Rare SYNERGY II+ SYNTH w/Kaypro Computer + Software

synergy_demo_divx.avi

YouTube Uploaded by jeanielotsacats on Sep 9, 2011

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


via this auction

Additional video at the auction and below.

"DKI SYNERGY II+ SYNTHESIZER WITH KAYPRO 2X

VOICE PROGRAMMER, SYNHCS 3.22 SOFTWARE,

COMPLETE SYNERGY VOICE LIBRARY AND MANUALS

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

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

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

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

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

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

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

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

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

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

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

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

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

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Roland JD-XA Analog Digital Synthesizer Demo Videos

Published on Sep 24, 2015 SamAshMusic

Roland JD-XAs on eBay
http://www.rolandus.com/products/jd-xa/

"The Roland JD-XA Analog/Digital Crossover Synthesizer is an advanced new keyboard that offers a unique and powerful approach to synthesis, putting the best elements of analog and digital synth technology at your fingertips!

First, there’s a four-part, all-analog monster with true analog filters and a direct dry output. Next up is a four-part digital engine powered by Roland’s SuperNATURAL synth technology, plus an impressive selection of potent effects. The JD-XA’s engines can be used independently or interactively, providing an incredibly flexible platform for sound design, studio work, and live performance."

Playlist:
Roland JD-XA Analog Digital Synthesizer - Overview
Roland JD-XA Analog Digital Synthesizer - Tone Architecture
Roland JD-XA Analog Digital Synthesizer - Crossover Concept
Roland JD-XA Analog Digital Synthesizer - Arpeggiator and Effects
Roland JD-XA Analog Digital Synthesizer - Sequencer
Roland JD-XA Analog Digital Synthesizer - Sequencer
Roland JD-XA Analog Digital Synthesizer - website sounds & sequences
Roland JD-XA Analog Digital Synthesizer - LED Configuration
Roland JD-XA Analog Digital Synthesizer - Vocoder

DK SYNERGY II+ SYNTHESIZER, KAYPRO II & SYNHCS SOFTWARE

synergyII timbres Uploaded on Sep 5, 2010 xenmaster0


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

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

via this auction

"DIGITAL KEYBOARDS SYNERGY II+

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

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

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

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

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

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

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

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

"THE BELL LABS DIGITAL SYNTHESIZER AND THE SYNERGY II+

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

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

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

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

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

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

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

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

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Korg NTS-1 Custom Oscillator Dev: Basic Phase Distortion Analysis

videos upload by Graham Keane

Update: new videos added.

"This simple program will serve as the basis for implementing the Vector Phaseshaping technique as outlined by Lazzarini, Timoney et al."

Playlist demos:

1. Korg NTS-1 Custom Oscillator Dev: Basic Phase Distortion Analysis

In this short video we will have a quick examination of the output of the classic phase distortion technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique produces a non-linear phase distortion of a basic cosine waveform.

2. Korg NTS-1 Custom Oscillator Dev: Filtered Phase Distortion Analysis

In this short video we will have a quick examination of the output of the filtered phase distortion program implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique produces a non-linear phase distortion of a basic cosine waveform which has pitch-tracked filters to tackle some of the aliasing.

3. Korg NTS-1 Custom Oscillator Dev: Basic Vector Phaseshaping (VPS) Analysis

In this short video we will have a quick examination of the output of the basic Vector Phaseshaping technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique uses a 2D inflection point to modulate the phase of a cosine waveform.

4. Korg NTS-1 Custom Oscillator Dev: Interpolated VPS Analysis

In this short video we will have a quick examination of the output of the interpolated Vector Phaseshaping (VPSI) technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique utilises pitch-tracked filters to combat aliasing as well as linear interpolation to reduce the effects of abrupt jumps in the phase due to skipped intervals in the inflection point's range.

5. Korg NTS-1 Custom Oscillator Dev: Formant Synthesis with VPS - Analysis

In this short video we will have a quick examination of the output of Formant Synthesis in the Vector Phaseshaping technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique uses a 2D inflection point to modulate the phase of a cosine waveform which generates formant peaks over certain ranges.

6. Korg NTS-1 Custom Oscillator Dev: Formant Synthesis via VPS with Interpolation Gain - Analysis

In this short video we will have a quick examination of the output of the Formant Synthesis through Vector Phaseshaping technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This particular version uses an interpolation gain to scale two separate VPS signals which are then linearly mixed to produce the main signal. The final signal is processed with pitch-tracked filters and an additional linear interpolation process to reduce the impact of gaps in the inflection points path which give rise to abrupt phase shifts.

7. Korg NTS-1 Custom Oscillator Dev: VPS with Multiple Inflection Points (MVPS) - Analysis

In this short video we will have a quick examination of the output of the Vector Phaseshaping technique with Multiple Inflection Points implemented on the Korg NTS-1 Nu:Tekt digital synthesizer.

8. Korg NTS-1 Custom Oscillator Dev: VPS with Lissajous Modulation - Analysis

In this short video we will demonstrate the output of the Vector Phaseshaping technique with Lissajous Modulation implemented on the Korg NTS-1 Nu:Tekt digital synthesizer.

9. Korg NTS-1 Custom Oscillator Dev: Multi-Vector Phaseshaping Synthesis (MVPS) Analysis

In this short video we will demonstrate the output of the Multi-Vector Phaseshaping Synthesis technique implemented on the Korg NTS-1 Nu:Tekt digital synthesizer. This technique uses a 3-2D inflection points to modulate the phase of a cosine waveform, which can produce interesting shapes as a result.

Additional Graham Keane Korg NTS-1 posts.

Roland Museum Germany Massive Synthesizer Selloff - Most Gear for Sale in a Single Auction

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

This one in via Marko of Retrosound.de.

26.000,00 Euro gets it all.

via this auction

Someone needs to contact the Guiness Book of World Records. Longest list of gear for sale ever:

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Synclavier Go! for the iPad Gets AUv3 Client Capability and Soundfile Support

via Synclavier Digital

"Synclavier Digital advances acclaimed Synclavier Go! iPad instrument app with welcomed AUv3 client capability and Soundfile support

NOVA SCOTIA, CANADA: launched last year to widespread critical acclaim at The 2019 NAMM Show, Synclavier Digital is proud to announce continued advancement of Synclavier Go! — its innovative iPad instrument app directly descended from the codebase of New England Digital’s seminal Synclavier® II Digital Synthesizer, spearheaded by original co-inventor Cameron Warner Jones as a faithful recreation of the high-flying hit-making mega machine — at an even more pocket-friendly price for Version 1.30 (with welcomed AUv3 client capability, Soundfile support, and more), available as of March 12…

“Part of my decision to embark on development of an iPad version was to introduce my instrument to a wider audience,” asserts Cameron Warner Jones, justifying faithfully recreating the seriously-priced seminal Synclavier® II Digital Synthesizer secured by a privileged few — forever stamping its influence on music technology throughout a lengthy lifespan, ever evolving from its early Eighties entrance to an enforced exit as the cutting edge eventually became more mainstream — at a much more pocket-friendly price on Apple’s all-conquering tablet computer. Continues Cameron Warner Jones: “In this vein, we have decided to drop the price to $19.99 USD for the time being. We want as many people as possible to be given the opportunity to own a world-class instrument. If we can inspire the next Stevie Wonder or Suzanne Ciani, we have achieved our aim. And if there are price concerns with Synclavier Go! then we hope that this $10.00 USD reduction will mean more young, aspiring musicians will now have access to this professional music-making tool.”

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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.

Synclavier Digital's Regen Gets Wider Release

video upload by Synclavier Digital

Regen Tutorials


Regen Quickies


You can find additional posts featuring demos of the Regen here.

Press Release follows:

"Synclavier Digital releases regenerated Synclavier® II trailblazer as timeless Regen desktop synthesizer bolstered by present-day DSP developments

NOVA SCOTIA, CANADA: soft-launched late last year to widespread critical acclaim at the Synthplex® synthesizer expo and electronic music festival hosted at the Marriott Convention Center in Burbank, CA, USA with pre-orders opening for fulfilment in 2023, timeless synthesis product manufacturer Synclavier Digital is proud to announce wider availability of Regen — released as a desktop synthesizer that is, in short, a real regeneration of New England Digital’s seminal Synclavier® II digital synthesizer that took the pro audio industry by storm when introduced in its initial incarnation in 1980 (evolving beyond that to blaze more technological trails with polyphonic sampling and, ultimately, DAW — Digital Audio Workstation — capabilities well before that term was invented, even), extended and enhanced to take advantage of the increased computing power available today to make it as compelling in a modern setting as the prohibitively pricey original did during its time (finding favour with top-tier film composers, record producers, and recording artists), while the considerable cost and size reductions associated with Regen’s present-day design criteria conversely position it well within reach of (almost) anyone — as of June 29…

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KORG Introduces KORG Module Pro / KORG Module V4 Updates

KORG Module Pro / KORG Module v4: Hybrid Preview

Korg

"Version 4 of KORG Module is now available, with a new Hybrid Digital Synthesizer and AUv3 support."

KORG Module Pro / KORG Module v4: New Features

"The KORG Module series of iOS apps are equipped with a professional-grade sound library and can be used in the studio, for music lessons and when working live. With this major upgrade, KORG Module Pro and KORG Module now add a hybrid digital synthesizer and the much-anticipated support for AUv3. Both KORG Module Pro and KORG Module can be updated to version 4 for free.

The "Hybrid Synth Pack 2" and "Cinematic" expansion sound packs are now available for the new sound module, each with 30 additional programs. We're also offering a free trial that lets you try out each expansion sound library for a week before you buy.

In addition, the new synth module can be used as the Fairbanks gadget in KORG Gadget 2. With the addition of AUv3 support, it can be used not only with KORG Gadget 2, but also with third-party iOS music production apps like Apple Garageband. Enjoy the wonderful sounds of the KORG Module!

The new synth module "Hybrid"

Hybrid is built on a brand new engine that allows you to create a wide variety of rich and powerful sounds ranging from warm analog sounds to sharp synth leads to shimmering FM sounds - even tempo-synced sequences. Each sound has the optimal parameters selected on the interface so you can quickly adjust to suit your preferences.

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New AnalogFusion Polyphonic Analog Synth with huge Digital Section by FingerSonic

Published on Oct 16, 2018 Fingersonic

On the heals of the Synset FM and EXP1 Synthesizer, FingerSonic introduces the AnalogFusion.

"Introducing AnalogFusion, a top notch instrument boasting 2 separated Analog and Digital Synthesizer engines. You decide wether creating warm analog sounds, pure digital or layer them to create unique fat sounds. Massive features unlocking access to a new world of synthesis possibilities.

Demo by Italian Keyboardist Giuseppe Di Capua"

"Analog polyphonic synthesizer

AnalogFusion is a top notch, no compromise instrument with 2 completely separated Analog and digital synthesizer engines. You decide wether creating warm analog sounds or pure digital or layer them. Massive features unlocking access to a new world of synthesis possibilities.

Discrete analog circuitry

The polyphonic analog synthesizer engine (6 voices) was developped to provide all the features you can dream off and usually find on prestigious vintage synthesizers. Each voice is composed with 2 oscillators (3 waveforms: Saw, Pulse, Triangle) with Pwm, 3 lfos, hard sync, ring modulation, multimode filter, white and pink noise generators. The Oscillators are detunable. All the analog circuitry is made with discrete components, no FPGA or ASIC.

Analog or digital question is over, Get both!

Additionally to its pure analog synthesis section, AnalogFusion also offers a complete digital synthesis engine capable of doing Virtual Analog (2 oscillators, multimode filter, 2 enveloppes, 3 LFO), FM (6 operators with multimode filter for each voice) or wavetable synthesis. A dedicated drum section is also present with 10 instruments.

Analog/digital layer mode

A layer mode allows to stack the analog and digital synthesizers, a perfect fusion to create incredibly fat sounds!

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The Dartmouth Digital Synthesizer - Lars Gunnar Bodin-Bilder (Images)

Published on Sep 21, 2013 biedrzyn·103 videos
Re-Published on Jun 2, 2015 #LarsGunnarBodin

"Provided to YouTube by Smithsonian Folkways Recordings

Bilder (Images) · Lars-Gunnar Bodin

The Dartmouth Digital Synthesizer

℗ 2004 Smithsonian Folkways Recordings / 1976 Folkways Records

Released on: 1976-01-01"

Previous video description from biedrzyn:

"Album: V/A The Dartmouth Digital Synthesizer (1976). Lars-Gunnar Bodin (July 15, 1935, Stockholm) is a Swedish pioneer in the field of electronic music during the 1960s, especially in the Scandinavian scene."

The Dartmouth Digital Synthesizer was the precursor to the NED Synclavier. See the Dartmouth label at the bottom of this post for more.

via ... którędy pójdą dzicy święci where you'll find the full post on the release.

"The music on this recording was produced on a new kind of synthesizer developed at the Thayer School of Engineering at Dartmouth College. In 1972 composer Jon Appleton began working with two engineers, Sydney Alonso and Cameron Jones, to develop a computer-controlled synthesizer. Significant work had already been done on digital synthesis, but it was felt by the inventors at Dartmouth that an inexpensive, totally dedicated system could help many composers explore this new way of producing sound. The inventors also wanted to create a users language which did not require computer expertise as had previous computer music programs..."

via f * mass

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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New Waldorf Iridium Keyboard Synthesizer w/ Polyphonic Aftertouch

Sounddemo video upload by WaldorfMusicChannel

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

Waldorf teaser revealed.

Update:

Matt Johnson Jamiroquai Exclusive!! Waldorf Iridium Synthesizer keyboard version

video upload by

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

All rights reserved."

And the press release:

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

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

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

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

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

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

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

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

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

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

Follow-up to this post.

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

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

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

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Meet the New KORG volca fm - DIGITAL FM SYNTHESIZER

Published on Mar 9, 2016

We saw it at NAMM 2016. We now have official details and demos from KORG.

"A polyphonic digital synthesizer that completely reproduces a classic FM sound engine.

The volca fm is a three-voice digital FM synthesizer that completely reproduces the sound engine of a classic FM synthesizer, and provides compatibility with it as well. The unique volca interface makes it easy to manipulate distinctive FM sounds even if you're not familiar with the complexities of FM synthesis. The 16-step sequencer that's one of volca's features provides new functions such as WARP ACTIVE STEP and PATTERN CHAIN that let you make even more powerful rhythm patterns."

via KORG

"A polyphonic digital synthesizer that completely reproduces a classic FM sound engine
The volca series has shed new light on classic technologies by linking classic sound engines such as the groove machines and early samplers of the past with the dance music of today. Now it's time for the series to gain an FM sound engine.

The volca fm is a three-voice digital FM synthesizer that completely reproduces the sound engine of a classic FM synthesizer, and provides compatibility with it as well. The unique volca interface makes it easy to manipulate distinctive FM sounds even if you're not familiar with the complexities of FM synthesis. The 16-step sequencer that's one of volca's features provides new functions such as WARP ACTIVE STEP and PATTERN CHAIN that let you make even more powerful rhythm patterns."

The FM engine has 6 operators, with 32 algorithms like the original Yamaha DX-7. The vocla fm is able to convert and load SYS-EX/SYX files created on the Yamaha DX7.

Kinetic Sound PRISM Synthesizer Sound Demo Cassette 1980

Published on Dec 10, 2016 Encyclotronic

"The ultimate musical instrument, the PRISM is completely digital, poly-phonic, and programmable. Never be-fore has so much capability been offered in one compact musical pack-age. You'll find all the features you'd expect of a digital synthesizer plus a wealth of unique new ones"

Product description via Encyclotronic where you'll find additional pics and info (also see GForce Software):

"Introducing... the most exciting performance-oriented digital synthesizer in the world

Here at last is your dream machine... a musical instrument uniquely your own... one that whets your artistic appetite to create and play all the colorful sounds of the spectrum.

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Yamaha DX7, Roland D-50 & Korg M1 - 80's Synths Compared

Published on May 5, 2017 Power DX7

Playlist:
Yamaha DX7, Roland D-50 & Korg M1 - 80's synth Demo, Miami Vice, Pink Floyd and Yes, Part 1
Yamaha DX7, Roland D-50 & Korg M1 - 80's synth Demo, Emerson, Lake & Palmer, Pink Floyd Part 2

"Want to know how capable Yamaha DX7, Roland D-50 and Korg M1 synthesisers are ? Can the DX7 keep up with the mighty D-50 and M1? Watch this video to find out!!!

This is a demo of Yamaha DX7, Roland D-50 and Korg M1 synthesisers, the 80’s 3 iconic digital sysnthesizers showcased side by side. Part 1 will compare e.piano, piano and pipe organ sounds.

Yamaha DX7 Synthesizer – The first commercially successful digital synthesizer with Frequency Modulation synthesis
a. Released in 1983
b. FM synthesis based on 32 algorithms to design a particular sound
c. A sinewave generating oscillator with an envelope is called operator
d. No filters, you create all necessary harmonics/ inharmonics from a sine wave

Roland D-50 Linear Synthesizer – The first commercially successful digital synthesizer with a fully digital subtractive synthesis, a virtual analog synthesizer and 8 bit sampled waveforms
a. Released in 1987
b. Digitally emulated subtractive synthesis with typical waveforms such as sawtooth, square etc
c. PCM section includes 8 bit sampled waveforms
d. Each unit is called partial
e. Structures to combine different partial
f. Digital filter with resonance

Korg M1 Work Station – The first commercially successful digital workstation with 16 bit sampled waveforms for acoustic sounds and drum kits, as well as an 8 track sequencer
a. Subtractive synthesis with 16 bit waveforms
b. Digital filter without resonance
c. 1 oscillator mode for 16 polyphony (2 oscillator per voice for 8 polyphony)
d. A well-designed workstation for music creation

Electric Piano
Korg M1 – Softer with a bit of sharp attack
Roland D-50 – Softer and mellow
Yamaha DX7 – Power DX7 Signature E.Piano patch with solid and sharp attack and a smooth chorusing effect

Piano
Korg M1 – Modified piano patch with amazing realism due to its 16 bit waveforms
Roland D-50 – No compared
Yamaha DX7 – Power DX7 Signature Grand Piano patch with amazing realism at lower and mid notes

Pipe Organ
Korg M1 – Factory Patch Pipe Organ with realism
Roland D-50 – Factory Patch, Cathedral with realism
Yamaha DX7 – Power DX7 Signature Soft Cathedral patch with realism
Yamaha DX7 – Power DX7 Signature Cathedral patch that faithfully emulates the pipe organ sound from Yes, Close To The Edge"

RARE Classic Synergy DK II GDS Digital Synthesizer SN 01180

via this auction
"Rare vintage classic Digital Synthesizer Synergy DK II keyboard serial number 01180, manufactured between 1982 and 1985, in excellent condition. This is the second version with the RS232 serial port for output to computer. You control the Synergy through a Z-80 based machine (KAYPRO II recommended) with at least 64k of memory via a RS-232 port. Does not include the kay-pro computer or software, software is available online.

The Synergy's innovative features included a weighted 76 key keyboard, multi-timbral playback, full polyphony, digital portamento, polyphonic sequencers, microprocessor scanning and stereo outputs. In addition to the 24 factory pre-sets, more sounds could be loaded from ram cartridges.

Very impressive sounding synthesizer even without computer, must sound incredible with computer. Excellent ability to recreate complex acoustic instrument sounds. Synergy has a wonderful warm sound and feel to keyboard.

Some of the features of this outstanding true digital synthesizer are;

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Roland Introduces the D-05 - Boutique Version of the Roland D-50

Published on Sep 9, 2017 RolandChannel

It may not have all the sliders of the concept module posted here, but it does have the engine. An interesting side note is that this is Roland's first synth to feature their "newly developed Digital Circuit Behavior (DCB)". The second video explains what this is. It is interesting. I always assumed digital was digital and easily ported. I do know that DACs (digital to analog converters) can have an impact on the sound you hear from a synth, and one of the reasons why many prefer the sound of the original DX7 vs. newer hardware. Nord/Clavia also advertised their new DACs on the Nord Lead 2 allowing for a cleaner sound if I remember correctly. All that said, it is interesting to think that Roland took time to work on their DCB technology to get a sound closer to the original, vs. just porting the digital engine. I'm looking forward to A/B tests with the original.

Roland Boutique D-05 Preset Walkthrough

Published on Sep 9, 2017 soundseasy

Roland D-50 Celebration Moments with Woody Piano Shack

Published on Sep 9, 2017 Woody Piano Shack

Roland D-05 Boutique Linear Synthesizer Sound Module - Overview and Demo

Published on Sep 9, 2017 Musician's Friend

And the press release:

"New Roland Boutique module recreation of the renowned D-50 Linear Synthesizer from the 1980s

Los Angeles, CA, September 9, 2017 — Roland announces the D-05 Linear Synthesizer, the latest addition to the growing Roland Boutique electronic instrument lineup. The D-05 is a compact reproduction of Roland’s D-50 Linear Synthesizer from the late 1980s, one of the most influential synthesizers ever produced. Combining the newly developed Digital Circuit Behavior (DCB) sound generator with the actual samples used in the original instrument, the D-05 delivers the D-50’s iconic, highly recognizable sounds with complete authenticity, backed by all the modern conveniences of the compact and affordable Roland Boutique module format.

Released in 1987, the D-50 was Roland’s very first all-digital synthesizer. Powered by the revolutionary Linear Arithmetic (LA) Synthesis engine, the instrument’s unique mix of sampled attacks and synthesized sustaining waveforms – plus built-in chorus, reverb/delay, and EQ for studio-quality polish – made it a must-have synth for musicians around the world. The D-50’s bold new sounds and beautifully crafted presets inspired artists everywhere and quite literally dominated the popular music, film soundtracks, and commercial jingles of the era. To celebrate the 30th anniversary of this giant in the history of synthesis, Roland presents an inspiring recreation that brings the genuine D-50 experience to the music creators of today and beyond.

At the D-05’s core lies the first synthesizer with Roland’s DCB technology. Paired with the exact PCM attack and loop samples that were so vital to the D-50 sound, the D-05 precisely recreates every tonal nuance in stunning detail. The user interface is totally authentic as well, with the familiar D-50 panel layout and many direct-access controls. Even the all-important D-50 joystick is included, allowing users to smoothly morph between different mixes of Upper and Lower Tones in real time.

The D-05 also includes many modern enhancements not available with the original D-50. The 64-step polyphonic sequencer is ideal for performance and music creation and offers the ability to sequence shuffle and gate timing along with tempo and patch changes. There’s also a built-in arpeggiator for adding movement to the D-05’s already evocative LA Synthesis sounds.

Like all Roland Boutique modules, the D-05 is extremely portable, runs on USB bus power or batteries, and functions as a USB audio/MIDI interface for performing and producing with a computer. It also includes a built-in speaker for monitoring the sound in mobile situations. When mounted in the optional K-25m Keyboard Unit, the D-05 can be used as a compact, all-in-one synth with 25 velocity-sensitive keys."

R-MONO Lab S³-6R 6 Voice Polyphonic Raspberry Pi Synthesizer

Published on Nov 29, 2016 R-MONO Lab

Note this is the first Synth-Sennin and R-MONO Lab post on the site. Synth-Sennin is the maker and R-MONO Lab is a maker club that Synth-Sennin is a member of. R-MONO Lab also features projects from other makers.

"The S³-6R is originally developed by The Synth-Sennin (The Hermit Wizard of Synthesizer) who was once a sound engineer of the Company "R". It is innovative digital synthesizer which is clearly different from general analog modeling synthesizer.

Individual synthesis based on original phase control and modulation thinking (αα-Phase Modulation). Driving in High-Resolution (24bit/96kHz) and 6-Polyphonic. Also it is a feature that very low alias noise even if extreme modulation. It adopts a Raspberry Pi as a platform.

Version 2 Additional Functions
• Oscillator Type (Including Noise)
• Phase Mutator
• Pre / Post Clipper"

via R-MONO Lab where you'll find additional demos.

"Main Features

Original-Uniq Phase Control and Phase Modulation Synthesis (αα-Phase Modulation)
Also features envelope generator and LFO dedicated for phase modulation.
High-Resolution (24bit/96kHz), 6-Polyphonic
(5-Polyphonic when using Super Oscillators)
Running on the Raspberry Pi 3

High-Resolution (24bit/96kHz) 6-Polyphonic Innovative Raspberry Pi Synthesizer made by The Synth-Sennin (The Hermit Wizard of Synthesizer).
Version 2 unvailed.
Version 2 Additional Functions
Oscillator types (including Noise)
Phase Mutator
Pre / Post Clipper

The S³-6R is originally developed by The Synth-Sennin (The Hermit Wizard of Synthesizer) who was once a sound engineer of the Company “R”. It is innovative digital synthesizer which is clearly different from general analog modeling synthesizer.
Individual synthesis based on original phase control and modulation thinking (αα-Phase Modulation). Driving in High-Resolution (24bit/96kHz) and 6-Polyphonic. Also it is a feature that very low alias noise even if extreme modulation. It adopts a Raspberry Pi as a platform.
* Currently, there are no plans to release as products and to publish the source codes.

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