A demo of a effect sound i made, Under the Name The Abyss, its a strange sound. And only the EX5 can achieve this type of sounds, I used no external FX for this and there is almost no layered tracks, mostly one continous recorded track. I used the AWM/FDSP engine for this, Cheers!
Yamaha EX5 Demo The Abyss
2. Public Transport (Yamaha EX5 Demo)
A ambient track, where i mostly use my Yamaha EX5, and most specifically a sound i made under the name Transporter, which kinda sounds like a bowed string instrument, where i used the FDSP synth engine. I also used my Korg M50 and Kawai K5000s for some more layered sounds. All the sounds were made by me.
Use the player controls on bottom to skip around. You can find descriptions for each video below. You can find additional Synthesizers.com contest posts here.
Playlist:
1. O Z Hall: Zebra Synth
Dive into the enthralling world of synthesizers and witness O Z Hall's outstanding entry, "Zebra Synth", in the Synthesizers.com Composition Contest. Crafted with unparalleled precision and technique, this remarkable composition combines an array of captivating sounds that will take you on a breathtaking sonic journey.
Hall masterfully utilizes three distinctive patches in "Zebra Synth" to create an immersive soundscape. The first patch features a drone made using a Q106A oscillator, which is meticulously processed by a wave folder. Another oscillator, intertwined with linear FM from the wavefolder output, results in a fascinating "clang tone" that is beautifully amplified by a digital reverb.
In the second patch, a sequenced voice is artfully produced by employing two re-paneled Q106 oscillators. One output is channeled into the input of the linear FM, which subsequently provides intriguing timbral variations. The Q119A sequencer's 3rd row masterfully controls a Ratchet effect, adding even further depth to the composition. An expertly-applied digital delay effect enriches the output of this patch.
Lastly, the lead voice is ingeniously designed using the Q169 Dual Oscillator with Pulse Width modulation. O Z Hall skillfully manipulates the 24db/oct low pass filter in real-time to deliver an electrifying performance. The extended digital delay effect ties the entire sonic experience together. O Z Hall's "Zebra Synth" draws its arsenal of modular synthesis tools from the Synthesizers.com catalog, including Q106, Q106A, Q119A, Q171, Q148, Q127, Q169, Q168, Q167, Q114, Q174, and Q175A modules. The creative process has been meticulously executed, showcasing how these modules can be combined to engineer a rich and dynamic sound adventure.
"The Innovative World of Synthesizer Sounds: Kip Kubin's Patch for One Oscillator
Get ready for a fascinating journey into the captivating world of synthesizer sound creations!
Esteemed contestant, Kip Kubin, brings a remarkable entry to the celebrated DotCompetition 2023 with his awe-inspiring composition, "Patch for One Oscillator". Taking inspiration from Isao Tomita's iconic bell sound in his renditions of "Snowflakes Are Dancing", Kip Kubin's magnum opus is a testament to the boundless possibilities of synthesizer sound experimentation.
Expertly combining a curated selection of synthesizers.com modules, including the Q106 Oscillator (triple stack!), Q112 Mixer, Q109 Envelope Generator (double pack!), Q124 Multiples, and Q108 VCA and Q150 Filter from Corsynth, Kip Kubin skillfully constructs an immersive and exhilarating sonic landscape that transports listeners to a world of electrifying soundscapes.
Demonstrating an unwavering commitment to exploration and pushing the boundaries, Kip not only recreates Isao Tomita's famous sound but also introduces a fresh and innovative patch, solidifying his status as an avant-garde synth composer. This groundbreaking entry surged ahead in the competition, ultimately landing Kip Kubin with an impressive third place win! As you immerse yourself in Kip Kubin's transcendent "Patch for One Oscillator", let yourself be transported into a realm of groundbreaking sound engineering, capturing the essence of both technical prowess and sheer creative genius."
"This sound is inspired by lead sounds of the 70's/80's from Isao Tomita and Tangerine Dream (Remote Viewing), but will also be reminiscent of Kate Bush's 'All we ever wanted', and even Jeff Wayne's 'War of The Worlds' musical. It uses a filter/VCF in self-oscillation as a VCO, controlling it melodically, with envelopes and noise to help recreate the sounds. No VCO/oscillator is needed in the patch, and white or pink noise is optional, but necessary to get a Tomita-like whistle sound. Tomita originally used a Moog modular system for these sounds, so given that the AJH Synth MiniMod system and it's Transistor Ladder Filter are directly based on the early R.A.Moog version of the Minimoog, it's possible to get very close to such sounds. However, I've not tried to emulate it exactly, but you can see that the basis for this patch is very easily customisable, so it's a very useful synth patch to understand for a variety of musical applications. Patch sheet PDF can be downloaded here: https://kvisit.com/8AE/rv4G
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end, with notes below, to show you how to construct it for yourself.
Index: 00:00 Intro 00:29 Performance Example & Overview 02:22 Assembling the patch 03:14 Importance of envelope 03:42 Delayed LFO/Vibrato 05:25 Adding Glide 06:12 Adding Noise 06:56 Mod wheel control of LFO 07:36 Noise as Filter Mod source 08:16 Patch Diagram
Patch Notes: Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. This is based on the version in the video with noise mixed in as audio, and glide applied to the keyboard CV. For variations without noise or glide, and usage with a mod controller, see the appropriate part of the video (check Index). Only a couple of connections need to be changed for these purposes. V-Scale: Used here as a simple multiple, but since it's handling Gate signals any passive multiple could be used. DH-ADSR: Another Contour Generators could be used instead, but the advantage with the DH-ADSR is independent control of both Decay and Release, meaning greater control. It serves as a great companion to the Contour Generators for this reason. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Ladder Filter: The Gemini 2412 would also work well here, it's tracking in self-oscillation is actually better overall. It would just need to have high resonance/self-oscillation enabled by the rear jumpers (see online manual or video user guide). The Ladder Filter struggles to track at lower frequencies, this is an authentic characteristic of the original Minimoog filter, but it's fine for the pitch/note ranges used in this video. The Sonic XV will also self-oscillate, but it's ability to track 1V/Oct is not as tight as the Gemini. Modules used from left to right: Glide + Noise (Mk I or Mk II), V-Scale, DH-ADSR Envelope, Dual LFO + VCA, Contour Generators, Transistor Ladder Filter, Discrete Cascaded VCA."
Moog Model 10 | Hannes Bieger video upload by Moog Music Inc
"Hannes Bieger is no stranger to the power of Moog large-format modular systems. The Berlin-based producer, mixing engineer, and live artist—who has been creating and recording ground-shaking techno and house music with his System 35 for years—recently discussed how his experience with modular instruments has shaped his style and process.
'What I love about modular is how you can incorporate ‘happy accidents’ in the workflow, especially when tossing around patterns on the analogue sequencers,” Hannes shared. “I love the physicality of the process, actually standing in front of this big instrument rather than sitting in front of a computer screen. Finally, there is a sonic world difficult to achieve with conventional synths. I love, for example, how I can create stereo sounds with a pair of VCAs and AM modulation as a part of the actual synthesis, not with external effects.'
Hannes shares more about how modular instruments like the Model 10 (now back in production!) and System 35 have shaped his style and process in a new interview on our website. Check out the full interview at moogmusic.com!
More about Hannes Bieger: http://hannesbieger.com"
Model 10 Returns to Production!
One of our most beloved legacy instruments, the Model 10 modular synthesizer, is officially back in production at our factory in Asheville, North Carolina. This re-issue of the instrument follows a limited-time production run in 2019 that helped introduce these systems to a whole new generation of synthesists.
Today's Model 10 is a faithful recreation of Bob Moog’s first compact modular synthesizer model, all the way down to its hand-soldered electronic circuits. Each system is built to order and now includes a host of updates that allow this machine to be more easily integrated into modern studios across the globe.
The fully analog instrument is made up of 11 discrete analog modules, including the 907 Fixed Filter Bank, revered for its vast sound shaping and timbral possibilities, and three 900 Series oscillators, the foundational sound behind works like Wendy Carlos’s Switched-On Bach and Isao Tomita’s Snowflakes Are Dancing.
The predecessor to the Model 15, the Model 10 design focuses on purity of sound and simplicity to provide the enormous sonic depth and dimension found only in a vintage Moog modular synthesizer. This powerhouse breaks down the fundamental building blocks of sound, gifting the operator the ability to explore new frontiers of self expression—a tradition of electronic experimentation that has continued to evolve since the dawn of modular synthesis.
Update2: Playlist with three user videos (you can skip around on the top right or bottom left):
Sonic Lab: Behringer Poly D! - sonicstate
Behringer Poly D -solo sonidos / only sounds - FutureMusic.es
Behringer POLY D - MrFirechild
Behringer POLY D: Review, Tutorial and Patch Ideas // Auto-damp explained - loopop
Update: post updated with larger pics. Click them for the detail.
Note the POLY D is more like a Mono/Poly in how you stack/route the oscillators. There are 4 VCOs, so you can set them to trigger one at a time for 4 voice paraphonic polyphony. Paraphonic in that they share the same filter, envelopes, etc. You can't have a fully separate voice with independent filters, envelopes, etc like on a truly polyphonic synth. This is not a Memormoog or Moon One. That said, it is a step ahead of a standard Minimoog - 4 vs 3 VCOs with the ability to play paraphonically. If it's light enough, you might even be able to kick back on a couch with it. An original Minimoog on the lap would get heavy fast.
The 1970s spawned the first truly portable analog synthesizer, and while it was quickly adopted by lots of renowned musical artists including Jan Hammer, Chick Corea, Rick Wakeman, Jean-Michel Jarre, Isao Tomita and Keith Emerson to name a few, it was somewhat temperamental and very expensive. An ultra-affordable homage to that iconic synthesizer, with all the features of the original and then some, the Behringer POLY D lets you conjure up virtually any monophonic or polyphonic sound imaginable with incredible finesse and ease. The pure analog signal path is based on authentic VCO, VCF, VCA and ladder filter designs in conjunction with a dedicated and fully analog triangle/square wave LFO. Owning a POLY D is like having your own personal time machine, enabling you to freely embrace the past – or shape the future!
"synth4ever's 'Ambient Worlds' is a FREE Novation Peak & Summit soundset that contains 51 custom ambient chillout patches. Journey to the stars with this diverse sound pack of pads, arps, leads, textures, SFX, drones and soundscapes for Novation Peak & Summit synthesizers.
synth4ever's 'Ambient Worlds' is a Novation-commissioned custom soundset & sound pack for Peak & Summit digital/analog hybrid synths. With "Ambient Worlds", synth4ever channels his love for ambient chillout music and sound design into a collection of 51 custom patches for musicians to use and enjoy.
With influences ranging from Isao Tomita, Autechre, Boards of Canada, Vangelis, Ulrich Schnauss and more, this ambient sound pack features numerous spacey pads, lush soundscapes, grainy textures, melodic arps, cutting leads, motion loops and experimental SFX. Each patch also has tasteful aftertouch, animate and modwheel assignments to encourage further sonic exploration by the musician.
In creating these patches, synth4ever's goal was to push Novation Peak’s hardware into new sonic territory by leveraging new features in the v1.2 firmware update. As a result, you will find many examples of modulated effects as an integral part of his patch design, and extensive use of the mod matrix to create vast morphing soundscapes.
In his own words, he says: “I aim to create melodic sounds that are pleasing to the ear and which take the listener on a deep emotional journey through electronic music, especially ambient space music”. These varied ambient-focused patches are a result of this vision, and showcase his creative approach to sound design.
"'I aim to create #melodic sounds that are pleasing to the ear, which take the listener on a deep emotional journey through electronic music.' -
@synth4ever
🎹🎛🎚"
"Synth4ever is a Canadian ambient artist, sound designer and electronic musician who performs live ambient electronica, synth demos and patch design via his popular YouTube channel.
With influences ranging from Isao Tomita, Autechre, Boards of Canada, Vangelis, Ulrich Schnauss and more, Synth4ever channels his love for ambient chillout music into this diverse sound bank for the Novation Peak and Summit.
This ambient pack features numerous spacey pads, lush soundscapes, grainy textures, melodic arps, cutting leads, motion loops and experimental SFX. Each patch also has tasteful aftertouch, animate and modwheel assignments to encourage further sonic exploration by the musician.
In creating these patches, Synth4ever's goal was to push Peak’s hardware into new sonic territory by leveraging new features in the v1.2 firmware update. As a result, you will find many examples of modulated effects as an integral part of his patch design, and extensive use of the mod matrix to create vast morphing soundscapes.
In his own words, he says: “I aim to create melodic sounds that are pleasing to the ear, which take the listener on a deep emotional journey through electronic music”. These varied ambient-style patches are a result of this vision and showcase Synth4ever’s creative approach to sound design."
Making a Moog Synthesizer Published on Sep 17, 2019 Moog Music Inc
"At the Moog Factory in Asheville, North Carolina, every Moog modular synthesizer is hand-built to its original factory specifications. Individual modules are brought to life just as they were nearly 50 years ago: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Each module is then hand-tested, finished with an aluminum panel, and placed into a custom tolex cabinet before the synthesizer leaves for its new home. Watch "Making a Moog Synthesizer" and step inside the Moog Factory to see how Moog synthesizers are built with love and care by the employee-owners at Moog Music.
Original score created by Bana Haffar and composed on a Moog Model 10 Synthesizer."
"The Moog Model 10 Synthesizer returns to production at the Moog Factory in Asheville, NC – making this iconic analog synthesizer available again to artists after nearly 50 years. Every Model 10 is hand-built to its original 1971 specifications and is a true recreation of the original. Individual modules are brought to life just as they were nearly 50 years ago: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Each module is then hand-tested and placed into a custom tolex cabinet before the synthesizer leaves for its new home.
Watch Making a Moog Synthesizer [above] and step inside the Moog Factory to see how Moog synthesizers are built with love and care by the employee-owners at Moog Music.
The Model 10 is faithful in every way to its 1971 counterpart (the first compact modular synthesizer model created by Dr. Robert Moog) – all the way down to its hand-soldered electronic circuits. The Model 10 is comprised of 11 discrete analog modules, including the 907 Fixed Filter Bank, revered for its vast sound shaping and timbral possibilities, and three 900-Series oscillators, the foundational sound behind Wendy Carlos’ Switched-On Bach and Isao Tomita’s Snowflakes Are Dancing.
The predecessor to the Model 15, the Model 10 design focuses on purity of sound, speed, and simplicity while providing the enormous sonic depth and dimension found only in a vintage Moog modular synthesizer."
"Watch as Anthony Gonzalez and Joe Berry of M83 patch in and explore the Moog Synthesizer IIIp."
"In the late 1960s, Bob Moog and a team of ten skilled technicians began hand-building cutting-edge musical instruments that they called 'synthesizers' -- instruments that would radically change the landscape of music.
The world got turned on to the idea of the synthesizer -- and electronic music -- through the visionary works of experimental musicians during the late 60s and early 70s. Wendy Carlos composed her sonic masterpiece Switched On Bach using the electronics of a customized Moog Synthesizer III--creating space for artists like George Harrison to employ his Moog Synthesizer IIIp on the Beatles’ Abbey Road sessions, and Isao Tomita to shape the sounds of 'classitronica' using the first Synthesizer IIIp in Japan on Snowflakes Are Dancing.
Although production of Synthesizer IIIp was discontinued in 1973, these original modular systems designed by Bob Moog are inimitable in sonic character and remain highly coveted for their limitless reconfigurability and vibrantly organic musicality.
Nearly fifty years later, we are proud to announce the return of the Moog Synthesizer IIIp to production for a very limited time.
Every Synthesizer IIIp will be built using all-original documentation, art, and circuit board files. Moog Synthesizer IIIp production is highly limited. Only 40 units will be produced and sold worldwide.
"Synth fans everywhere are rejoicing as Moog Music has announced today that they will be creating a limited edition replica of the classic IIIp Synthesizer. With only 40 new IIIp units available worldwide, this is an extremely limited release. Vintage King has a small number of these synthesizers and we are starting to take pre-orders as of today.
What can you expect from the new IIIp reproduction? As with the other recent systems that Moog has recreated, the brand is dedicated to replicating the original down to the smallest details. Built based on original documentation, circuit board and art files, the IIIp will feature 37 hand-built modules, including 10 901-Series oscillators, the 905 Spring Reverb and the 984 Matrix Mixer.
The history of the Moog IIIp is a storied one. Dr. Robert Moog, the beloved genius behind the namesake brand, began working with hundreds of musicians in the 1960s to develop a method of expanding electronic music. The idea was to push beyond the basic sound generators that had previously been created using old radio and recording studio equipment.
After years of research, the results of Bob's efforts led to him to start building individual models and custom modular systems. As orders grew in numbers, Bob began assembling a team of ten techs who would help him handbuild these early synthesizers in his New York-based storefront space.
While the original three synthesizers (Synthesizer I, II and III), were built into large cabinets meant for use in studios, the IIIp was designed to be more mobile. Bob would take the formula of the previously released IIIc pre-configured synth and put into a portable 3-cabinet unit that would make up the IIIp.
Moog synthesizers are world renowned for having ushered in a new era in the sonic exploration of music, thanks in part to users like Wendy Carlos, Isao Tomita, Kraftwerk, Gary Numan and beyond. Perhaps the best use of the IIIp synthesizer would be in The Beatles' 'Here Comes The Sun,' as George Harrison and Manfred Mann's Mike Vickers programmed a piece of synth magic for one of the pop world's most beloved songs."
Moog Synthesizer IIIc (Or: Music For Riding Dragons)
Published on Apr 28, 2017 Moog Music Inc
"In the late 1960s, Bob Moog and a team of ten skilled technicians began hand-building cutting-edge musical instruments that they called "synthesizers" -- instruments that would radically change the landscape of music.
Fifty years later, we are proud to announce the return of the Moog Synthesizer IIIc to production for a very limited time.
Every Synthesizer IIIc will be built using all-original documentation, art, and circuit board files. Moog Synthesizer IIIc production is highly limited. Only 25 units will be produced and sold worldwide.
Throughout the 1960s, Dr. Robert Moog collaborated with over 100 composers of electroacoustic music to create the synthesizer concept, born of thousands of design decisions and countless conversations. At the time, the available method of producing electronic music was the “classical studio,” a makeshift production environment cobbled together from individual electronic sound-generators such as surplus telecommunications devices, radio equipment, and early tape machines. Moog and the musicians he worked with streamlined this classical studio technique into a system of standardized sound modules.
In 1965, Bob Moog began taking orders for individual modules and customized modular systems. By 1967, he and a team of ten skilled technicians were hand-building production models in an unassuming brick storefront in Trumansburg, NY. The cutting-edge musical instruments that they called “synthesizers” signaled electronic music’s maturation from an awkward and shy intruder in the realm of music to a dynamic and significant medium of musical expression.
The first models were aptly named Synthesizer I, II, and III. With the introduction of the Moog Synthesizer IIIc -- the “c” referring to the walnut “console” cabinet -- musicians could purchase a complete instrument pre-configured for logical access to a range of facilities usually associated with the largest classical studios.
Each synthesizer took weeks of patient, steady crafting to complete, but the payoff would be rich -- a tool that would change the landscape of music.
The world got turned on to the idea of the synthesizer -- and electronic music -- through the visionary works of experimental musicians like Wendy Carlos and Isao Tomita. Sonic masterpieces like Switched On Bach and Snowflakes Are Dancing were made possible by the early modular Moog Synthesizers. These original modular systems designed by Bob Moog are inimitable in sonic character and remain highly coveted for their limitless reconfigurability and vibrantly organic musicality.
Fifty years later, we are proud to announce the return of the Moog Synthesizer IIIc to production for a very limited time.
'Through archival designs, so-called obsolete electronics, and outmoded production processes, we are rediscovering the magic of our past. It’s a privilege to build instruments in this way; it lets us reimagine what future tools can be. There is so much potential in this history.' - Anna Montoya, Moog Production Engineer / photo via deadaudioblog
Every Synthesizer IIIc will be built using all-original documentation, art, and circuit board files. Each instrument features thirty-six hand-stuffed, hand-soldered modules, including ten 901-Series audio oscillators, the 984 Matrix Mixer, and the 905 Spring Reverb. All modules are securely mounted into two hand-finished, solid walnut console cabinets at the Moog factory in Asheville, NC.
Moog Synthesizer IIIc production is highly limited. Only 25 units will be produced and sold worldwide."
This post is a little late going up, but better late than never! :)
I'm going to keep this one a little shorter than usual as I am aware I have a tendency to get a little too wordy at times.
First of all, I want to thank you all for taking a little bit of your day out to visit the site. I want to thank those that contribute to the synthesizer scene and actually give me something to post! Finally, I want to give a HUGE THANK YOU to all the individual supporters of the site, and the sponsors you see on the right and above! Your support literally makes the site as it is possible!
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And a look back at 2016...
Update: I forgot to mention, we had a total of 13,679 posts in 2016! Update2: also, as always take a look back at the exclusive label for the most interesting bits of synth history.
First a look back at some of the people (and companions) we lost last in 2016.
2016 was rough. On the maker front we lost Don Buchla, who along with Bob Moog, was undoubtably the creator of the synthesizer as we know it today. We lost Ray Wilson of Music From Outer Space, arguably one of the greatest, if not the greatest, influencers in synth DIY. Many makers out there started with his projects.
On the musician front we lost some of synths' greats including Keith Emerson, Isao Tomita, Bernie Worrell and Jean-Jacques Perrey. We lost a couple of pioneers of electronic music as well, namely Jean-Claude Risset and Pauline Oliveros.
Note the above are only those I could tie in with synths. Two artists you might notice missing are Prince and George Michael. Both deserve a mention. Prince I could have tied in with an Oberheim connection. I still remember lusting after an OB-8 after seeing his videos in the 80s.
RIP posts are the hardest to write. Not only because you are mourning the loss of someone great, but because you know your post will never be good enough.
As for new gear in 2016, you might have noticed all of the "New in 2016" labels that have gone up in posts throughout the year. I created the labels back in 2015 as a means to keep track of all the new gear coming in. I also thought it would be a quick, easy, and interesting way to get total counts of everything at the end of the year. Here are the numbers (links will take you to posts for each):
Note, as with anything, labels can be a little tricky. Sometimes there will be overlap, sometimes items will be announced one year, but released in another if at all, and of course, if I'm not made aware of an item it gets missed. You'll likely see a few items from 2015 in the 2016 list for that reason. I also found it can be difficult to categorize certain items. Drum machines for example get bucketed under synths, but I think for 2017 I will create a new label for them and just use both.
All that said, if you look at the numbers above we had 753 new products/items appear on the site last year. Always of notable interest were the items from vintage synth history that were never featured on the site before. Last year there were 21. An interesting side note is that matches the 21 we had the year prior in 2015. I won't go into any in detail as you can take a look at the label yourself and as I mentioned above I'm going to try and keep this post short. You can check out any of the categories above. Also worth noting is there were 101 new makers to the site in 2016! Check them out via the link above.
I was never one for top 10 lists, as although they can be fun, I'm a firm believer that all gear has something to offer. It's up to us to use the gear and find out. That said I do think it's worth mentioning some of the major synth releases this year. Not only does it gives us a quick look at what the major players released but it also lets us see when they were released in the year. The following is a quick list:
"George Hall recreates sounds used on Isao Tomita's album Snowflakes are Dancing (The Newest Sound Of Debussy) on a Studiologic Sledge synthesiser. Learn synth programming with George Hall."
Update2: some info from the AH list: "Notice Tomita's CS80 has a CV and Gate ("T" for Trig?) mod for each voice. I also see he signed some of his instruments presumably to prove they were his in the future.
Tomita's main use of the CS80 was on the album "Daphnis et Chloe" (called "Bolero" in the US and "The Ravel Album" in parts of Europe) he also used it on "Grand Canyon" though not as obviously. I've not heard mention of his using the CS-80 as a controller for presumably his modulars. He definitely was always into looking into techniques in speeding up his painstaking multitracking process.
One of the more unusual items is what looks like a small trade show display of high quality synthesizer pots that I guess at some point Tomita was involved in the re-manufacture of. The other, more of digital fans is the Casio Cosmo prototype system. My understanding is Casio wanted to do a high end sampler and Tomita was hired as a consultant and endorser. They eventually did put out the prosumer level FZ-1 but by then other companies had carved up the sampler market."
And: "The CS80 was also used on the 1984 "Dawn Chorus" album (also known as "Canon of the three Stars"), in one of the renditions of the Villa-Lobos pieces (some brass patch)."
Published on Jan 12, 2015 SEVILLA ANDALUCIA ESPAÑA
This is a tough one to post (ALL RIP posts are tough to post). It has come to my attention that Isao Tomita passed away last Thursday, May 5. He was 84 years old. His music was pure magic as you can see above. That video, and that performance, however brief as it was, is probably my favorite synth performance of all time. It is absolute magic. I've posted it several times in the past but it always appears to get pulled down, so enjoy this while you can. Hopefully this one will stay up.
Tomita has been featured and referenced in countless posts here on MATRIXSYNTH. He was active in the synth world until the end. To say he will be missed is an understatement.
You all know who he is and what he meant to the synth community. I am so going to miss this man. Where you are Tomita-san, thank you for the magic.
"Isao Tomita (冨田 勲 Tomita Isao?, 22 April 1932 – 5 May 2016)[1], often known simply as Tomita, was a Japanese music composer, regarded as one of the pioneers of electronic music[2][3] and space music,[4] and as one of the most famous producers of analog synthesizer arrangements.[5] In addition to creating note-by-note realizations, Tomita made extensive use of the sound design capabilities of his instrument, using synthesizers to create new sounds to accompany and enhance his electronic realizations of acoustic instruments.[5] He also made effective use of analog music sequencers[2] and the Mellotron and featured futuristic science fiction themes,[3] while laying the foundations for synth-pop music[6] and trance-like rhythms.[7] Many of his albums are electronic versions and adaptations of famous classical music pieces and he received four Grammy Award nominations for his 1974 album Snowflakes Are Dancing.[3]"
"For a limited time in Setagaya-ku, Tokyo Casio Toshio invention Memorial in Seijo from December 7, 2015 to 26 days, many of Casio electronic musical instrument name of the machine has been special exhibition. What in it, Isao Tomita became the CZ series of the original post-supervised "Cosmo synthesizer" has been exhibited, I was able to be allowed to specially taken with kindly Casio Toshio invention Memorial .
Although had been exhibited this time was only the main unit, the source of this addition to the keyboard unit, the waveform is sampled connect the digitizer is there 16bit personal computer, I was able to be processed.
Within the rack, but did not make it into the release of what was announced, it was released 16bit sampler sampler "ZZ-1" of vision that became the prototype of the "FZ-1" after was also housed.
Unfortunately, the power supply was not possible to manipulate or heard the sound does not enter. But I was able to touch directly on the Cosmo synthesizer you think Defunct without having seen decent until now.
Again we would like to thank Casio Toshio invention Memorial who gave a very valuable opportunity.
