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Jon Johnson

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  1. Jon Johnson

    Novation Supernova II

    The SuperNova II (2000) was available in 24, 36 and 48-voice models with additional 12 or 24-voice expansion boards. Available again in a 3U rack-mount format, the SuperNova II was also available in a 61-note performance keyboard version with velocity and aftertouch, enabling sound tweaking during live performance. FM synthesis capability was included along with ring modulation, dual analogue inputs and a 42-band vocoder. An 8-part arpeggiator was also on-board and in its full version the product offered 8-part multitimbrality and 48-voice polyphony, with 57 and 2304 oscillators running simultaneously.
  2. Jon Johnson

    Novation Super Bass Station

    In addition to it's original architecture there were now separate ADSR's for the filter and envelope. A key follow effect was added to filter section. An Sample and Hold sub oscillator, noise generator, a ring mod effect, and, a mixer section for balancing all sound sources.
  3. Jon Johnson

    Quasimidi PolyMorph Module

    By integrating the Morphing Sequencers with it's expressive synthesizer engine the Quasimidi Polymorph a sophisticated instrument with many complex features and facilities. The Polymorph is 4 part/4 synth sequencer/drum machine and an 8 to 16 voice synthesizer featuring Quasismidi's ANALOG EMULATION SYNTHESIS as well as sampled waveforms with a noise generator. the synth parts can have 3 oscillators each or to share polyphony parts can be 2 oscillators per voice. The instrument also includes 4 independent effect blocks for each part and a memory of 128 programs and 64 performances.
  4. Jon Johnson

    ESTRADIN SOLARIS 314

    EMR "Solaris" (Estradin -314) - Polyphonic body has clear sound, allows us to achieve a very soft and very sonorous tones. It has 49 keys, with five registers transitions 1 ', 2', 2 1/2 ', 4', 8 '; function glissando - a: downhill 2 octaves down (serves as compensation for the absence of the second manual); setting a range of 1.5 pitch. Brilliance - a function which increases the overall brightness of the sound in all registers, operates independently of the other settings. Filter Sliders meet the following standards: Stress - Envelope. Band - Cutoff. Brightness - resonance. Attack, damping pedestal, sustain. Functions vibrato tone modulated frequency oscillations (frequency) and envelope (timbre). Pedal - volume. Output- Line Out.
  5. Jon Johnson

    Siel DK600

    The SIEL DK600 is six voice analog synthesizer with digitally controlled oscillators. The DK600 is a programmable polyphonic synthesizer, featuring 6 voices with 2 DCO's each and keyboard dynamic control. Its 95 programs offer an extremely wide sonority range. The 12 Digitally Controlled Oscillators (DCO) make it possible for you to create no end of synthesized sounds with an excellent pitch stability (no special tuning required). A digital/analog converter, combined with 3 Low Frequency Oscillators (LFO), enables impressive modulations and a very rich and "fat" sound. DK 600 is a superb synthesis of both technical knowledge and musical experience. The controls layout enables simple real-time adjustment of all parameters and offers an immediate visual indication of operation in current program. The programmable dynamic envelope generator makes it possible for you to control both the Attack Time and the A.D.S.R. destination (filter, amplifier, or both) for advanced sound possibilities. Moreover, MIDI. connection allows you to hook the DK 600 together with any MIDI. equipped synthesizer or sequencer. MIDI. standard may be adopted also for interconnection to computers. The DK600 was released in the midst of the era of the Oberheim Matrix 12 and Roland Juno 106 which were both formidable competitors. However the Siel DK600 had dual oscillators per voice which enabled it to sound thicker than it's competitors because of its six voices having two oscillators per voice made it have 12 oscillators.
  6. Jon Johnson

    Opera 6 Version 3

    Version 3 of the Opera 6 from Siel features 6 voices with 12 Voltage Controlled Oscillators and is very similar in look and style as the original and Version 2. This time still with blue casing, and pitch and mod wheels, but without the two buttons between them found on Version 2. The newest and biggest change was the unit now featured 12 Digitally Controlled Oscillators. The instrument still offered 6 voices. Version 2 of the Opera 6 from Siel featured 6 voices with 12 Voltage Controlled Oscillators and is very similar in look and style as the original with a new blue casing, pitch and mod wheels, and repositioned buttons allowing more space for the user to perform functions. The synthesizer's architecture is still a 6 voice unit with 12 voltage controlled featuring square and saw waveforms with pulse width modulation. The Opera 6 has MIDI note on/off with velocity and program change only. Backups could be performed over MIDI as well and also tape backup is available. A pitch wheel was added alongside the original's mod single wheel.
  7. Jon Johnson

    Korg DS-8 FM Synthesizer

    The Korg DS-8 is an expandable FM synthesizer released by KORG in 1986 which used the Yamaha FM synthesis engine with 2-Op oscillators. 61 Keys in length with both initial and switchable aftertouch capabilities it stores up to 100 programs and 10 combinations in its internal memory. By using one of the optional non-volatile (but battery-powered) KORG RAM cards MCR-01, MCR-02, or MCR-03 this program memory can be expanded by extra programs and combinations: 100/10 for the MCR-01, 200/20 for the MCR-02, or 400/40 for the MCR-03. Programs can be backed up and received via standard MIDI dumps. The DS-8 features one joystick controller for bending pitch, timbre and modulation speed, one card slot for aforementioned KORG RAM Cards, MIDI IN/OUT/THRU jacks, a damper pedal, assignable pedal, assignable switch, program up pedal, one balance slider, four keyboard modes (Single, Layer, Double and Multi) and two slider controls which indicate the ability to edit the two oscillators from fast to slow. The three editable banks shown on the right side of the board (Function, Voice Parameter and Combi Parameter) provide multiple ways in which the user can edit the programs, banks and patches. At $1400 RRP the DS-8 was a revolutionary, cheap and affordable product for its time.
  8. Jon Johnson

    Cosmic Furnace - Roger Powell

    Roger Powell debuted in 1973 with an overlooked solo release, Cosmic Furnace, and soon after, was invited by Rundgren to join up with the recently formed Utopia. Powell's debut with Utopia was on their second release, 1975's Another Live, which led to further work on Rundgren solo albums (1975's Initiation, 1976's Faithful, and 1978's in-concert Back to the Bars), as well as another prog rock-based Utopia release, 1977's RA. Wounded Bird. 2005.
  9. Jon Johnson

    Moog Micromoog

    The Moog Micromoog is a single-oscillator monophonic synthesizer. Considered a budget synth alternative to the Minimoog with unique features like a ribbon controller and an early form of something like MIDI called Open System that allowed Moog synthesizers to connect and play together. It features 32 keys with audio processing through it's filter and VCA. Moog Promotional Copy You may have thought of owning a Moog synthesizer someday. But. you may also have thought it costs too much, or that it's hard to play. Wrong. Especially now, with the advent of the Micromoog. It's easy to buy. And easy to play. $695 suggested list. And it's every inch a Moog. With that patented, "fat" Moog sound, and all the smooth, playable features people buy Moons for. Plus a few new ones. Like the built-in ribbon controller. Slide your finger up the ribbon and the pitch slides up. Slide it down, the pitch slides down. And the sound snaps back to the key you're playing the moment you re-lease your finger. It's a simple little work of genius that lets you duplicate the blues guitar bend, the trombone slide. or the violin vibrato, not to mention your own unique expressions. Pitch drift is a thing of the past with this synthesizer because the Micromoog won't go out of tune. It has an oscillator control circuit that maintains it-self precisely at 130° F (55° C). No matter what the temperature is on stage. But the Moog features don't stop here. There's "noise" control for making drums, cymbals, steam engines and thunderstorms. Fully variable wave shape to get right down to the harmonic structure of sound. Rapid filter modulation for dinner bells, church bells, tubular bells. An eight octave range. Built-in sample and hold. Arid a lot more you'll discover when you visit your Moog dealer. All this brings us to the most important point - freedom of expression. And all for $695 suggested list.
  10. Jon Johnson

    Moog The Source

    The Source is a monophonic analog synthesizer with 2 oscillators and noise generator, filter and 2 envelope generators. One for the amplifier and one for the filter. 37-note keyboard with modulation and pitch wheels. Each oscillator offers saw, triangle, and, square waves.The square weave can be adjusted for pulse-wave.They were still the familiar Moog oscillators but under digital control offering more solid stability. The sound of the Moog Source is said to be "fat" as any of their analog gear before it. The newer, cleaner interface points to Moog's insight at knowing where the market was headed for synthesizers. Moog Promotional Copy THE SOURCE is a microprocessor-controlled, programmable monophonic synthesizer from Moog Music. A unique touch panel and a master incremental control are used to store the setting of each section of the synthesizer in memory. where up to 16 presets may be instantly recalled. Sound sources consist of two audio oscillators and a noise source. The oscillators range from 32' to 1' and can produce sawtooth, triangular, and variable rectangular waveforms. Oscillator 2 may be synchronized to Oscillator 1, producing additional waveforms. The Moog • filter and voltage controlled amplifier are controlled by individual microprocessor-generated four-part contour generators. The oscillators and filter may be controlled by a low-frequency oscillator which produces triangular and square waves. Performance controls consist of pitch and modulation wheels and single or multiple triggering controls. Interface ports allow input and output of control voltages and triggers. The microprocessor allows saving and loading preset sounds with a standard audio tape recorder. The microprocessor controls a software-generated sequencer (two reel-time sequences of up to 64 notes), an arpeggiator with timing discrimination, automatic triggering, and soft-ware-generated sample + hold, routed to the oscillators and/ or filter. These controls are accessed by a second-level entry system.
  11. Jon Johnson

    Waldorf Microwave XT

    The Microwave is still is one of the best choices when you’re looking for that unusual and cut-through sound. It’s all in Waldorf’s wavetable synthesis, which is behind the success of the legendary PPG synthesizers, the Waldorf Microwave I and of course the Wave – a dream-machine in its own right. About Wavetable Synthesis Basics The sound generation of the MicroWave II/XT/XTk is based on wavetable synthesis. This type of synthesis combines analog access and digital flexibility in a simple way. Although wavetable synthesis is a form of "sample playback" in principle, you should avoid this term because functionality, operation and results are totally different. The ROM area of the MicroWave II/XT/XTk currently consists of 65 wavetables, 31 locations are reserved for future ROM wavetables. The RAM area contains 32 user wavetables, which can be manipulated over MIDI via appropriate computer software. A wavetable is a list made up of 64 entries. Each entry represents one wave, that can be either located in the ROM or RAM area of the MicroWave II/XT/XTk or calculated by an algorithm after selecting the wavetable. For the purpose of using a wavetable inside a sound program, it doesn’t matter what source the wavetable comes from. A wavetable itself contains no wave data, but is in fact a collection of up to 64 entries referencing up to 64 waves. Not all entries of the wavetable have to contain entries. When one or several sequential entries contain no reference, the MicroWave II/XT/XTk calculates the waves for these locations automatically. The algorithm producing these "imaginary" waves uses an interpolation scheme that crossfades the "real" ones. E.g. when a wavetable contains entries in entry 95 RwkdTNpg8 1 and 5, the positions 2 to 4 are generated based on interpolation between the existing waves in entry 1 and 5. Please keep the terms "wavetable" and "wave" in mind. Don’t bring them into confusion. Introduction Wavetable synthesis gives the MicroWave II/XT/XTk the unique sound character which makes it different from all other synthesizers and samplers. The principle of wavetable synthesis is not new, The PPG synthesizer, "Wavecomputer 360", "Wave 2", "Wave 2.2",and, "Wave 2.3", and, also the Waldorf MicroWave, (the first one) and, Waldorf Wave use this concept. The MicroWave II/XT/XTk contains some enhancements to wavetable synthesis which improve the sonic quality in a remarkable way. An introduction to wavetable synthesis needs some attention because its operation principle is different to other sound generating systems. Nevertheless you should spend a little time in understanding the basics. You will gain more than the effort it takes. Please note that you cannot create your own wavetables or waves with the MicroWave II/XT/XTk itself. To do so, you need a wavetable editor, a special computer program, that allows you to create and edit wavetables and waves.
  12. Jon Johnson

    Formanta Mini

    The Formanta Mini. is is a portable polyphonic 8-voiced analog\digital hybrid synthesizer with microprocessor made by soviet Formanta Factory in the 1980's. It features 32 unique and programmed timbres "presets". There is a vibrato effect with depth & frequency control & "unison" effect. You can can play 8 voices at one time. It features a unique set of electronic parts, reliable keyboard (41 notes C-E) made in magnetically controlled contacts; synthesis modules consist of independent boards, which is convenient for maintenance. The Mini is designed for playing musical compositions of different genres. It can play timbres of wind and strings instruments. Besides, it can create different synthesized timbres. Using this instrument one can get the following sound effects: frequency vibrato with the continuous control in depth and in frequency, percussion with continuous control, continuous fading and rise of sound, glissando. This instrument provides for continuous and discrete volume control. The Mini is an eight-voice keyboard with finger-board. It is designed for playing musical compositions of different genres. It can play timbres of wind and strings instruments. Besides, it can create different synthesized timbres. Using this instrument one can get the following sound effects: frequency vibrato with the continuous control in depth and in frequency, percussion with continuous control, continuous fading and rise of sound, glissando. This instrument provides for continuous and discrete volume control. Specifications: Controls on the grip handle - 2 Sustain buttons, Vibrato, Solo button (doubles the volume) Glissando Controller (1-2 semitone up\down pitch shift) Keyboard's volume - 3 and 5/12 octave Audible range - 4 and 5/12 octave Number of fixed timbres - 32 The range of frequency vibrato control - 0,5:10Hz Range of depth vibrato control - 0:6% Power consumption - 6 W Dimensions - 600x250x85 mm Weight - 5 kg Engineer: Alexander Reunov, designer: Andrey Petukhov, produced by Formanta Katchkanar radio plant.
  13. Jon Johnson

    Timewind - Klaus Schulze

    Timewind is the fifth album by Klaus Schulze. It was originally released in 1975, and in 2006 was the twenty-second Schulze album reissued by Revisited Records. It is Schulze's first solo album to use a sequencer. For many years this was his only work available in the United States and was therefore rated higher by American listeners than 1977's Mirage or X of the following year. It was awarded the Grand Prix du Disque (Grand Prize for Records) of L'Académie Charles Cros. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, "Movements of a Visionary," but it remains a transitional work somewhere between the Krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner. Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself. "Bayreuth Return" was recorded on a two-track equipment in one take, and is essentially "live in the studio". Its rhythmic basis is a single analog sequencer pattern, transposed and manipulated in real time. (The manipulation primarily consists of changing the 'return' point of the sequence.) String synthesizer chords, improvised melodies, and complex sound effects are the remaining ingredients. "Wahnfried 1883", in contrast, is a slow piece that was composed and multitracked. Its main building blocks are layers of slow, shimmering pads and lines. The kaleidoscopic key changes without obvious 'home key' (the piece remains consonant throughout) may be seen as a musical nod to Wagner: also, a Leitmotif appears. An excerpt of the graphic performance score appears on the inside sleeve of the original vinyl version. The reissue bonus track "Echoes of Time" is a longer alternate take of "Bayreuth Return".
  14. Jon Johnson

    PPG Wave 2

    The PPG Wave Synthesizer, is no doubt considered one of the most respected high-end synthesizers of the 1980s. developed by Wolfgang Palm. Its featured on countless records, and it inspired a whole generation of producers, composers and listeners. The PPG Wave 2 was the very first digital Wavetable synthesizer with analog filters that allowed completely new worlds of sound and endless sonic possibilities. Shortly afterwards, the successor PPG Wave 2.2 came out and was born to make history. With a gigantic arsenal of waveshapes, it could not only reproduce known analog sounds, but also brilliant choirs, bells and whistles. The digital sounds of wavetables had been unheard until then and offered sensational sonic evolutions by smoothly going through 64 waves back and forth. A characteristic anomaly of the Wave's sound was harsh artifacts and aliasing. At the time of it's release it was considered a caveat by critics of the instrument, however now it is a desired aspect of it. The combination of digital waveshapes and analog filters of the PPG was responsible for an unparalleled fat and thrust boosting character. The original PPG featured a unique user-interface, the "Analog Control Panel" offered direct access to many parameters, while digital menus were edited with somewhat cryptic acronyms that you had to look up in the manual in your lap.
  15. Jon Johnson

    Korg KARMA Music Workstation

    The Korg KARMA Keyboard builds on the effects and synth engines of KORG's epic Triton. The Karma's revolutionary technology generates amazing phrases, grooves, and other effects ”- arpeggios, glissandos, fingerpicking and guitar strumming, portamento, pitch-bend moves, and more. Karma gives you the power to play impossible interwoven cascades of notes, techno arpeggios and effects, dense rhythmic and melodic textures, and natural-sounding glissandos. Alter and randomize all of it in real time with a bank of knobs and switches. Create 640 user programs (384 preloaded), plus 256 ROM programs and nine drum programs with 64 drum kits. Combine up to eight programs set up in splits and layers for 768 possible user combos. The 16-track sequencer handles up to 200,000 notes and 200 songs (999 measures per song). Realtime Pattern Play/Recording for one-touch phrases. Seven Years in the Making At Korg they're always dreaming up innovative ways to make their keyboards more expressive, more powerful, and more musical. When they first learned about a brand new technology called KARMA, they knew they'd found one. Seven years after assembling a global team of skilled engineers, programmers and musicians, the Karma Music Workstation brings new music-making possibilities to life. To start, its synth and effects engines are identical to Triton's - so you know how great it sounds. It's also compatible with Triton sound data and supports the same user-installable PCM and MOSS expansion options so your sound palette can grow. Plus, the Karma Music Workstation provides the same feature-packed 16-track sequencer that has made the Korg Triton the leader in music workstations. So what makes this new keyboard so special? It's KARMA, Korg's revolutionary technology that generates amazing phrases, grooves and other musical effects that can be altered and randomized in real-time. With a bank of knobs and switches, you control elements like rhythmic complexity, harmony, melodic repeat, phrasing, panning...even the synth's sound and effects. KARMA gives you the power to play impossible, interweaving cascades of notes, techno arpeggios and effects, dense rhythmic and melodic textures, natural-sounding glissandos, intricate fingerpicking and guitar strumming, swooping portamento and pitch bend moves to name but a few. The only limiting factor is your imagination. Karma like this only comes around once every seven years. Fortunately for you, the wait is over. KORG's finest tone generator -- the HI synthesis system The 62-voice Karma Music Workstation features the same world-renowned HI (Hyper Integrated) synthesis system as Korg's TRITON Music Workstation/Sampler. It includes 425 high-quality PCM multisamples and 413 drum samples covering a wide range of musical needs”32 Mbytes in all. And an array of editable parameters let you tweak every sonic detail. The effects section provides 102 effect algorithms, and you can use 5 insert effects, 2 master effects and a three-band equalizer simultaneously. Effect routing is very flexible, enabling you to send sound through any combination of effects and on to any of the four outputs. Alternate Modulation and Effect Dynamic Modulation are also provided, letting you modulate parameters such as pitch, filter, amp, EG and LFO. Delay time and LFO can also be synchronized to MIDI clock or tempo. You can even sync the sounds or effects with the tempo of the KARMA function or the sequencer playback. KORG's superior programs and combis The Karma Music Workstation contains a rich assortment of sounds created by KORG's legendary voicing team, acclaimed by professional musicians around the world. There are 640 user programs (384 preloaded), plus 256 programs and 9 drum programs compatible with GM level 2 in ROM. Drum programs can select from 64 user drum kits (16 preloaded) and the 9 GM drum kits. A Combination lets you use up to eight programs set up as splits and layers, and you have immediate access to as many as 768 user combinations (384 preloaded). KARMA settings have been made for all preloaded sounds, so you can simply select a sound and play phrases immediately. Install option boards to add PCM sounds or a DSP tone generator In addition to the internal PCM sounds, the Karma Music Workstation can accommodate the same optional EXB-PCM series PCM Expansion Boards available for the TRITON. Each board adds 16 Mbytes of PCM data plus programs and combinations that use this data, further broadening your sound palette. However it does not include new GE's or GE assignments. KARMA can be expanded by the installation of the ultimate DSP tone generator --- the 13 oscillator 6-voice MOSS (Multi-Oscillator Synthesis System) tone generator featured on the Z1. This lets you use all synthesis methods --- PCM, analog, VPM (variable phase modulation), and physical modeling --- on a single instrument. When the MOSS tone generator is installed, 128 MOSS programs are added. You can create combination programs that use multiple MOSS timbres together with HI sounds. MOSS (MULTI OSCILLATOR SYNTHESIS SYSTEM) The MOSS sound generator consists of Voice, EG and LFO sections. The voice section contains two powerful oscillator blocks OSC1/OSC2 that let you combine up to two of thirteen types of oscillator algorithm (resonance, organ model, electric piano model, standard, ring modulation, VPM, brass model, reed model and more), a sub oscillator, and a noise generator. The voice section also contains a filter block featuring two multi-mode filters that cover the range from analog synth sounds to complex sounds such as the body resonance of violin or guitar, or even human voice. To this are added five EG units and four LFO units, providing a rich variety of tonal and pitch changes for each voice. MOSS SPECIFICATIONS Sound Source: 6 voices, 2 oscillators (max.) + sub oscillator + noise generator Oscillator Types: 13 (Standard, Ring Modulation, Cross Modulation, Oscillator Sync, VPM (Variable Phase Modulation), Comb filter oscillator, Resonance oscillator, Organ model, Electric piano model, Brass model, Reed model, Plucked string model, Bowed string model) Programs: 128 [* Developed under license of physical modeling patents (listed in http://www.sondius-XG.com) owned by Stanford University, USA, and by Yamaha Corporation.] 16 track sequencer + KARMA functionality equals enhanced music production The Karma Music Workstation contains a 16-track sequencer with a capacity of up to 200,000 notes and 200 songs (up to 999 measures for each song). Phrases generated by the KARMA function can be recorded directly, and you can add manually-played and step-recorded phrases to create a song quickly and easily. The RPPR (Realtime Pattern Play/Recording) function lets you play back a phrase by pressing a single key, and 150 drum and percussion patterns are provided. Many other convenient functions help you produce songs efficiently, such as Template songs, which allow you to call up a pre-arranged group of instruments and effects, and a Track Play Loop function that lets you specify looped measures independently for each track. A Cue List function lets you assemble your final song from up to 99 different sequences for easy arranging. Songs you create can be saved in SMF (Standard MIDI File) format or in a KORG TRITON compatible format so that data can be exchanged with other devices. (Note - The TRITON arpeggiator function cannot be reproduced on the KARMA Music Workstation.) The Song Play mode allows you to play back SMF files directly from floppy disk. You can perform on the keyboard along with the playback, or use the KARMA function in sync with the playback tempo. Four channel audio output In addition to the L/MONO and R main stereo audio outputs, you can use two independent audio outputs for a total of four channels of audio output. Oscillators, drums, timbres/tracks, and the signals from the insert effects can be freely routed to any output. KARMA. The new music-generation technology that takes music production into a new dimension. The KARMA Variable Performance Modeler featured on the Karma Music Workstation is a completely unique function that lets you generate music in a whole new way. Based on the notes and chords that you play, KARMA will automatically generate and mold phrases and patterns. Now you can instantly create sophisticated phrases and musical changes that would have required lengthy arranging and step input if done manually. Since the KARMA function lets you control numerous musical elements such as rhythm, duration, harmony, scale, ad-lib/humanize, random variation and tone, it can produce phrases and patterns far beyond the current range provided by conventional arpeggiators or static pattern playback functions. For example, you can create spectacular cascades of intricate interweaving notes, techno arpeggios and effects, dense rhythmic and melodic textures, natural sounding glissandos for acoustic instrument programs, guitar strumming and finger-picking simulations, random effects, auto-accompaniment effects, gliding and swooping portamento and pitch bend effects and new sound design possibilities. GEs bring KARMA to life The basis of the phrase or pattern is a Generated Effect (GE) and the KARMA Module Parameters that control that GE. One KARMA module can be used in Program mode. Four KARMA modules can be used in Combination/Sequencer/Song Play modes, so that separate modules can generate independent phrases to play different sounds such as drums, bass, guitar, and piano to create a full ensemble using the KARMA function. The GE that is the basis of the phrase or pattern controls how note data from the keyboard is developed as well as how rhythm, chord structure, velocity, and more are controlled. With approximately 400 parameters in a single GE, the KARMA function can control virtually any type of tonal or phrase change. These parameters include elements like harmony, scale, ad-lib/humanize, rhythm randomization and complexity, phrase variation, tone, pan, effects, pitch bend, volume, velocity, duration, MIDI control changes, chord control, Melodic Repeat (TM) (MIDI delay/repeat), and pitch change. Up to sixteen of these parameters are available for realtime control over a GE, and can be adjusted by operating the Realtime Control knobs and switches while you play. The KARMA Music Workstation provides over 1,000 different GE's organized into 17 categories, and new GEs can be loaded as they are made available. By simply selecting a GE you can create music in many different genres, using a variety of instruments and performance techniques. Unleashing the Power of KARMA GEs Check out "Unlocking the Power of Karma "Getting Creative with Karma GE's, which includes mp3 examples and some cool tips on using GE's with different sounds. Check out the technical tips article "Taming KARMA GEs" to find out how to maximize the performance of the KARMA Music Workstation. KARMA puts you in control With KARMA, every aspect of a musical phrase has been separated into independently controllable attributes. Each of these attributes is controlled by a separate group of parameters, which can be individually varied or changed in groups in real-time as the music is being generated; or changed all at once with the selection of a program or combination. While the Karma Music Workstation generates phrases, you can tweak the onboard controllers so your performance will never sound "canned" or static. You can use the eight knobs and two switches to vary different combinations of the RT (Real-time) Parameters that have been optimized for each GE by Korg's sound programmers. The two scenes available allow you to save two settings of these controllers for instant recall. You can also manipulate parameters with MIDI control messages. There has never been a system that provides this level of interaction and variability, and the results that can be achieved will inspire you to new levels of creativity.
  16. Jon Johnson

    Moog Modular System IIp

    The Moog Modular IIp was built as a moderately complex instrument that filled the place for Electronic Music Classes and/or in a recording studio.
  17. Jon Johnson

    Moog Modular System IIp

    The Moog Modular IIp was built as a moderately complex instrument that filled the place for Electronic Music Classes and/or in a recording studio. View full synthesizer
  18. Jon Johnson

    EMS VCS3 The Putney

    Electronic Music Studios first commercial product the VCS3 also known as The Putney is a portable synthesizer introduced in 1969.It was housed in a solid Afromosia cabinet housed the following modules interconnected by means of a matrix patchboard. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case, unlike previous machines from American manufacturers such as Moog Music, ARP and Buchla which were housed in large cabinets and were known to take up entire rooms.
  19. Jon Johnson

    GeneralMusic S3 Turbo Music Processor

    The Generalmusic S3 Turbo Series Music Processor is an instrument conceived and developed with the most up-to date technology to guarantee a high degree of reliability and durability. The name “Music Processor” describes the instrument’s ability to handle the complete, creative process, starting from sound synthesis right down to the registration of multitimbral songs and the complete control of the entire MIDI setup. The S3 Turbo Music Processor is a digital synthesizer workstation with 6 MB of sampled waveforms as the basis for the oscillators which are processed through two variable filters and a programmable envelope. The S3 Turbo Music Processor came standard with 2 MB of sample ram and with the new Turbo feature, it allowed sample data to be loaded directly into the S3 from floppy disk without having to be converted on a computer first. Other new features added were 2000 sounds up from the original 1600 plus 100 Performances. The S3 Turbo retains all the great features from the original models like 209 waves in rom and two 12db variable filters that could also be set to act as one 24db variable filter. The keyboard still has Aftertouch and Velocity. With it's multiple sliders and buttons, plus two sets of MIDI jacks, make the S3 Turbo a great MIDI Master Keyboard Controller.
  20. In 1982 Fairlight introduced the Series II CMI (Computer Musical Instrument) with needed improvements over the CMI Series I such as a variable sampling rate up to 35 kHz over the Series I's 25 kHz limit. The software for the instrument was also improved but it still has the 8 bit audio limitation of the previous model. Inside the Fairlight case are 8 Smart Audio cards with 16 kb of RAM however all samples are of the same length once loaded. A Low Pass Filter is used to cover the "scratchy" artifact noise that early sampling presented. In 1983 Fairlight introduced a MIDI upgrade to the system and called System IIx. Other than the MIDI feature the unit remained the same with the added benefit of MIDI. Fairlight Instruments Pty Ltd was established by Peter Vogel and Kim Ryrie in 1975. They produced one of the World's first Digital Audio Workstation Samplers. The Fairlight CMI (Computer Musical Instrument. The history of the company began when Fairlight Instruments Pty Ltd was established by Peter Vogel and Kim Ryrie in 1975. They produced one of the World's first Digital Audio Workstation Samplers. The Fairlight CMI (Computer Musical Instrument.
  21. Jon Johnson

    Moog Minimoog Model D

    The Minimoog is a monophonic analog synthesizer, invented by Bill Hemsath and Robert Moog. It was released in 1970 by R.A. Moog Inc. (Moog Music after 1972), and production was stopped in 1981. It was re-designed by Robert Moog in 2002 and released as Minimoog Voyager. In May 2016, Moog announced a limited-run "pilot production" reissue of the Model D, to be launched at Moogfest. It went into full production shortly afterwards, but Moog Music announced on June 27, 2017 that it was ending the production run of the Model D reissue. The Minimoog was designed in response to the use of synthesizers in rock/pop music. Large modular synthesizers were expensive, cumbersome, and delicate, and not ideal for live performance; the Minimoog was designed to include the most important parts of a modular synthesizer in a compact package, without the need for patch cords. It later surpassed this original purpose, however, and became a distinctive and popular instrument in its own right. It remains in demand today, over four decades after its introduction, for its intuitive design and powerful bass and lead sounds. At its most basic, the Minimoog control panel can be broken up into three sections: - The signal generators (the three VCOs or voltage-controlled oscillators and pink or white noise) - The filter (the VCF or voltage-controlled filter) - The amplifier (the VCA or voltage-controlled amplifier) The Minimoog is monophonic (only one note can be played at a time) and its three-oscillator design gave it its famous fat sound. Four prototypes were made over the years before a final design was decided upon to release as a commercial product. The Minimoog Model D adapted some of the circuitry (such as the filter section) from earlier modular instruments, but designed other circuitry (such as the oscillators and contour generators) from scratch. To produce a sound, the musician would first choose a sound shape to be generated from the VCO(s) and/or the type of noise (white or pink). The VCO provides a choice of several switchable waveforms: - triangle wave - reverse sawtooth/ramp wave - sawtooth/triangle (only in oscillators 1 and 2/sawtooth wave in oscillator 3) - square wave - two different width pulse waves The signals are routed through the mixer to the VCF (voltage-controlled filter), where harmonic content can be modified and resonance added. The filtered signal is then routed to the voltage-controlled amplifier (VCA), where its contour is shaped by a dedicated ADS (attack, decay/release, sustain) envelope generator. Part of the appeal of this instrument over the early modular Moogs was that the Minimoog required no patch cables; its signal and control voltage path is hard-wired, or "normalled". While this imposed the signal flow limitation outlined above (VCO → VCF → VCA), there are ways to tweak the sound. For example, in reality, the Minimoog has six sound sources. Five of these sound sources pass to a mixer with independent level controls: - 3 voltage-controlled oscillators (see above) - a noise generator - an external line input And the VCF can itself be made to oscillate, thus providing the Minimoog's sixth sound source. The voltage-controlled filter (VCF) and voltage-controlled amplifier (VCA) each have their own ADSD envelope generator (or Attack-Decay-Sustain-Decay). Musicians who are familiar with more modern synthesizers might expect the last letter to be R for "Release" (as in ADSR). However, on the Minimoog, the envelopes are ADSD, as the decay setting also sets the time for what is regularly known as release. In other words, there are three knobs to control 4 sections of the sound (most modern synths have four knobs, one for each section) — a "shortcoming" that doesn't seem to diminish the Minimoog's popularity in any way.[citation needed] There is also a switch above the pitch and modulation wheels to engage the final decay stage as well as a switch for engaging the glide circuit. The VCF is of transistor ladder type, a design patented by Moog (US 3,475,623).[5][6] Rumors that Moog had to go to court over the patent seem to be nothing more; 'differences' with ARP at one point were settled amicably.[7] The output of the third oscillator and/or the noise generator can also be routed to the control voltage inputs of the filter and/or oscillators. The amount of pitch or filter modulation thus realized is controlled by the modulation wheel, which is the right one of the two plastic disks located to the left of the keyboard. In this way, the third oscillator is frequently used as a low-frequency oscillator to control pitch (oscillator modulation) and/or harmonic content (filter cutoff frequency modulation). The Minimoog can be controlled using its built-in, 44-note keyboard, which is equipped with modulation and pitch-bend wheels or by feeding in an external one-volt-per-octave pitch-control voltage and triggering the envelope generators with an inverted switch trigger (S-Trigger in Moog terminology). External pitch control does not pass through the glide circuit, nor is it presented to the VCF tracking switches — the external inputs were not designed for external keyboard control. The lowest note played on the keyboard determines the pitch, a condition that is referred to as low-note priority. The envelope generators do not re-trigger unless all notes are lifted before the next note is played, an important characteristic which allows phrasing. The modulation and pitch-bending wheels were an innovation that many instrumentalists found to be extremely playable. The pitch-bend wheel is on the left of the modulation wheel. It is normally kept in the centered position. It is not spring-loaded; the player must return it to the centered position to play in tune. There is a delicate detent mechanism to help the player find the center position tactually. In sharp contrast to later synthesizers that also have pitch-bend wheels, there is no deadband near the center of the wheel's travel; the wheel produces minute changes in pitch no matter how slightly it is moved in either direction. The wheel can therefore be used to introduce slight vibrato or nuance, as well as accurate pitch changes. However, Moog later recommended adding a deadband mod and published this mod in their factory service notes. The detent mechanism can be adjusted somewhat in its strength.
  22. Jon Johnson

    Akai Professional MINIAK

    Create YOUR sound - The MINIAK is a powerful performance and production synthesizer. The MINIAK empowers creative musicians with phrase and step sequencing, a built-in drum machine/rhythm sequencer, an arpeggiator, a 40-band vocoder, stereo effects, and a virtual analog synth engine developed in partnership with the world-class Alesis synth team. While the compact, portable synth shines on stage, the MINIAK is also at home in the production studio delivering 24-bit audio resolution. The MINIAK puts up to eight multi-timbral voices at your fingertips, each with three oscillators. You can create interesting and unique sounds and take advantage of the more-than-600 preset sounds and store up to 1,000 programs in the MINIAK. The synth also has two multi-mode filters, three envelope generators, two LFOs, stereo effects, and a 40-band vocoder. On top of all of this sound-melding power, the MINIAK has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer, and an arpeggiator to aid in creating the landscapes and textures you’re after. Rounding out this complete instrument are high-resolution, 24-bit balanced 1/4" inputs and outputs. The MINIAK has a 37-key semi-weighted keyboard with velocity sensitivity for all-in-one performance. It can also be used as a sound source for MPCs, computer software, and keyboards via MIDI. Under the Hood A MINIAK program is a sound built from the MINIAK’s internal oscillators, filters, and envelope generators. The MINIAK’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the MINIAK’s presets. In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds. Sound Generation The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the MINIAK’s oscillators: Sine – Smooth, pure sound Triangle – Fuller than a sine wave Sawtooth – Harsh sonic character Pulse – Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave The MINIAK’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples. You can connect external audio sources – other synthesizers, mixers, guitars, and more – using the 1/4” inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the MINIAK’s oscillators. The resulting combination is then sent through the MINIAK’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs. The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2. Filtering The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the MINIAK’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor. They are: Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole; Band Pass: ob 2-pole, al 6-pole, octave dual, band limit; High Pass: ob 2-pole, op 4-pole; three Vocal Formants, four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute. After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan. Output Processing In the output stage, the MINIAK allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The MINIAK allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes. LFOs LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the MINIAK’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The MINIAK’s LFO can sync to the internal clock or any external source via MIDI. Envelopes If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The MINIAK also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the MINIAK’s envelopes to any modulatable program parameter. Each of the MINIAK’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope. Sequencing The MINIAK has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the MINIAK will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the MINIAK will play back that melody relative to that key. Pressing another key will transpose the sequence. The MINIAK has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds. Effects The MINIAK has a full complement of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs. With the extensive sound generating and manipulating power of the MINIAK, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Step up to the only synth with the Akai Professional name… the MINIAK.
  23. Jon Johnson

    Spectral Audio ProTone

    The ProTone is a monophonic Analog Synthesizer with an internal MIDI Interface. Because of the full analog design, the ProTone is perfect for creating powerful, special and never before heard sounds. And with its deep red front panel, it will look great in your rack. The basic principle of the ProTone corresponds to the tried and tested analog synthesizer principle with VCO, VCF, VCA, envelope generator and LFO. This principle is called subtractive synthesis. In order that the ProTone is suitable for MIDI, an additional MIDI to CV converter is necessary which converts the MIDI signals into analog signals with which the VCOs, the filter, as well as the envelope generator are controlled. The raw material for the sound is offered by the VCOs (Voltage Controlled Oscillator) in the form of a sawtooth or rectangular signal as well as the noise generator (for effects such as wind and thunder sounds). The width of the rectangular signal from VCO1 can be changed with the PW regulator. The narrower the rectangular signal (regulator turned to the right), the 'sharper' the sound. VCO2 is synchronised from VCO1 with the SYNC switch The tone will be interesting in this case when the TUNE regulator (5) of VCO2 is turned (or by modulating with the LFO VCO 2), which results in a typical "Sync Sound". By means of the external VCO input, other sounds can also serve as raw material. The ring modulator multiplies the signals of the two VCOs which markedly amplifies the beat (frequency difference). Note: When the SYNC switch (6) is switched on, no beats are developed and the ring modulator has therefore no effect. The SLIDE regulator determines the time balance from one note to another and is valid for both VCOs. Afterwards, the signal flows through the voltage controlled filter (VCF=Voltage Controlled Filter), within which certain frequency ranges are suppressed. The lowpass filter allows low frequencies to pass and suppresses the high ones, the highpass filter lets high frequencies through and suppresses the low ones. The frequency from which the signals are suppressed is called the limit or cut-off frequency. With the ProTone, this is formed from various sources: 1. CUTOFF frequency regulator 2. ENV MOD regulator (influence of the envelope on the cut-off frequency) 3. LFO 4. ACCENT regulator 5. KEYFOLLOW switch With the KEYFOLLOW switch the cut-off frequency increases on higher notes so that audible freqency bands always remain the same. The resonance forms a feedback of the output to the input of the filter and causes an amplification of the frequencies around the cut-off frequency. The ACCENT regulator sets the share of the second envelope and affects the cut-off frequency as well as the volume. It is only active when the ACCENT indicator lights, ie, when the accent function is switched on via the MIDI controller 65. The accent function is always active when the unit is switched on. By means of the MIDI controller 65, it is now possible, as with the TB 303, to give individual notes an accent (value 127) or to take an accent away (value 0). For this purpose, the corresponding control value must be sent in the sequencer, timed either before or with the note. Before the signal leaves the ProTone, it arrives at the VCA (Voltage Controlled Amplifier) which is availablin the ProTone in stereo form. Here the input signal is multiplied with a control signal. In this way, the volume can be influenced by a control signal which comes from the envelope generator and the MIDIconverter. The volume of the ProTone is controlled with the GROUND LEVEL regulator as well as via the MIDI controller EXT. Additional to this level is the short-term increase through the accent function. The panorama (volume relationship of the left-hand to the right-hand signal) can be set with the PAN regulator. Features 2 true VCO makes Sawtooth and Pulse Waves White Noise Generator True Ringmodulator Slide (Portamento) High and Lowpass Filter with Resonance Selectable 12 or 24 dB per Octave Accent (Decay Envelope for the Filter) Keyfollow Wide LFO Range: 0.005 ... 3800 Hz LFO Waves: Rectangle, Impuls, Triangle, Sawtooth, Sinus, Noise and Random LFO Targets: VC01, VC02, Pulse Width of VC01, Cutoff and Panaroma ADSR Envelope Stereo Output with Stereo Panning 5 Octaves MIDI Interface MIDI controlled Volume and Cutoff frequency Velocity sensitive CV and Gate In/Output to control vintage Synthesizer External VCO and LFO Inputs
  24. Jon Johnson

    Korg MS-50

    The Korg MS-50 is the fully patchable top model of the MS series Introduced as an expansion module for the MS-10/20, the MS-50 is a rare model within the MS series. Based on MS-20, it had no keyboard, but added internal circuits such as a divider and integrator not found on the MS-10/20, which supported even more complex ways of creating sound. The voltmeter on the upper right-hand side of the panel captured the hearts of many synth players. Of course, it could also be played on its own by using CV/Gate signals. While the MS-10/20 provided a basic signal route that was internally connected, and therefore could be played without any patching, the MS-50 used a fully patch-reliant design. By using the MS-50 in conjunction with an MS-10/20 or the SQ-10 described below, it was possible to construct a larger-scale modular system.
  25. Jon Johnson

    Tesico Synthesizer 60F

    The Teisco Synthesizer 60F is a monophonic analog synthesizer with a single voltage controlled oscillator in a compact 32 key keyboard chassis. The Synthesizer 60F offers a lot of control and modulation for a synthesizer of it's size. Players would refer to it for sound effects and lead sounds. Though it has only one oscillator it offers two filters. A VCF just after the mixer section and High Pass Filter after the Envelope Generators. This feature makes it somewhat unique to it's comparison instruments of it's time. The unit has Saw and Pulse waves and can process external audio. There is also a Noise Generator and Ring Modulator and can also do Sample & Hold. Features that are not always present ina instrument of it's class. Additionally the Synthesizer 60F has a single PPC Controller(Proportional Pitch Control) licensed from A.R.P. The PPC uses pressure-sensitive buttons to control bend up and bend down.
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