogue sound effects, as well as fat basses, screaming leads, and all manner of other crazy sounds associated with analogue synthesis; an effect processor — perfect for feeding external sounds through the onboard analogue filter and ECHO sections via external audio inputs; a drum synthesiser — suited to producing electronic percussion, including cymbal, hi-hat, kick, and snare sounds; and as a modular synthesiser — partially pre-patched, but with such a wide range of modulation routing possibilities that it is almost as versatile as a full-blown modular system, and capable of producing the same types of sounds but dispensing with telephone exchange-like cabling confusion in favour of making space-saving connections with removable coloured pins, yet still providing a flexible selection of patch sockets so it can quickly be re-patched into itself or to/from external Eurorack and other modular systems.

It is also worth noting in conclusion that while Ample can be used with an external MIDI keyboard or DAW (Digital Audio Workstation), or an external CV keyboard or analogue sequencer, it is equally at home being worked with on its own using its internal step sequencer or pitch played via its six-touch plate ‘keyboard’. Whatever way anyone chooses to work with Ample, it could conceivably be argued that it is the best desktop synth of all — Analogue Solutions-wise or otherwise!

Limited quantities of Ample are already available to purchase directly from Analogue Solutions for £1,999.00 GBP (excluding tax/VAT) via its dedicated webpage (https://www.analoguesolutions.com/ample) while stock will soon be arriving at selected dealers (https://www.analoguesolutions.com/dealers).

Check with dealers on the right for availability.

Spitfire Introduces BT PHOBOS Polyconvolution Synthesizer

Published on Mar 31, 2017 Spitfire Audio

Playlist:
Spitfire Presents - BT Phobos Feature
Spitfire Presents: BT Phobos
In Action: BT PHOBOS Trailer Music
Spitfire Walkthrough: BT Phobos
In Action: BT Phobos Basics

"BT PHOBOS Polyconvolution Synthesizer sees Spitfire Audio aiming for the stars with notable namesake co-creator

LONDON, UK: Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of BT PHOBOS — conceived in close collaboration with notable namesake American composer (The Fast And The Furious, Monster, Lara Croft: Tomb Raider) and electronica pioneer BT (Brian Transeau) as a must-have Polyconvolution Synthesizer for any AAX-, AU-, VST-, and VST3-supporting DAW (Digital Audio Workstation), and lending itself to writing cinematic electronic, epic, and hybrid compositions, courtesy of its liquid, morphing, and transformational convolution capabilities — as of April 13...

All of which begs some serious questions: what, exactly, is BT PHOBOS? One of Mars’ moons, maybe? A synthesizer? A tool for creating colossal cinematic and electronic rhythms? An engine for endless spectral combinations of wide, lush pads and ambiences with propulsive rhythmic figures? Is it a sound library of an astronomical vintage synthesizer collection, bespoke beats, field recordings, live acoustic and orchestral treatments, micro-rhythms, percussion, and textures? Truth be told, that’s just scratching its stellar surface — inspiration-wise or otherwise!

On the face of it, at its core BT PHOBOS is, indeed, a synthesizer — albeit a soft synth based on the unexplored precept of polyconvolution as a synthesis engine. Extraordinarily adept American audio engineer, composer, multi-instrumentalist, singer/songwriter, and technologist BT came up with the idea many moons ago when working with sound design — polyconvolution... as a synthesizer. So what, exactly, does that mean? Well, what it means is: instead of using convolution — a piece of software (or algorithm) that creates a simulation of an audio environment — for reverb or modelling an amplifier’s distortion circuit, why not make a ‘reverb’ impulse response tonal? Why not, indeed. In fact, BT did just that, and, in doing so, found that combining something rhythmical with something tonal (as an impulse response) yielded some of the most modern, liquid, and percolating responses he had ever encountered — exactly the kind of sounds he had been searching for while scoring music for films and games... those elusive sounds suited to satisfying the most demanding directors’ wishes. Words like, “Movement and a feeling of drive, yet subtly...” need no longer prove problematic — thanks to BT PHOBOS!

BT brought a whole new musical meaning to the ‘Special Relationship’ between the United Kingdom and United States by working in close collaboration with Spitfire Audio to combine over 20 GB of his own personal bespoke libraries into a tonal engine, enabling BT PHOBOS users ultimately to filter, pulse, rhythmically cut, and sculpt impulse responses that are harmonic, melodic, and tonal. Then play them polyphonically.

Put it this way: one of the most significant solutions BT PHOBOS provides is giving composers an ability to engage their audiences for extended sequences and cues without sounding repetitive or ‘loopy’. Leaning on an all-new, realtime interface interaction allows BT PHOBOS users to evolve, transform, and warp their molecular musical patterns according to nuanced changes within a scene.

So since BT PHOBOS cleverly challenges the convention of loops, tones, and how they are used in a convolution, central to its operation is a beautiful bespoke GUI (Graphical User Interface) implemented to cultivate creativity through fostering familiarity. Which is why, when clicking on the name of any (sound) SOURCE or CONVOLVER, users are greeted by exactly the same browser. Better still, users can automate many of the powerful and unique controllers central to the BT PHOBOS vision. Which is why modulation MAPPINGS — the way in which functions are mapped and then ‘modulated’ (or changed) in realtime or automated via controllers — are key to many presets, and applied both to SOURCE/CONVOLVER. Cutting-edge sound source advanced controls (to further adapt each SOURCE, such as ATTACK, DECAY, SUSTAIN, and RELEASE; START OFFSET; FILTERS; and GATES) and convolution advanced controls (to further adapt each CONVOLVER and its impulse response — similar to SOURCE controls, providing the same functionality for each CONVOLVER) carry creative composers into an almost limitless inspirational musical well... well, there are actually 90 sextillion-plus combinations of sounds, so inspiration is guaranteed to never run dry!

If — like BT before you — you are on a musical mission to explore strange new sound worlds... to boldly go where no composer has gone before, be assured that BT PHOBOS pushes compositions into emotional, evocative, expressive, and truly new voyages of discovery like no other soft synth plug-in that has gone before it."

http://www.spitfireaudio.com/shop/a-z/bt-phobos/

Analogue Solutions Treadstone Press Release & Price

We've seen the demo videos including initial details (scroll down when you get there). We now have the official press release and the price: £499.00 GBP, $599.00 USD, and €589.00 EUR.

"Analogue Solutions spreads synthBlocks series wings with tiny Treadstone true analogue mono synth

KINGSWINFORD, UK: hot on the heels of its inaugural Mr Hyde and Dr Strangelove so-called synthBlocks (launched late last year to widespread critical acclaim), British boutique electronic instruments innovator Analogue Solutions is proud to widen the self-explanatory series’ scope with Treadstone — taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding signal-processing siblings and applying them to a true analogue mono synth that packs a lot of (patchable) punch into a perfectly-matched, portable package — as of January 19…

Treadstone takes its intriguing name from a fictional highly-classified, heavily-guarded secret program that features in the series of books based on a fictional spy and associated feature films; it is shut down as the thrilling plot thickens, alas. As the latest addition to Analogue Solutions’ synthBlocks series — squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware sound-sculpting creativity to their sometimes sterile-sounding computer-based creations, the tiny Treadstone true analogue mono synth is far from fictional, however; hearing is believing, but it would, without question, make for a superior-sounding, space-saving desktop addition to any discerning film composer’s creative studio space — or anyone else’s, for that matter!

More meaningfully, maybe, Treadstone treads far from carefully, but boldly goes where few analogue synthesizers dare to win... with an all-analogue audio path and modulation circuits based on superior-sounding designs dating back to the mid-Seventies, so no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other ‘all-analogue’ affairs. Analogue as in really analogue — aside from the MIDI-to-CV circuit (which, by its very nature, must include a digital element) — in other words.

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Analogue Solutions Fusebox Pre-Orders Open

See the banners on the right for availability at your favorite shops!

And the official press release:

"AS accepts preorders for Fusebox analogue — as in really analogue — monosynth with advanced abilities

KINGSWINFORD, UK: with the first batch having effectively sold out in advance, British boutique electronic instruments innovator Analogue Solutions is proud to announce that it is accepting second batch preorders for Fusebox — an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesizer that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities (in a beautifully-built box)... before plugging in any MIDI (Musical Instrument Digital Interface) cables, even — as of October 6…

As implied by the REAL ANALOGUE VOICE & MODULATION CIRCUITS ‘caption’ boldly blazoned across a brightly-coloured orange panel fronting a no- compromise steel/aluminium-constructed casing (with no plastic mouldings) that’s sure to stand out from (the sound) of the crowd — to partially paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League (who have a soft spot for Analogue Solutions synthesizers themselves), Fusebox is a true analogue monophonic synthesizer in a smart, small package. Analogue as in really analogue. Aside from the MIDI-to-CV circuit, which, by its very nature, must include a digital element, everything else is absolutely analogue. For Fusebox trades on real transistors and op-amps — no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other so-called analogue synthesizers. Since the circuitry is based on designs dating back to the mid- Seventies, Fusebox proudly possesses a truly vintage sound. The kind of sound that the likes of The Human League made their own and continue to trade on to this day during an analogue renaissance that’s still showing no signs of abating anytime soon.

So, as an aptly-named true analogue monophonic synthesizer, Fusebox wears its colours well. With three VCOs beating at its musical heart, here is a precision electronic musical instrument that combines must-have electronic circuitry to create a powerful synthesizer statement seriously housed in an eye-catching, compact box. But this is to be expected given its industry pedigree, perhaps. After all, Fusebox was designed by Analogue Solutions founder Tom Carpenter. As a fervent fan of electronic music and also an active electronic musician himself, he naturally knows a thing or two about programming synthesizers. So his latest and greatest creation clearly wasn’t the result of engineering design decisions alone — nor driven by a steering committee of men (or woman) in suits. So what’s inside this beautifully-built box of subtractive synthesis tricks, then?

Those three VCOs, for starters — sawtooth and square waveforms available to each and all. And all have CV (Control Voltage) inputs for PITCH and PWM (Pulse Width Modulation) alongside manual PW (Pulse Width) controls. Creatively speaking, though, there are some striking variations: VCO 1 has OCT (octave) and XMOD (cross modulation) FROM VCO2 switches; VCO 2 has a WIDE TUNE (range) switch — allowing a wide tuning range (right down into low frequency territory) — alongside an oscillator SYNC FROM VCO 1 switch; VCO 3 also has a WIDE TUNE switch, together with a MIDI PITCH switch control — can be disabled to make this a free-running oscillator, ideal for modulation. Meanwhile, VCO 2 and VCO 3 can both be pressed into service as LFOs (Low Frequency Oscillators) — as implied by their respective VCO / VCLFO ‘lettering’.

Leaving that OSCILLATORS section behind... well, almost, and moving, momentarily, into MIXING (with MUTE switches and additional audio inputs), here Fusebox features white NOISE and a SUB oscillator (taken from VCO 3). Thereafter, the all-important FILTERS section is centred around a 12dB MULTIMODE VCF (Voltage-Controlled Filter) featuring LP (Low Pass), HP (High Pass), BP (Band Pass), and NOTCH filters. Flexibility further abounds at the AMPLIFIER section with a VCA (Voltage-Controlled Amplifier) allowing for EG and THRU (bypass) switching; an advanced MODULATION section with a FADE IN (delay)-featured LFO; and an ENVELOPES section with two trigger option-friendly envelope generators (EG1 and EG2).

Elsewhere, the INTERVAL GENERATOR is a special type of pitch transposer that allows users to set six different pitches to each of the switches, then transpose the VCOs manually to create performances — perfect when used in conjunction with the ARPEGGIATOR and/or PATTERNATOR.

The ARPEGGIATOR allows an external MIDI keyboard to be used to program in the notes to be arpeggiated and will also transmit the notes to the Fusebox’s MIDI O (output). On top of that, the ARPEGGIATOR can also be used as a simple 16-step sequencer.
The PATTERNATOR is a unique type of sequencer/rhythm generator. Its four CV controls can be used to create melodic loops that can be changed in realtime using the RESET and SKIP switches. The eight-step gate/trigger pattern generator can be altered using the two BEAT knobs.

Needless to say, all Fusebox’s circuits have extensive minijack input and output sockets, so it can be cross-patched within itself to create an almost infinite range of sounds. Or it can be cross-patched with other synthesizers and modular systems for further flexibility. Fusebox is partially pre-patched in itself, but almost all of those patches can be cancelled using various switches and controls. Indeed, it has such a wide range of modulation routing possibilities that it is almost as versatile as a full modular system so can produce the same types of sounds — and all without patch cable clutter and confusion!

Complex or as simple as the end user wants it to be, as a monophonic analogue synthesizer, Fusebox can be used for analogue sound effects, fat basses, screaming leads, bleeps, blurps, zaps, and all manner of other crazy sounds associated with subtractive synthesis. Since Fusebox features an audio input socket, it is possible to feed external sounds through the onboard analogue filters for analogue processing purposes. It even has real ‘analogue’ hardwood sides — sustainably sourced, of course! Clearly, Fusebox is analogue — as in really analogue — through and through, then.


The UK price for Fusebox is £1,140.00 GBP (excluding VAT), available from UK dealers and Analogue Solutions directly. (Dealers will start seeing stock arrive as of October 2017: http://analoguesolutions.com/global-distribution/)

North American availability of Fusebox is being handled via Voltage & Company (http://www.vcousa.com) — full-service reps of high-quality manufacturers from around the world — with a retail price of $1,599.00 USD, while (most) EU distribution is being handled by Sonic Sales (http://www.sonic-sales.de) — one of the largest full-service MI (Musical Instrument) distribution companies in Europe — priced at €1,519.00 EUR (including VAT)."

Analogue Solutions Announces Colossus #4

I almost skipped posting this as the only news here is there's a 4th production run of the Colossus. I guess it's interesting knowing how many are out there. What's also interesting is I always assumed the Colossus was either built in a limited initial run, or it was built per order only. This is a mammoth endeaver and each one costs 25,000 GBP which comes out to $35,000 US. It is $4500 less than this little Sennheiser VSM201 Vocoder!

Note, the images in this post appear to be stock. You can find demos of the Colossus in previous posts here.

Press release follows:
""Analogue Solutions announces forthcoming fourth run of Colossus supersized synth that trips back to the future of analogue

KINGSWINFORD, UK: following a showstopping showcase during its introduction at SynthFest UK 2019 in Sheffield, British boutique electronic instruments innovator Analogue Solutions is proud to announce a forthcoming fourth run of Colossus — its supersized synth that trips back to the future of analogue, albeit symbolising so much more than a powerful analogue ‘workstation’ with no fewer than 12 VCOs (Voltage-Controlled Oscillators) beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best by taking its design cues from the colossal classic that is the EMS Synthi 100, although no Synthi circuit was cloned or copied in making the destined-to-be-classic Colossus fit for a new generation of high-flying owners — as of February 15…

CLICK FOR MORE »

How to POLYCHAIN The Oberheim Matrix 1000 + Install the MASSIVE Tauntek 1.2 firmware upgrade!!!

video upload by Vintage Synthesizer Solutions

Note the Matrix-1000 has 1000 presets, but only the first 200 are user programmable.

"The Oberheim Matrix 1000 has been around since 1988, but did you know that it can be polychained with up to 5 other units?!? This is not a simple MIDI In/Thru setup... One unit must set as the master and then distributes the incoming note data evenly between itself and each of the slaves. Matrix 6 and 6Rs can join the party too, but only as slave units.

We also demonstrate how to upgrade these units with the @Tauntek 1.20 OS upgrade. Add in a @Kiwitechnics patch editor and you've got a monster vintage analog synthesizer. Enjoy our quick demonstration of 3 x Matrix 1000s: 18 voices & 36 DCOs of creamy Oberheim goodness..."

Analogue Solutions Now Available in Black

via Analogue Solutions:

"Limited Edition Colossus (in black) is now available!

👉 Contact us for more information or visit the AS website for reservation and purchase info (see below)

http://www.colossus-synth.com"

Update: video & description added below.
video upload by Analogue Solutions

"This is a limited edition black version of the classic Colossus synthesizer!

We have chosen some of our favourite circuits from our own large back catalogue synths such as Polymath, Telemark and Vostok.

Colossus is not a Synthi 100 clone - all circuits are non-EMS, Analogue Solutions’ design.

The original Synthi was so large it wouldn’t fit through a standard doorway. We didn’t make that mistake but don’t underestimate its size. It will be prominent in your studio, or art gallery!

It is sized at 1585mm wide, 700mm deep and 655mm high and weighing in too big to fit on the scales. It’s not entirely practical, but to be impressive physically and in sound. It will be an awesome centrepiece for your studio.

CLICK FOR MORE »

The Yamaha CS80 & CS70M - An Exploration of Two LEGENDS!

video upload by Vintage Synthesizer Solutions

"Please join us while we do a direct sonic comparison of these two classic Yamaha synthesizers. As is widely recognized, the CS80 is arguably the most legendary synthesizer ever made. Just under 800 units were produced at an MSRP of roughly $7000 each in 1978. The CS70m was the follow up flagship model and retailed for just under $5000 in 1981. We could not find the production total for the 70m (if anyone knows, please share in the comments!). However, like its sibling, I would guess that less than 1000 were made during its production run which ended in 1983 as Yamaha prepared to release the DX7.

While they do not sound identical by any means, we hope this video demonstrates how incredibly under recognized the CS70m is within the CS Poly family. It is the closest you can get to the CS80 in terms of feature set, voice architecture, and dual channel sound. For the prices people ask today for the CS50 and CS60, one would be smart to look for a 70m instead (IMHO!).

The audio is DIRECT & DRY - You are hearing the raw audio as it comes directly from each synthesizer. NO post processing (Effects or Dynamics) was done.

Thank you so much for watching! This channel is a passion project. We are just two hobbyists who share a deep passion for synthesizers. Please consider subscribing, we would greatly appreciate it! 🙏

**I am not a professional keyboardist! :)**
*On the CS80, the sliders labelled: "Sub Oscillator" = LFO*
Fun Fact: The CS80 has 8 voices; the CS70m has 6.

#VintageSyntheSizersolutions
#SacramentoSynthesizers
#Yamaha
#CS80
#CS70m
#YamahaCS

As always, a huge thanks to www.jeffreylatour.com for the amazing filming & editing work!

0:00 Intro
0:40 History & Development
1:30 Features unique to the 80 & 70m
2:08 Performance Controls
2:50 Voice Structure/Signal Path
4:44 CS80 Pitch Ribbon & Analog Memory
5:46 CS70m Updates & Diferences
7:50 CS80 Sounds
17:45 CS70m Sounds
21:01 DOG! 😂
21:06 CS70m Sounds Continued
30:41 Outro"

The Venerable Moog Memorymoog - Inspiration for the Moog Muse?

video upload by Vintage Synthesizer Solutions

"Please join us while we explore the infamous, but actually quite venerable Moog Memorymoog synthesizer. As is widely recognized, the Memorymoog was developed too late and was rushed to the market. By 1982/83, the era of extremely expensive flagship analog polysynths being ubiquitously adopted by professional musicians and studios was coming to an end. Synths like the Sequential Prophet 5, Oberheim OB-X/Xa, & Roland Jupiter 8 had dominated the market, but new digital technology - both in synthesis and sampling, was quickly gaining a substantial foothold in the music industry. The Memorymoog was notorious for reliability issues right out of the box while innovative instruments like the Yamaha DX7 were cheaper, much more reliable, and had a unique new sound.

In hindsight and considering the analog renaissance we've expereinced of late, one can evaluate the Memorymoog from a different and more forgiving perspective... It sounds absolutely fantastic and offeres an incredibly unique & fat tone relative to competetive products of both its era and modern times. Additionally, once a competent technician has sorted common issues with the power supply/fan, connectors, etc. the instrument can be quite reliable from a functionality and tuning standpoint.

The audio is DIRECT, with a just a touch of OTO Bam reverb added on an aux bus - You are hearing the raw audio as it comes directly from the synthesizer. There is NO EQ, Dynamics, etc. Listen on good headphones or monitors!

Thank you so much for watching! This channel is a passion project. These videos are recorded off the cuff. We are just two hobbyists who share a deep passion for synthesizers."

Happy New Year!

Happy New Year everyone!!!  I hope 2012 treated you well and I wish you the best in 2013!

As I do each year, I thought I'd reflect a little on the past year.  These posts are always difficult to write, and I always wing them, so bear with me.  It's impossible to justify a whole year's worth of synth coverage in a single post.  The following is just a small bit of what comes to mind when looking back.  You'll find a top ten list of posts with the most page views followed by my picks for the year further below.  Apologies if I miss anything, and of course, if you have anything to add, feel free to leave a comment below.  I'm curious what you, the readers of the site, felt stood out in the world of synths this past year.

First, I want to begin this post with a HUGE THANK YOU!!!  If you are reading this it obviously means you have come to this site and some of you have been coming here for years! Thank you for sticking with me. This site is a journey I hope to continue for years to come. Thank you to everyone that has taken the time to showcase their synths, and thank you to those that share what they find! Thank you to those that link to the site and help spread the word on MATRIXSYNTH via Twitter, Facebook, Google+ and your own websites! And of course, THANK YOU to all the sponsors on the right who believe in the site enough to support it!

A nod to previous New Years posts, pictured to the left is the MATRIXSYNTH world domination map. :)  I always think it's worth taking a look at who's watching the site.  Synths are global and you are looking at a map of the readers of MATRIXSYNTH.  Everything you see in green represents a visit from that country.  The darker the green, the higher the number of visits.  This is just for the year, but for the life of the site, we still haven't gotten a single hit from North Korea!   I don't know what they have against synths!  ;)   You'll find the top 10 visits by country further below.

This is the eighth New Year the site has gone through!  The focus for the site this year has been the same as previous years, and I plan to keep it that way.  This site is about showcasing specific synths, not just synths in general, and not just news and press releases.  The focus is on the individual synths that have existed throughout history, the technology behind them, and the lives they lead with their odd owners, myself included.  :)  Yes it is about the gear, their makers, and their players.  It has always been my opinion that synths in general have a tendency to be undervalued. Compared to say collectible guitars, they are often discarded and devalued in favor of next year's model, next year's technology.  It has always been my opinion that every synth has something of value to offer,  something specific and something unique that gives it its character. I built this site to showcase that.  This site is about the history of synths as their history unfolds - videos and images of synths being played and used, by both those that make them and those that play them.  Vintage synths being offered in the second hand market, being exchanged from one sonic explorer to the next. It really is a wondrous thing. Think of the magic synthesizers bring into your world. That is what this site is ultimately about.  Some posts may not seem to make sense now, but they will in time, because they will be a look back in time. A day in the life of a particular synthesizer.  I love analog and I love digital. I love all synths and this site celebrates that.

And now for a little reflection on the year. This year we had a total of 16678 posts including this one.  That comes out to roughly 45.69 posts a day.  Not a single day of the year went without a post.  So what dominated the synth year?  Mobile, modulars and a few dedicated hardware synths.

CLICK FOR MORE »

Analogue Solutions Colossus Quartz Synthesizer Expanders

video upload by Analogue Solutions

Press release follows:

Analogue Solutions ‘splits’ Colossus AS200 Slim synth into ‘quarters’ to create Colossus AS250 Quartz range of expanders with possible piecemeal purchase

SHATTERFORD, UK: having shed some pounds off its ‘against-all-odds-created’ Colossus AS100 Classic super-synth (that took its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS as one of the largest and most expensive examples ever birthed by anyone anywhere) to create Colossus AS200 Slim as a comparatively slimline version pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Colossus AS250 Quartz as a range of add-on expanders — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to enhance existing Colossus systems or other modular synthesisers while also allowing for piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost — as of May 2…

As a range of add-on synth expanders, each Colossus AS250 Quartz ‘quarter’ has a specific set of general features and is named accordingly: AS250-VCO — comprising a bank of 12 voltage-controlled oscillators (OSCILLATOR 1 through to OSCILLATOR 12), plus two noise generators (NOISE GENERATOR 1 and NOISE GENERATOR 2), RANDOM VOLTAGE GENERATOR, SAMPLE AND HOLD, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; AS250-Scope — comprising four discrete voltage-controlled amplifiers (VCA 1 through to VCA 4), four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two low frequency oscillators (LFO 1 and LFO 2), LCD (Liquid Crystal Display) OSCILLOSCOPE as standard or CRT (Cathode Ray Tube) OSCILLOSCOPE optionally available, and TOUCH KEYBOARD CONTROL / SEQUENCER; AS250-VCF — comprising eight voltage-controlled filters (with FILTER 1 through to FILTER 4 each of a SEM-type 12dB multimode design and FILTER 5 through to FILTER 8 each of a Moog-type 24dB low-pass design) with an associated VCA each, four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two spring reverbs (REVERBERATIONS 1 and REVERBERATIONS 2) with three real mechanical springs each, two RING MODULATORS, two SLEW LIMITERS, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; and AS250-Seq — comprising a 64-step analogue SEQUENCER (capable of operating in four different playback modes), four backlit moving-coil SIGNAL METERS, two JOYSTICKS, two MULTIPLES, MAIN MIXER, and two SUB MIXERS.

Modular by nature, it goes without saying, though, that each expander in the Colossus AS250 Quartz range features extensive patching capabilities with almost all parameters connectable via dedicated 3.5mm jack sockets, which when used in combination with those 31 x 15 ANALOGUE PIN MATRIX ROUTING panels — patch using (included) 3.5mm mono mini-jack leads to/from the synth circuits themselves to any matrix channels to be used, then patch using (included) red (10 kΩ) and black (0 Ω) pins accordingly — allow signals to be easily split and sent to multiple destinations with minimal cabling. “It is impossible to test every combination of patch,” proclaims Analogue Solutions Founder Tom Carpenter, before adding: “Some patches might produce unusual but still interesting results, or you could get something not mixing or buffering in quite the way you expect — just remember this is a living analogue synth, not a giant software controller that has clinical ‘perfection’.”

Put it this way: all voice and modulation circuits involved in Colossus construction are 100% analogue; in fact, Analogue Solutions steered purposefully away from digital technology to the extent of avoiding any MIDI (Musical Instrument Digital Interface) connections — those in need can, after all, always turn to third-party MIDI-to-CV boxes or Eurorack modules — though there are, of course, digital elements to the sequencer control involved in the aforesaid AS250-Seq expander that are unavoidable. As a brief aside, it is worth noting here that classic analogue sequencers like ARP’s advanced-for- its-time Model 1601 (launched in 1976) deployed digital logic chips while the colossal EMS Synthi 100 — itself inspiring Analogue Solutions’ Colossus concept from the get-go — even featured a digital sequencer that was truly ahead of its time.

Each expander in the Colossus AS250 Quartz range is — in keeping with that Colossus concept — large scale... think large knobs controlling metal shaft potentiometers, multi-turn vernier-VCOs, and panel-dominating pin matrixes constructed from eye-wateringly expensive Swiss-made broadcast-quality signal routers. Reality has it that the Colossus concept is a no-expense-spared super-synth. Indeed, it is fair to say that high-quality-constructed synthesisers such as the ‘complete’ Colossus AS100 Classic or Colossus AS200 Slim — also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself — only come around once in a decade, or, possibly, a generation. It is, of course, also fair to say that this comes at a cost. Thanks to the timely introduction of Colossus AS250 Quartz — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to create a range of add-on expanders enhancing existing Colossus systems or other modular synthesisers, piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost is now an option.

Limited quantities of the Colossus AS250 Quartz expander range are available to order — priced (excluding VAT and delivery) at £6,900.00 GBP (AS250-VCO); £5,500.00 GBP (AS250-Scope); £6,900.00 GBP (AS250-VCF); and £5,500.00 GBP (AS250-Seq) — directly from Analogue Solutions’ dedicated webpage here: https://www.analoguesolutions.com/colossus-quartz"

Analogue Solutions Leipzig-s SN 7885

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

via this auction

"The Analogue Solutions Leipzig-s synthesizer is a two-oscillator monophonic fully-analog MIDI synthesizer. Its signal path is not only analog, but so are its control functions... envelope, LFO, etc. Because it is a fully-analog synthesizer with circuit designs based on vintage analog synthesizers, it evinces the tone that is what you seek when you're looking for vintage analog sound.

In addition to amazing and fat tone, the Leipzig-s has a great set of functionality. The oscillators have independent glide and independent pulse-width modulation. There is a sub oscillator that can be generated by either oscillator. The filter is a 24db per octave low pass that seems like it was deeply inspired by Moog, and generates one of the thickest, richest filter tones in modern analog synthesizers. The filter can be controlled with either of the two envelopes. The modulation section is complex and allows each oscillator to be modulated by a number of sources, including different waveforms from the LFO, envelopes, the other oscillator, and MIDI. The filter can also be modulated by these sources, allowing a level of complexity that is very useful. Especially for creating drum sounds.

The Leipzig-s also has an analog sequencer that can be MIDI controlled. If you want true vintage analog sequencing sounds with an analog synthesizer, this is a quick and inexpensive way to get them! The sequencer is single-channel, but allows you to control the oscillators in independent amounts. The sequencer can also control the filter."

CLICK FOR MORE »

NUSofting Strings Dream

You might remember NUSofting from the Broken Drum Machine, daHornet, Groove Analogizer, Harp Time, Peti and more.

"Strings Dream is able to reproduce the infinite array of rich, analogue pads from the most famous strings machines in synthesizer history. Emulate the classic Eminent Solina as well as its sister keyboards from Elka, Crumar and even their Japanese cousins.

"Strings Dream Synthesizer" will be released in May 2009 first as VST plugin and later as AU. Extimated price 89 USD

Nice intro to strings machines features and history Check it out! [excerpt below]
SDS GUI screenshot Check it out!
First beta recording Check it out!"

"'Strings Dream Synthesizer' writings for docs,
2009 Luigi Felici nusofting.com
Edited by Scot Solida and Cj

About Strings Machines.
A remarkable number of musicians recognize the desirable sonic character of “string machines”. String machines were unique to the Seventies and nearly every major manufacturer offered some variation on the theme. ARP’s biggest selling instrument was in fact their Omni, an instrument that combined a string machine with a simple synthesizer. Even Moog got in on the act with their Opus 3.

Just as the Rhodes piano and Hammond organs were intended as portable solutions to musicians who desired the sound of more cumbersome (and expensive) instruments, string machines were seen as the gigging musician’s alternative to the orchestra. Or, at the very least, it was easier to carry around than a Mellotron! Of course, the string machines didn’t sound like an orchestra, but had a character that today’s musicians find quite appealing on its own merits.

CLICK FOR MORE »

Analogue Solutions Mr Hyde and Dr Strangelove synthBlocks Signal Processors Now Available

"AS announces availability of Mr Hyde and Dr Strangelove synthBlocks signal processors


KINGSWINFORD, UK: British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Mr Hyde and Dr Strangelove — introducing its synthBlocks series of small and affordable desktop signal processors with two tantalisingly-named new products squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware processing to their sometimes sterile-sounding computer- based creations — as of November 17…

The synthBlocks series represents an all-new range of small and affordable desktop signal processors produced by British boutique electronic instruments innovator Analogue Solutions, an acclaimed company with over 24 years of designing serious-sounding synthesizers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators) to its notable name. Similarly, synthBlocks are all-analogue affairs — albeit with some lo-fi digital effects thrown in for good (musical) measure. Menus and software are all eschewed in favour of a hardy hardware approach. As such, synthBlocks are squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware processing to their sometimes sterile-sounding computer-based creations. Cue simply plugging the synthBlocks in question into an audio interface’s I/O connections, then routing drums, synths, vocals, or whatever out of the DAW (Digital Audio Workstation) and through the transistors and op-amps of the synthBlocks and recording the results back into the DAW. Something similar can be achieved by connecting the synthBlocks to the auxiliary buss of a mixing console — just like any other effects processor. Whatever the workflow, turning the dials and flicking the switches by hand of course changes the sound in realtime — often with radical results. Results of course can be radically different — depending on which of the two available synthBlocks are applied to any given sound signal.

Many might have heard of Mr Edward Hyde, an abominable alternative personality of Dr Henry Jekyll, a fictional character in Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde gothic novella first published in 1886. However, hearing Analogue Solutions’ Mr Hyde in the here and now is something else entirely! As announced, Mr Hyde was the first out of the starting blocks in its synthBlocks series as an analogue filter effects box bringing subtle to extreme filtering and modulation effects to the analogue processing production table. To further aid ease of use, Mr Hyde has quarter-inch input and output jacks on its rear, so can be connected straight to an audio interface or mixer without the need for adaptors. The topside of its distinctive blood-red panel features minijack sockets to patch with a semi-modular synth, such as Analogue Solutions’ relatively recently released Fusebox — an aptly-named, three-VCO (Voltage- Controlled Oscillator) true analogue monophonic synthesizer that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities (in a beautifully-built box); ever-popular Eurorack small-format modular systems; or other modular systems.

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Introductions: The Octave-Plateau Electronics Voyetra 8 + Demo Track~

video upload by Vintage Synthesizer Solutions

"Please join us while we walk you through a brief introduction to and demonstration of the spectacular Octave-Plateau Voyetra 8 Polyphonic Synthesizer. The V8 is one of the most spectacular, but also one of the most unknown polysynths released in the 1980's. The V8 is an absolute masterpiece and we want you to be able to experience some of what this incredible sonic powerhouse is capable of. First demonstrated at the 1981 NAMM show, it was not widely produced until 1983. Consequently, there are several different revisions. It combines CEM oscillators with SSM filters like the Prophet 5 Rev 1 & 2. Less than 1000 were produced. Some say it is fatter than even the Jupiter-8... now you can decide for yourself.

***Stereo headphones or decent speakers/studio monitors are a must! All of the sounds you hear in this video and demo track were produced entirely with the Voyetra 8, with the only exception being the drums. The audio is dry, NO effects were used.***

Thank you for watching our video!"

Introductions: The Teisco 110F Duophonic Synthesizer + Demo Track~

video upload by Vintage Synthesizer Solutions

"In this video, we barely scratched the surface of what this instrument can do and the depth of its operating modes/feature set. We'd like to do a deeper dive into this synth to demonstrate patch creation and other functionality on a deeper level in the future, if there is interest. Fun fact: Kawai applied both their own name and the Teisco brand name when manufacturing the SX210 and SX-240, depending on the market in which it was to be sold."

Teisco 110F posts, including additional demos.

NAMM: Our First NAMM Teaser of the Year Comes from Casio

Click on the bottom two pics and zoom in. Some things to take from the images:

1. Four Assignable knobs

2. Two rows with LEVEL labels

3. First LEVEL Row: (my guess) SYNTH1, SYNTH2, PCM1, PCM2, ???, ???, ??? New Section with ASSIGN1, ASSIGN2?

4. Second LEVEL Row: (my guess) LAYER1, LAYER2, LAYER3, LAYER4, LAYER5, LAYER6, New Section with ASSIGN1, ASSIGN2?

5. Below the LEVEL sections appear to be numbers and/or letters? Maybe tempo settings?

6. There is another section to the right of the knob controller section with buttons.

7. Note what looks like a KORG MS20, laptop and mixer on the table of the concert image. The image along with "The Beginning of a New Era" implies a new audience and new market for Casio.

What do you think?

Update: the two bottom shots joined together and blown up a little:

If you are on a Mac and try to do a screen grab with Command Shift 4 and select the whole image, you will see it brighten up, and you can see some of the additional controls on the far right. I captured a MATRIXSYNTH ghost in there BTW. I really need to invest in Photoshop.

Update: and a new teaser pic spotted on ComputerMusicGuide

The XW-P1 Performance Synthesizer

Update 1.12.12:

"A Mono solo section with up to six oscillators: two virtual analog, two PCM, noise, and external audio. Poly section with wide variety of gig- ready sounds. Drawbar organ mode. Six-way HexTone multis. Nine-track step sequencer with dedicated drum track."

Rumored price for the Casio XW-P1 is $699.

via this HC thread, via Computer Music Guide.

 


Update 1/19/12: Details are in:

Click each pic for the super size shot.  Details on each section below.

STEP SEQUENCER

Providing everything from pulsing dance grooves to animated synth textures and arpeggios, the Step Sequencer in both the XW-P1 and XW-G1 is the first of its kind. With nine tracks for drums, basses, synths and chordal parts, four controller tracks for adding panning, filter changes and other animation to existing parts and eight patterns make up each sequence; the user can build and mix their performance on the fly. Sequences can even transpose live from the keyboard, providing a completely interactive experience.

DRAWBAR ORGAN

In addition to the solo synth and HexLayers, the XW-P1 performance synthesizer is armed with an arsenal of gig ready sounds like stereo pianos, vintage electric pianos, strings, brass, guitars, basses, drums and more. It also has a new drawbar organ mode. Utilizing the nine sliders on the XW-P1 you have full range control over each drawbar. The XW-P1 even has dedicated controls for key percussion and rotary speaker while also providing vibrato, distortion and more for the ultimate drawbar organ experience.

SOLO SYNTH

Utilizing Casio’s exclusive (HPSS) Hybrid Processing Sound Source, a six oscillator monophonic solo synth is just one of the amazing sound engines in both the XW-P1 and XW-G1. The solo synth has the power to deliver classic analog sounds and sounds with an aggressive edge unlike anything else. Two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs can be combined to make up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to master resonant filter. With impressive modulation and control capabilities at your fingertips, the solo synth is capable of a wide range of sounds and expression.

HEXLAYER

In addition to the solo synth, the XW-P1 also features HexLayer tones. A HexLayer is a single sound comprised of up to 6 components, allowing complex layers, splits and velocity switched sounds. The sliders on the XW-P1 can be used to mix sounds on the fly to create evolving pads and rich synth textures while key velocity can be used to create dynamic velocity switched orchestral sounds and more.

ARPEGGIATOR AND PHRASE SEQUENCER

The XW-P1 and XW-G1 both have powerful Arpeggiators. In addition to typical arpeggio patterns, this Arpeggiator can create polyphonic synth gated patterns, acoustic instrument emulations and is even fully programmable allowing you to create your own unique sounds. An additional phrase sequencer allows you to quickly capture any riff that you play on the keyboard and have it available on a front panel switch or triggered and transposed live from a range of notes on the keyboard. The combination of the Step Sequencer, Arpeggiator and Phrase Sequencer provides an endless array of sound possibilities.

CONTROL

The XW-P1 and XW-G1 have 4 real- time controller knobs, pitch bend and modulation wheels, along with 9 sliders to provide control over internal sounds and external devices. Through standard MIDI ports and with a class-compliant USB port the keyboard can be used as a controller for other instruments, including computer software and iPad® based software applications. It also includes an audio input allowing you to monitor an MP3 player, computer or other device without the need for a mixer.

TECH SPECS
6 Oscillator Monophonic Solo Synthesizer (Both)
Sample Looper - Up to 19 Seconds of sampling time (XW-G1)
Sample Player - 10 user tones with up to 5 samples each can be stored in Flash Memory for instant recall (XW-G1)
HexLayer - A single sound made up of 6 components for gig ready splits and layers (XW-P1)
Drawbar Organ Mode with 9 sliders, adjustable rotary speaker, key click, vibrato and percussion (XW-P1)
Fully editable PCM based sounds like stereo pianos, vintage electric pianos, strings, guitars,
drums and more. (400 XW-P1) 300 (XW-G1)
13 Track Step Sequencer (Both)
16 step programmable Arpeggiator (Both)
Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases (Both)
4 real-time controller knobs (Both)
Phrase sequencer to record and playback your riffs (Both)
Stereo 1/8" line input to connect an MP3 player, laptop or tablet (Both)
USB and MIDI ports (Both)
1/4" Line Outputs (Both)
Included Power Supply (Both)
Can operate on 6 D batteries (Both)

http://casiomusicgear.com/home/index.html

Update 10:07 1/19/12: The Official Press Release with pricing:

"NEW YEAR, NEW ERA, NEW PROFESSIONAL SYNTHESIZERS INTRODUCED BY CASIO

Synthesizers built with Innovative and Interactive Features for Performing and Recording Musicians

ANAHEIM, CA, January 19, 2012 —Casio America, Inc. and its parent company Casio Computer, Ltd. today unveiled two new professional Synthesizers. Casio's roots were cultivated from the CZ-series synthesizers over 25 years ago. Recognizing that today’s professional musician wants more, Casio has re-entered the professional synthesizer market with two products which are the ideal tools for performing and recording artists. The XW-P1 is a 61 key performance synthesizer with Casio’s exclusive (HPSS) Hybrid Processing Sound Source. Providing screaming virtual analog monophonic leads and basses, drawbar organs, complex layers, stereo pianos, drums and more, the XW-P1 has the sounds and real-time control the performing musician needs. While the XW-G1 groove synthesizer is designed for the DJ and club performer providing an interactive step sequencer and a sample looper for digitally capturing performance patterns and external instruments. Both will be on display at the 2012 Winter NAMM Show, beginning today through January 22nd at the Anaheim Convention Center in Anaheim, California, booth # 5900, Hall B.

“The XW series are not just new keyboards, they represent a new direction for Casio in the musical instrument business” said Mike Martin, general manager of Casio’s Electronic Musical Instrument Division. “Casio’s formula of value and quality that has been the foundation of award winning instruments like Privia has been applied to a new product category, and the XW-P1 and XW-G1 are just the beginning.”

A six oscillator monophonic solo synth is just one of the amazing sound engines in both the XW-P1 and XW-G1. Two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs can be combined to make up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to master resonant filter.

“The solo synth has an incredibly deep and powerful design. Among countless others, the oscillators even have access to waveforms from Casio’s original CZ synthesizers. It can create a variety of classic analog sounds, but also has the power to deliver sounds with an aggressive edge” said Mike Martin. “Everyone is going to be surprised by the expressiveness and range of sounds the solo synth can create, but that is just one aspect of these products.”

In addition to the solo synth the XW-P1 performance synthesizer is armed with an arsenal of gig ready sounds like stereo pianos, vintage electric pianos, strings, brass, guitars, basses, drums and more. It also has a new drawbar organ mode providing nine steps for each drawbar, vibrato, percussion and rotary speaker control. Rounding out the XW-P1’s sound-set are HexLayer; a HexLayer is a single sound comprised of 6 components, allowing complex layers, splits and velocity switched sounds.

The XW-G1 groove synthesizer is geared for the club DJ and dance music performer. In addition to 420 built-in sounds, solo synth and PCM based sounds, the XW-G1 also has the ability to sample. A 19-second sample looper captures internal sounds as well as external instruments allowing the performer to create layers and overdub sounds on the fly. Sampled sounds can even be saved in Flash ROM so they remain in memory after the keyboard has been powered off.

Providing everything from pulsing dance grooves to animated synth textures and arpeggios, the Step Sequencer in both the XW-P1 and XW-G1 is the first of its kind. With nine tracks for drums, basses, synths and chordal parts, four controller tracks for adding panning, filter changes and other animation to existing parts and eight patterns make up each sequence; the user can build and mix their performance on the fly. Sequences can even transpose live from the keyboard, providing a completely interactive experience.

Furthermore, both the XW-P1 and XW-G1 have 4 real-time controller knobs, pitch bend and modulation wheels, along with 9 sliders to provide control over internal sounds and external devices. Through standard MIDI ports and with a class-compliant USB port the keyboard can be used as a controller for other instruments, including computer software and iPad® based software applications. It also includes an audio input allowing you to monitor an MP3 player, computer or other device without the need for a mixer.

The XW-P1 will be available in March 2012 for an MSRP of $699.00 and the XW-G1 will be available in April 2012 for an MSRP of $799.00.

For more information, visit www.casiomusicgear.com

XW-P1 Features
• 6 Oscillator Monophonic Solo Synthesizer
• HexLayer – A single sound made up of 6 components for gig ready splits and layers
• Drawbar Organ Mode with 9 sliders, adjustable rotary speaker, key click, vibrato and percussion
• 400 fully editable PCM based sounds like stereo pianos, vintage electric pianos, strings, guitars, drums and more.
• Step Sequencer with 9 instrument tracks and 4 controller tracks
• 16 step programmable Arpeggiator
• Phrase sequencer to record and playback your riffs
• Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases
• 4 real-time controller knobs
• Pitch and Modulation Wheels
• ¼” Mic and Line puts to process your voice or other instruments
• Stereo 1/8” line input to connect an MP3 player, laptop or tablet
• USB and MIDI ports
• ¼” Line Outputs
• Included Power Supply
• Can operate on 6 D batteries

XW-G1 Features
• 6 Oscillator Monophonic Solo Synthesizer
• Sample Looper – Up to 19 Seconds of sampling time
• Sample Player – 10 user tones with up to 5 samples each can be stored in Flash Memory for instant recall
• 300 fully editable PCM based sounds
• Step Sequencer with 9 instrument tracks and 4 controller tracks
• 16 step programmable Arpeggiator
• Phrase sequencer to record and playback your riffs
• Performance mode providing 4 internal or external instrument zones with instant recall of effects, Step Sequences, Arpeggiators and Phrases
• 4 real-time controller knobs
• Pitch and Modulation Wheels
• ¼” Mic and Line puts to process your voice or other instruments
• Stereo 1/8” line input to connect an MP3 player, laptop or tablet
• USB and MIDI ports
• ¼” Line Outputs
• Included Power Supply
• Can operate on 6 D batteries

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About Casio America, Inc.
Casio America, Inc., Dover, N.J., is the U.S. subsidiary of Casio Computer Co., Ltd., Tokyo, Japan, one of the world’s leading manufacturers of consumer electronics and business equipment solutions, established in 1957. Casio America, Inc. markets calculators, keyboards, digital cameras, mobile presentation devices, disc titles and label printers, watches, cash registers and other consumer electronic products. Casio has strived to fulfill its corporate creed of “creativity and contribution” through the introduction of innovative and imaginative products. For more information, visit www.casiousa.com."