Synthenoxe Part 1.0 - an Elka Synthex impression

YouTube Uploaded by wavebox2011 on Feb 27, 2011

"Just a quick impression of the Synthex synthesizer in the project studio. The fun-title "Synthenoxe" is a reminiscence of J.M. Jarre's early studio recordings like Oxygene and Equinoxe. His magnificent sound has inspired my noodling in this video, too.

All the sounds (except for the drums) have been recorded with the Synthex; including the ocean waves and animals in the intro. :-)

While experimenting around with the Synthex, I started recording some audio tracks to the DAW. And I ended up with well over 50 tracks and this demo-video. :-) This synthesizer is such an inspiring machine!

About the synthesizer:

The Synthex is clearly underrated! Maybe because it is not coming from one of the large synth plants in Japan or the U.S.A., but rather surprisingly from an organ manufacturer, the italian company Elka.
Despite this "lack of heritage" the Synthex has an amazing sound and deserves to be named alongside other classic power-synths such as the Jupiter-8 or the Prophet 5.

Sure, Jean-Michel Jarre based his famous laser harp sound on the Synthex - but it's by far not limited to that cliché.

I looked for an easy way to sync up the Synthex's internal sequencer to MIDI Clock. The most straightforward way was to hook up a Korg Electribe (ER-1 mkII) to MIDI and have a percussive instrument do the audio triggering of the Synthex. Simple, quite robust and even "programmable" to a certain degree.

Some Synthexes have no MIDI-interface (like the one in the video). But they all have one of the most intuitive sequencers I've come across in a classic synth: 4 independant monophonic sequences, easily and quickly recordable in step- or real-time-mode, syncable to an audio trigger.
And if you're a preset freak, you can even store your sequences along with your sounds as data beeping to a tape-recorder (or another recording device), thanks to the tape-interface. Old school high-tech. :-)

[ to the youngsters: "tapes", often used in the form of "cassettes", is an ancient technology for audio recording, quite popular before digital recording and youtube existed. yes, there was such a time, way way back, right after the dinos and the stone age. believe me, i was there. not with the dinos, but in the tape age. :-) ]

keep on sounding!"

XILS-lab Syn’X 2 Update

Check out the demo by SoundsDivine here.

"XILS-lab elevates exciting Syn’X 2 subtractive synthesis polytimbral powerhouse to higher heights with v2.5 upgrade


GRENOBLE, FRANCE: first available as Synthix back in 2011 before being relaunched to widespread critical acclaim in 2015 as Syn’X 2, audio software company XILS-lab is proud to announce availability of Syn’X 2 v2.5 — elevating its exciting- sounding subtractive synthesis polytimbral powerhouse to higher heights with a welcomed upgrade duly delivering several serious additions — as of January 6…

With origins dating back to its original release as XILS-lab’s third soft synth, Syn’X 2 is a polytimbral subtractive synthesis powerhouse, paying homage to the legendary (early-Eighties-era) Elka Synthex — much loved by the likes of famous French electronic music pioneer Jean-Michel Jarre, who still uses it to this day to create the distinctive sound of his onstage laser harp — from an original-sounding sonic standpoint with the striking sound of clear and punchy DCOs (Digitally-Controlled Oscillators), but brilliantly balanced against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers — such as Oberheim’s mighty (mid-Eighties-era) Matrix 12 — to create a powerful and complex virtual analogue instrument fit for 21st Century discerning DAW (Digital Audio Workstation) users. Ultimately, by drawing its inspiration from two distinctive design classics, it combines eight fully-independent layers with multitimbral flexibility; up to 72 oscillators; eight exciting-sounding ZDF (Zero Delay Feedback) filters; 32 envelopes; 32 LFOs (Low Frequency Oscillators); eight glides; and more than 500 possible modulation combinations — ‘hardwired’ or user-customisable — per patch!

Put it this way: with those eight layers combined with true unison, users can creatively think about using a unison mode that allows them to sculpt not just the number of oscillators but also subtle modulation variations for each of the hundreds of available parameters, including filters, envelopes, LFOs, stereo position, sync, ring modulation, frequency modulation, and more besides. Above and beyond that, though, it is perfectly possible to apply the creative concept to different layers to create complex layered sounds, such as animated epic pads, keyboard performances (where every component reacts to velocity in a different way), as well as splits that creatively combine arpeggios and bass parts, to name but a few exciting-sounding examples.

Several serious additions to the Syn’X 2 v2.5 upgrade elevate this exciting-sounding subtractive synthesis polytimbral powerhouse to higher heights — namely, a new natural-sounding vintage reverb effect with high-pass filter; customisable signal path for all effects and keyboard performances, so the chorus could be positioned before the reverb or visa-versa, for example, or the chorus could be applied to a lower bass split while an upper pad feeds into the phaser and then the reverb; single- window integrated preset manager for finding patches in seconds, managing presets and sound banks, and creating customised tags; revamped 1,536-pixel-wide GUI (Graphical User Interface) with Easy and Complex modes; more factory presets with widened scope for covering more musical styles; powerful InterLayer Modulation, whereby layers can now source modulations from other layers; and integrated help engine. Meanwhile, MacOS 10.15 Catalina compatibility is a given from the outset.

On the face of it, Syn’X 2 v2.5 fancifully frames an amazing vintage sound in a modern setting with hitherto unavailable possibilities, but better than its predecessors’ already amazing features. Fire it up in a DAW host running on the latest MacOS or Windows (7, 8, 10) to add some seriously creative firepower to modern-day music creations!

Syn’X v2.5 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in priced at €169.00 EUR from XILS-lab here: https://www.xils-lab.com/products/syn-x-p-134.html (Note that the Syn’X v2.5 upgrade is free for owners of Syn’X 2.)

Syn’X v2.5 can be directly downloaded as a multi-format (AAX, AU, VST) 64-bit virtual instrument plug-in for Mac (OS X 10.7 and later) and Windows (7, 8, 10) from here: https://www.xils-lab.com/products/syn-x-p-134/download.html"

Electric Universe - Getting ready for the special Laser Harp Guitar Live set at Antaris Project

Published on Jun 28, 2017 ANIS FERHAOUI

Note it's not just note on/off. At :21 you can see it controlling filter cutoff.

Ensoniq ESQ-1 TEANEGRO PATCHES

Update: NO LONGER AVAILABLE and link removed.

"Faithful emulations of classic vintage synth sounds and many more. Funky Moog basses, Oberheim strings, PE2000, PPG Wave, JX-8P, JUNO, SID, Elka Synthex (Laser Harp), TB-303, Polymoog (Vox Humana), deep pads, synth brasses, leads, DX7'ish basses, classic analogue dance basses, 90's rave buzzes, Rhodes, Clavinet, dusty string ensembles including Eminent 310 Unique...

Total 80 carefully programmed patches in two banks (SysEx). Compatible with Ensoniq ESQ-1, ESQ-M, SQ80 and Siegfried Kullmann's SQ8L. You need a computer with MIDI Interface and SysEx librarian to dump these patches into your Ensoniq."

via pascal in the comments of this video post for the soundset.

Rendezvous 3

YouTube via blackknight2545
"'Rendezvous 3' (Laser Harp)
Main Theme: KORG 'Radias' Background: Jean Michel Jarre CD 'Rendezvous'"

Jarre in Manchester 23rd may 09 pt1

YouTube via spookyuk
"Jean Michel Jarre Playing in Manchester M.E.N was a fantastic concert
This is a selection of songs."
Theremin comes in at :34 followed by the laser harp at :49.

Nord Lead 3

YouTube via rpb1966. sent my way via fischek.
"The Nord Lead 3 can re-create a wide palette of sounds, these patches, Vox Humana, Laser Harp and Billys Screaming Lead, were all programmed by myself."

More Nord Lead 3

"Just have a listen, I thought I would do a longer one this time, a nice tribute for Billy for starters, and a few other surprises."

Jean Michel Jarre Autumn Tour 2011 Preview

YouTube Uploaded by jeanmicheljarre on Oct 12, 2011

"Jean Michel Jarre Live 2011 Electronic Music Concert Europe Synthesizer Laser Harp Lights Video"

Third Rendezvous On The Elka Synthex

YouTube via oxygene65.
"Short demonstration of what the Elka Synthex is famous for. Used throughout Jean-Michel Jarre's Rendezvous album. Most famously for the sound of the laser harp. One of the best polysynths of the 80's. Sorry for the crap version of Third Rendezvous and poor sound quality."

Also via oxygene65:
Synthex Demo with Smallstone Phaser

"A quick demo of the Smallstone Phaser attached to an Elka Synthex doing a Jarre Oxygene/Equinoxe type thing. Not exactly as well done as with an Eminent 310 organ, but pretty close. Apologies for the bad sound quality."

XILS-lab Releases Ring’X Virtual Effects

Press release follows.

XILS-lab releases Ring’X representing latest addition to lengthening line of virtual effects as inspiring and musical multi-effect plug-in par excellence


GRENOBLE, FRANCE: audio software company XILS-lab is proud to release Ring’X — readily representing the latest addition to its lengthening line of virtual effects as an inspiring and musical multi-effect plug-in par excellence — as of September 28…

Duly developed as an inspiring and musical multi-effect plug-in for seriously satisfying anyone’s needs, Ring’X is certainly worthy of the oft- overused French phrase par excellence — literally translated into English as ‘by excellence’ — as evidenced by its feature-packed GUI (Graphical User Interface) that is as easy on the eye as it is easy to use.

Ultimately, it is anchored around a six-slot so-called ‘Effect Ring’ that allows anyone to insert the effects they need in the order they want, choosing from a selection of deeply-modifiable classic analogue effect emulations: ANALOG FILTER — modelled from the CMS 3320 chip, used in the exciting-sounding (early-Eighties-era) Elka Synthex subtractive synthesis-based polytimbral powerhouse (much loved by the likes of famous French electronic music pioneer Jean-Michel Jarre, who still uses it to this day to create the distinctive sound of his onstage laser harp), providing five (LP24 — 24db Low-Pass, LP12 — 12db Low-Pass, HP12 —12db High-Pass, BP12 — 12db Band-Pass, or BP6 — 6db Band-Pass) self- oscillating filter types; ANALOG 18db FILTER — modelling the specific sound and behaviour of an 18db self-oscillating filter from the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs; CHORUS (BUCKET BRIGADE DELAY); DELAY — stereo delay that copies the input signal to the left and right channel; DISTORTION; PARAMETRIC EQ — a three-band affair with each band type selectable from six standard filter types; PHASER; and REVERB — with three (L — Large, M — Medium, and S — Small) algorithms. Each effect provides four MODULATION points with a SOURCE and DESTINATION menu associated with an AMOUNT knob.

Standard STEP and specific LOC locator sequencers for modulating effects are also available — the loop goes through a defined number of steps and each time the internal clock is fired the next step is triggered, in the case of the former, while the latter is designed to be synchronised to the DAW (Digital Audio Workstation) with the loop being synchronised to the DAW bar (or a multiple of the bar).

But that’s not all. Another area well worth highlighting here features four input followers; a TRANSIENT tracker ‘module’ — detects the transients present in the input sound, each transient triggering a simple envelope without attack and release controlled by the RELEASE knob; S- DETECTION ‘module’ — detects sibilance present in the input sound, and also useful for separating high-frequency parts from those with more middle and bass frequencies; GATE ‘module’ — removes all the parts from the input sound that are below a specified threshold; and a STEREO SPACE ‘module’ — powerful stereo processing that allows users to dynamically position their audio signal into a true stereo space.

By being so flexible in both operation and resulting effects, it stands to reason, therefore, that Ring’X should come complete with a raft of presets. All are accessible via an integrated (single-window) Preset Manager, making it easy to find the right patch in seconds, manage presets, sound banks, and create custom tags. That being said, then, inspiring and musical multi-effects are only a click away, but those wishing to dig deeper to seriously satisfy their needs are always free to do just that! After all, as the latest addition to XILS-lab’s lengthening line of virtual effects, Ring’X is, indeed, an inspiring and musical multi-effect plug-in par excellence — in the literal sense of those (French- originating) words.

Who better, then, to put Ring’X in its rightful place than the Frenchman primarily responsible for bringing it into existence — namely, XILS-lab CEO Xavier Oudin (credited in the multi-effect plug-in in question’s user manual with: Concept of Ring’X and original UI design; Digital Signal Processing and plug-in coding; [and] the graphical user interface). “For a number of years, customers have been regularly asking me to create an effect featuring filters extracted from our synthesizers,” he begins, before adding: “This idea grew into providing a sort of Swiss army knife-style tool capable of sculpting audio with modulation fully independent of its content, and also able to create any kind of de-esser and transient shaper with far more possibilities than standard such effects. Eventually, Ring’X was born.”


Ring’X is available to purchase as an iLok-protected virtual effect plug-in (installable in up to two independent locations) at an introductory promo price of only €69.00 EUR until October 31, 2023 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of €179.00 EUR — directly from XILS-lab via its dedicated webpage, which also includes more in-depth information and several must-see video demonstrations, here: https://www.xils-lab.com/products/ringx-p-172.html#

A time-limited full version of Ring’X can be requested for pre-purchase evaluation purposes here: https://www.xils-lab.com/products/ringx-p-172/download.html#AskDemo

Ring’X is downloadable in 64-bit AAX (native)-, AU-, VST2.4-, and VST3-compatible formats for macOS (10.9+) and 64-bit AAX (native)-, VST2.4-, and VST3-compatible formats for Windows (7/8/10) directly from XILS-lab.

Casio CZ 5000 - CosmoSynthesis part 5 b

Published on Mar 1, 2015 Patrickillian

"Laser Harp sound ;)"

Moog Rogue Demo

YouTube via Dovinia | October 23, 2010

"Just fooling around with this versatile little synth. I'm using a Roland RS-09 string synth in the background in some places, and yes I know those are not the correct chords for that laser harp tune by Jarre."

Can the laser harp be topped...?

YouTube via shobley | January 23, 2011 |

"http://www.stephenhobley.com/store/0111/

I get asked about once a month if I can make a MIDI interface for the Theremin. So after completing the vacuum tube Theremin I thought it was about time I built one.

This device accurately matches Theremin Pitch to MIDI note, along with volume data - using a cunning blend of microprocessor, signal-processing hardware and some clever embedded software.

So far I've tested it with a PAIA Theremax, a Moog Etherwave Plus and my own Keppinger VT Theremin.

Not only does it produce pitch information, it can provide controller data, and realtime arpeggiation using simplified or complex chords - read from a MIDI keyboard connected to the input.

It even blends subtle pitch bend control into the MIDI stream to allow user controlled vibrato to be added. Just like a real Theremin.

Since enough people asked about it - I've put together a complete package here :
http://www.stephenhobley.com/store/0111/"

"Alone" by Mark Mosher played on AudioCubes (Rehearsal)

YouTube via newechoproductions | September 23, 2010

"In this video I'm playing my original instrumental electronic music song "Alone" from my album REBOOT http://markmosher.bandcamp.com/album/... .

I'm about half way through arranging and programming the synthesizers and controllers so I can add this song to my live set. I'm making great progress so I thought I'd share a rehearsal video.

It's such an organic piece, I decided to play the entire song from Percussa AudioCubes using only spatial hand movement. Ableton Live is playing back the pulsing drone, but almost all other elements are being played live via the AudioCubes. The AudioCubes are in "sensor" mode so placing my hand in front of a cube face plays a note on a virtual synthesizer hosted out of Live - almost like a Laser harp.

I only use the Novation Launchpad to change which tracks are armed thereby allowing me to switch which synths I'm playing on-the-fly throughout the song.

At the 2:00 minute mark I start playing chords by using multiple faces simultaneously.

Mark Mosher
www.MarkMosherMusic.com"

New Nantes SynthFest Videos

The following videos have been added to this post. Concert de Time Composer (extrait 4) is a pretty cool laser harp performance.

SynthFest 2017 - Présentation et démonstration Arturia Matrix Brute
SynthFest 2017 - Présentation et démonstration Arturia Matrix Brute (v2)
SynthFest 2017 - Concert de Time Composer (extrait 4)
SynthFest 2017 - Concert de Time Composer avec Kilian (extrait 3)
SynthFest 2017 - Concert de Time Composer (extrait 1v2)
SynthFest 2017 - Concert de Time Composer avec Kilian (extrait 3 v2) HD

Пятый Канал интервью с Deftaudio

YouTube via DeftAudio | December 05, 2010 | 0 likes, 0 dislikes

"Разговор о лазерной арфе и интерактивном инструменте ReActive (авторская версия Reactable)"

Googlish:
"Talking about the laser harp, and interactive tools ReActive (author's version of Reactable)"

Third Rendez vous Laser Harp

YouTube via rfoshaug

one shot recording for a solo Rendez-vous with Jean-Michel Jarre, by tlnet37

Published on Jul 9, 2013 tlnet37·87 videos

"experiment with 8 programs of the Alesis Fusion (Laser Harp imported) ; one shot with many mistakes."

Alesis Fusions on eBay

XILS-lab Releases Syn’X 2 Polytimbral Virtual Analogue Synthesizer Plug-In

Tutorial videos previously posted here. Press release follows:

"XILS-lab relaunches revolutionary virtual analogue soft synth with modern-day makeover

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of Syn’X 2 — a multi- format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and Windows 7/8) that not only continues to pay perfect homage to the legendary Elka Synthex Eighties-vintage Italian instrument from an original-sounding sonic standpoint, but balances that musicality against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers, such as Oberheim’s mighty Matrix 12, to create one of the most powerful and complex virtual analogue synthesizers of the modern era — as of June 22...

At the time of its 1982 launch the eight-voice polyphonic Elka Synthex sounded like no other synthesizer around — analogue or otherwise, and brought with it high hopes of being instrumental in ending the dominance of oversized (and overpriced) Japanese and American analogue programmable polysynths, thanks to the eight monophonic synthesizer circuits central to its innovative 16-DCO (Digitally Controlled Oscillator) driven design by independent Italian synth-master Mario Maggi. Many — meaning 1,000! — ICs (Integrated Circuits) were used in that design, however, meaning that it was not necessarily the most reliable around and did not come cheap. Consequently, not that many — not much more than the number of ICs in each instrument, in fact — were sold before being discontinued in 1985 (with one last production unit being made especially for legendary American singer-songwriter Stevie Wonder) as a ‘new wave’ of considerably cheaper and more reliable digital synthesizers boasting better MIDI (Musical Instrument Interface) implementation brought about its untimely demise. Not that this mattered much to French electronic music pioneer Jean-Michel Jarre, who has three to his not insignificant name to this day, with well-known Laser Harp performances still emanating exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/programmer Paul Wiffen (and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s super-selling Rendez-Vouz album of 1986).

Today the Elka Synthex is one of the most sought-after synthesizers around. As a result of its superlative sound design and avant-garde architecture, it’s a true musical instrument that’s truly stood the test of time. Today it sounds as fresh as it did back in 1982. Just ask Jean-Michel Jarre, who is on record as saying, “The Synthex allowed me to also develop something I had in mind with electronic music — epic, symphonic type of sounds that you probably had with the modular Moog before, such as those that Walter/Wendy Carlos used for Switched On Bach or A Clockwork Orange — a deep, mad, classical approach to a polyphonic synthesizer.” Truly, madly, deeply, indeed.

Indeed, given that finding an Elka Synthex in fine working order has become such a pricey (and patient) proposition, is it any wonder that in 2011 XILS-lab decided to effectively emulate it in software, even going so far as to enlist the eager ears of Paul Wiffen himself. “The sonic results are uncannily close to the original,” he promptly pronounced. Surprisingly, Syn’X has already been available to purchase and download from the XILS-lab web store for longer than the production lifespan of the original hardware synthesizer from which it drew so much musical inspiration. It’s time, therefore, for a serious update, and with it some fanciful features that look beyond merely modelling the Elka Synthex...

So what, exactly, is it, then, that makes Syn’X 2 so different and so much better than its predecessor? Well, wouldn’t it be wonderful if you could create a synthesizer with the sophisticated multilayer architecture of Oberheim’s mighty Matrix 12 analogue polysynth, say, with an abundance of modulation matrixes per layer — effectively enabling flexible routing to rival the monstrous modular systems that preceded it in decades gone by, but then musically married that to the expansive Elka Synthex sound? Well, with Syn’X 2 that’s no longer a dream synth, but rather reality! Roll up your sleeves and delve deeper into sound design than was previously dreamed possible, thanks to the talented teamwork of XILS-lab.

Lest we forget, Syn’X 2 offers a unique combination of clear and punchy DCOs with cutting-edge analogue-modelled multimode filters to faithfully reproduce the superlative sound that so clearly defined the Eighties era, but, because it’s polytimbral, users can access up to eight individual synthesizers simultaneously with 16 oscillators, eight 0DF (Zero-Delay Feedback) analogue-modelled filters, 32 D-ADSR (Delay, Attack, Decay, Sustain, Release) envelopes, and modulation matrixes addressing any of 132 possible destinations when creating their own patches — truly a sound designer’s dream come true!

This being a XILS-lab product, predictably, perhaps, there are many more features to make a serious song and dance about. All-important additions to Syn’X 2 include: oscillators with (up to 40) cumulative waveforms (per patch); new 0DF PWM (Pulse Width Modulation)/hard sync oscillator algorithms; unique CHAO (2D space movement) and (five rhythmic effects) RTHM LFOs (Low Frequency Oscillators) with (up to 50) cumulative waveforms (per patch); two arpeggiators; two keyboard zones — Upper and Lower, suitable for split and layered instruments; guitar multitimbral mode — whereby all layers can be assigned to independent MIDI channels, so playing different sounds with each guitar string, for instance, is possible; polyphonic SEQUENCER (that also acts as a modulation source); vintage-sounding CHORUS, DELAY, PHASER, and EQ effects (with proprietary True Stereo Technology); and 300 phenomenal presets programmed by professional sound designers, to name but few.

Fortunately for some, a helpful Easy mode provides programmers with an intuitive and powerful yet streamlined environment, similar to XILS-lab’s recently released miniSyn’X polyphonic, duo-timbral virtual analogue synthesizer plug-in, but with additional envelopes and LFOs, etc, easily accessible. Alternatively, the Advanced mode makes all aspects of Syn’X 2 available, allowing users to create complex, thick, and never-heard-before patches with a radically reworked workflow, which, it turn, makes it one of the most powerful and complex virtual analogue synthesizers of the modern era!


Syn’X 2 is available to purchase as a USB eLicenser or iLok (1 and 2) protected plug-in for an introductory discounted price of €127.00 EUR until July 21, 2015 (rising to €169.00 EUR thereafter) on the XILS-lab web store here: https://www.xils-lab.com/products/Syn'X-%3A-iLok-or-eLicenser-protected.html

Syn’X 2 can also be purchased as a bundle together with the miniWork’X sound library — featuring 268 miniSyn’X sounds for Syn’X 2 programmed by Lotuzia — for an introductory discounted price of €148.00 EUR until July 21, 2015 (rising to €198.00 EUR thereafter).

Note that owners of the original Syn’X can upgrade to Syn’X 2 for free while owners of miniSyn’X can upgrade to ‘full-blown’ Syn’X 2 status for an introductory discounted price of €93.00 EUR until July 21, 2015 (rising to €124.00 EUR thereafter).

Syn’X 2 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/Syn%27X_Download.html

Several superb audio demos showcasing Syn’X 2 can be heard here: https://www.xils-lab.com/pages/Syn%27X_Audio.html"

Laser Harp on YouTube

via Tim. YouTube by Shayu.