korg roland synth videos

Jordan Rudess and Korg Kronos

2012-01-10T11:30:00.000-08:00

There are guitar heroes, there are keyboard heroes. Jordan Rudess is the latter and more. When not blazing synth trails with renowned prog-rock band Dream Theater, he could be working on his solo projects, composing for piano, or developing musical apps…Jordan’s always busy digging into something, sonically. His virtuosic writing and performance abilities along with his knack for cutting-edge technology enable him to continuously expand on his already iconic role in the modern keyboard landscape. As a long-time member of the Korg family, Jordan has provided important product feedback throughout the years and he has helped create some of the sounds heard in Korg products, like the Kronos Music Workstation.

We spoke with Jordan as he was getting ready to head back out for a European run in support of Dream Theater’s latest opus, A Dramatic Turn of Events.

KORG: It’s great to talk with you, as always. Dream Theater has been touring in support of A Dramatic Turn of Events and people are loving it. Did you guys go into writing it with any specific goals or state of mind?
Jordan Rudess: We knew we wanted to make a fantastic Dream Theater album. We also knew that all eyes were going to be on us with the departure of our drummer Mike Portnoy. Although it was a very tough situation to be thrown into, we took our energy and turned it to a positive and worked hard to make sure we delivered the goods. It was a great opportunity to think about who we are as people and musicians and how we wanted our Dream Theater album to sound. It’s been one hell of a year!

KORG: Mike Mangini joined the band in place of Portnoy. How was the experience of having a new member for that recording, after years with Mike Portnoy?
JR: Mike Mangini is a consummate professional. He is not only a fantastic out-of-the-box drummer, but he is also a man filled with sparkling energy and humor. Right from the start, we all liked him personally and were blown away by his musicianship. He has fit right in to our group dynamic in every way!

KORG: Are there any recent experiences from the road that stick out in your mind?
JR: Yeah…The final night of this last tour we were in Mexico City, Mexico. Big night - 10,000 people, sold out show. About twenty minutes in, I use my hydraulic keyboard stand and hold it down on a big angle so the entire audience can enjoy watching me play. And then it happened…the stand got stuck! I played the rest of the show (one hour and forty minutes) on this very unusual angle and praying that as each section went by, I would be able to manage my performance and keep it together. Embarrassing on one hand, but perhaps to the audience it could have been cool because they got to really see me play the whole night. That coupled with the pre-show earthquake made a real evening to remember!

KORG: Wow…sounds like a rocky night but you pulled it off. Any new projects from your solo work or other happenings we should keep an eye/ear out for?
JR: My own solo work at the moment is very much focused on some app development that I'm doing with my company Wizdom Music. We are deep into some very cool stuff for iOS and Android. Korg is doing some great things with iOS development and making some really killer apps. I'm having a lot of fun with those as well!
In addition I wrote this classical piece entitled "Explorations for Keyboard and Orchestra" recently and we are focusing in on finding a great orchestra to perform it with me.

KORG: You’ve used Korg workstations throughout the years and nowadays, the Kronos is your main instrument on stage. Do you have any favorite features? What do you feel separates it from other workstations out there?
JR: It is the total musical solution for me! I love that keyboard so much. I can get every sound I need out of it through the many different types of synthesis capabilities the instrument has. Everything from Sampling to Modeling is part of the system…and that coupled with the very strong effects allow me to have every sound I play speak in a way that is exactly what I imagine. The other thing worth mentioning is that the Kronos allows my performance to be absolutely smooth when I switch between all my big (and small) layered and split sounds! I'm a happy keyboardist these days!

KORG: Have any of your works started with an inspiration from a particular Kronos sound?
JR: Of course! Great factory sounds is one of the best features of any Korg keyboard. The sounds that the instruments ship with are always inspiring and can directly lead to some very cool compositions.

KORG: You’ve also been having some fun with the microPIANO and the nanoSERIES2. What can you say about those little guys?
JR: There’s not enough time in my day because you guys keep coming out with these little gems! I have the microPIANO sitting right next to me turned on for any moment of inspiration. What a cool little keyboard…very unique and with quite an impressive piano sound! The nanoKEY2 stays in my main travel suitcase and comes with me everywhere I go. I'm not kidding. I had a great jam with John Petrucci and Andy McKee in one of the hotel rooms on the last tour and it was awesome. The guys were quite impressed with my killer tiny system! The nano and an iPad was my rig!

KORG: Anything else you’d like to mention?
JR: For those of you who are unaware, my latest three creations for iOS are MorphWiz, SampleWiz and Geo Synthesizer.
Dream Theater will spend about five weeks in Europe, starting the third week of January. I hope to see many of you on the road!
I've been involved with Korg for over twenty years - first-purely as an admirer, second as a product specialist (I worked for Korg as an employee), and finally as a professional musician. It is a relationship that I am so proud of. There are incredible people there that are so talented and musical and they have upheld incredibly high standards through all the years in all the instruments they build!
The Kronos workstation is a powerful instrument that has a great combination of technology and musicality within it. The problem with so many music systems is that they lack one or the other of those two extremely important features. I can depend on my Kronos to give me exactly what I need for my music. I'm a very proud Korg Kronos user and I hope I can help to spread the word around the world about this magical instrument.

Many thanks, Jordan. Enjoy the tour.

"AirPipes" - iPad Irish Bagpipes/Flute/Whistle WiFi MIDI Control Surface

2010-07-03T15:46:00.000-07:00

"AirPipes" - iPad Irish Bagpipes/Flute/Whistle WiFi MIDI Control Surface
AirPipes is a WiFi-based wireless MIDI Irish Bagpipes/Flute/Whistle control surface for the iPad.

iPad Midi Keyboard Synth

2010-07-03T15:43:00.001-07:00

iPad Midi Keyboard Synth
Using Touch OSC + OSCulator. Logic Studio's Sculture synth demonstration.

iPad Killer video

2010-07-03T15:42:00.001-07:00

High PAD, Multi Touch Display, iiyama Prolite T2250MTS, Cubase 5, Midi controler Démo

High Pad, l'ultime controleur MAO !

iPad Logic Studio Midi Controller

2010-07-03T15:41:00.000-07:00

iPad Logic Studio Midi Controller
Another test using OSCulator to map midi CCs to Logic Studio using Touch OSC on my iPad. Tutorial is definitely coming!

How to use IPAD as a midi Controller for Ableton Live

2010-07-03T15:40:00.000-07:00

How to use IPAD as a midi Controller for Ableton Live
::: How to use APPLE IPAD to control Ableton Live wireless using "Midi , OSC, OSCulator, Touchosc and Python script " or a Lemur Killer ::: ATL ::: RyanNoise.com

iPAD iELECTRIBE! DETAILED REVIEW! pt 2 video

2010-07-03T15:38:00.000-07:00

iPAD iELECTRIBE
Another example of live beat making! This software version is so similar to the Electribe hardware, I already know how to use it on the first day!

iPAD - iELECTRIBE! - DETAILED REVIEW Part 1

2010-07-03T15:36:00.001-07:00

iPAD - iELECTRIBE! - DETAILED REVIEW Part 1

Another example of live beat making! This software version is so similar to the Electribe hardware, I already know how to use it on the first day!

How to Jailbreak/Hack your iPad in sixty seconds!!

2010-07-03T15:35:00.000-07:00

How to Jailbreak/Hack your iPad in sixty seconds!!
A really quick and easy tutorial on how to hack your iPad. No garbage here- quick and to the point

Korg iElectribe iPad App review video clip

2010-07-03T15:33:00.000-07:00

Korg iElectribe iPad App review video clip An awesome drum machine from Korg, made digital.

Roland Fantom X6: Purple Organ Thrills Deep Purple Fans And Other Sounds From The Fantom X6 Thrill O

2010-07-03T15:31:00.001-07:00

Roland Fantom X6: Purple Organ Thrills Deep Purple Fans And Other Sounds From The Fantom X6 Thrill O

Roland Fantom X6: Don't Like Synth Bass? Record Your Own! (Part One)

2010-07-03T15:30:00.000-07:00

Roland Fantom X6: Don't Like Synth Bass? Record Your Own! (Part One)
The Roland Fantom X6 is a very versatile synth workstation loaded with many beautiful sounds, but say you don't think the bass sounds real enough for you. Warren Harris of Roland US grabs a bass and shows us how to record audio into the Fantom X6 workstation and manipulate the bass tone as if it were one of the Fantom's built-in sounds.

Roland GAIA SH-01 Synth Demo video clip

2010-07-03T15:27:00.000-07:00

Roland GAIA SH-01 Synth Demo video clip Frankfurt show 2010 the Roland...

Released at the Frankfurt show 2010 the Roland GAIA SH-01 Synthesizer is effectively 3 synths in one, basically Roland have taken modeling algorhythms and created "Virtual Analogue" sounds that use vintage style synthesizer architecture.There are 3 oscillators powering resonant filters, multi-shape LFOs, and amplifiers, plus nine envelope generators and a massive 64 note polyphony - like I said, this is virtually 3 synths in one ...

The effects chain can be stacked with up to 5 effects being used simultaneously, the effects include reverb, distortion, fuzz, bit crash, flanger, phaser, pitch shifter, low boost, and delay with panning and tempo sync, whilst dedicated control knobs are provided for tweaking the effects in real time. The 37 note keyboard is full size but the scaled down ocatves and lightweight chassis (the SH-01 weighs in at a mere 4Kg) mean that this synthesizer is easily transportable.

Roland have given this keyboard much thought, and realising that there's a whole new generation of players that have never seen the old style synth architechture, they have made the layout of this keyboard simple and intuitive. The logically designed front panel shows the signal path from left to right - This helps beginners understand synthesis, while experienced players will love the instant gratification of hands-on control during performance.

The on-board phrase recorder not only records the notes you play but will also record any changes and modifications to the control knobs and sliders during your performance and these will be stored along with the keystrokes. For further moments of inspiration there's also an Arpeggiator and Roland's D-beam controller, the user can connect the SH-01 directly to a computer (Mac or PC) with one simple USB cable, and stream audio directly to the software of your choice.

The USB ports can also be used to transmit and receive MIDI data, and to store your patches and phrases (recorded with the Phrase Recorder) to a USB memory stick. For integrating with external devices, the EXT input lets you connect external audio sources such as an MP3-player and play along with your favourite songs or backing tracks, making it suitable for practice and live performance. Alternatively you may wish to manipulate the incoming audio with three Center Cancel modes, which let you eliminate pre-recorded vocals, guitars, or bass.

The cherry on this cake is that this keyboard supports battery operation as an alternative to the A/C adapter using 8 x AA batteries, whilst a battery-life indicator on the front panel ensures that you won't lose power unexpectedly. Because of the battery option the GAIA SH-01 Synthesizer really is a "play anywhere" keyboard and its lightweight chassis means that it's a cinch to transport ...

KORG iELECTRIBE tune

2010-06-30T03:28:00.001-07:00

KORG iELECTRIBE tune

iPAD REBIRTH RB338 Synth and Drum Machine PART 101 The Jam WHAT IS THIS SOUND

2010-06-30T03:26:00.000-07:00

iPAD REBIRTH RB338 Synth and Drum Machine PART 101 The Jam WHAT IS THIS SOUND

AKAI Pro SynthStation Sneak Peek

2010-06-30T03:25:00.002-07:00

AKAI Pro SynthStation Sneak Peek
Here is a special advance look at SynthStation, Akai Pro's new synthesizer fo..

Synth for iPad

2010-06-30T03:25:00.001-07:00

Synth for iPad
Just 99cents! Synth is a new iPad polyphonc Synthesizer from Retronyms, creat...

miniSynth PRO for the iPad

2010-06-30T03:24:00.001-07:00

miniSynth PRO for the iPad

Pianist Pro - The iPad Piano

2010-06-30T03:23:00.002-07:00

Pianist Pro - The iPad Piano
The best-selling iPhone piano, Pianist, just went Professional with "Pianist

Accordéon for the iPad

2010-06-30T03:23:00.001-07:00

Accordéon for the iPad

iPad Accordion

2010-06-30T03:21:00.002-07:00

iPad Accordion

FingerPiano for iPad

2010-06-30T03:21:00.001-07:00

FingerPiano for iPad

Making Music with iPad video

2010-06-30T03:20:00.001-07:00

Making Music with iPad video... Ecken shows us his latest Touch OSC templates and performances a live demo. M

KORG Triton Extreme Combinations

2010-06-30T03:17:00.000-07:00

KORG Triton Extreme Combinations

Korg M3 Tribute To Joe Zawinul

2010-06-30T03:16:00.000-07:00

Korg M3 Tribute To Joe Zawinul

Korg M3 Xpanded New PCM Real Piano&Strings

2010-06-30T03:15:00.000-07:00

Korg M3 Xpanded New PCM Real Piano&Strings
Program, Bank A-int: 039 Real Piano with Strings EX3...) Enjoy it !

Demo video CRUMAR Bassman

2010-06-30T03:14:00.000-07:00

Il nuovo Bassman di CRUMAR in combinazione con una base ritmica realizzata co

MARCOS WITT GRACIAS INSTRUMENTAL BY ADAMCR9

2010-06-30T03:11:00.000-07:00

MARCOS WITT GRACIAS INSTRUMENTAL BY ADAMCR9

keybdwizrd - Barbacena (KORG M3 Demo)

2010-06-30T03:00:00.000-07:00

keybdwizrd - Barbacena (M3 Demo)
Just a little tune I created using my Korg M3 - backing tracks are sequenced ...

Korg Forums Piano SCANDAL --- M3, Yamaha Motif ES

2010-06-30T02:59:00.000-07:00

Korg Forums Piano SCANDAL --- M3, Yamaha Motif ES

Demo of 1983 Yamaha DX-7. All sounds programmed by WC Olo Garb

2010-06-30T02:57:00.000-07:00

Demo of 1983 Yamaha DX-7. All sounds programmed by WC Olo Garb

Demo of 1996 Roland JP8000 video clip

2010-06-30T02:56:00.000-07:00

Demo of 1996 Roland JP8000. All sounds programmed by WC Olo Garb. Video editi...

Nord Lead FX / Sound Design demo video clip

2010-06-30T02:49:00.001-07:00

Nord Lead FX / Sound Design demo video clip

Korg Radias demo (1 of 2) by syntezatory.prv.pl

2010-06-30T02:46:00.001-07:00

Korg Radias demo (1 of 2) by syntezatory.prv.pl

Korg M3 Demo

2010-06-30T02:39:00.000-07:00

Korg M3 Demo
short, sweet, and to the point. That's the Korg M3 demo video in a nutshell. ...

KORG monotron (mod.) demo video clip

2010-06-30T02:37:00.001-07:00

KORG monotron (mod.) demo
at the mtm05 Tokyo Japan. Demonstration by denha. Cam : Mr, SAKAMAKI (KORG INC.)

ipad GrooveMaker Drum'n'Bass

2010-06-30T02:34:00.000-07:00

GrooveMaker Reggaeton

2010-06-30T02:33:00.000-07:00

GrooveMaker Reggaeton
For more information, visit http://www.groovemaker.com Hear the sounds of th...

GrooveMaker iPad Free video

2010-06-30T02:32:00.000-07:00

GrooveMaker iPad Free video
A quick video of the new GrooveMaker for the iPad with GrooveMaker Free.

KORG iELECTRIBE Demonstration

2010-06-30T02:31:00.001-07:00

KORG iELECTRIBE Demonstration

take a quick look at KORG's new iPad app. On sale for $9.99 until June 30, 20...

iPad App Demo Korg iElectribe

2010-06-30T02:29:00.000-07:00

iPad App Demo Korg iElectribe video clip you tube

iPad App Demo (Korg iElectribe) From Nico Nico Douga (sm10258245)

Korg iElectribe v1.1 Update (for Apple iPad) video clip

2010-06-30T02:26:00.000-07:00

Korg iElectribe v1.1 Update (for Apple iPad) video clip

Korg 01W 01W/FD-Duranguense- En venta- PARA INFORMES LLAMA

2010-06-30T02:23:00.000-07:00

Korg 01W 01W/FD-Duranguense- En venta- PARA INFORMES LLAMA video clip

KORG 01WFD 2B Piano sound video clip

2010-06-30T02:22:00.000-07:00

KORG 01WFD 2B Piano sound video clip

Korg 01/w Synth workstation Demostration video clip

2010-06-30T02:12:00.000-07:00

Korg 01/w Synth workstation Demostration by S4K ( Dream Theater Acos sounds )

Yamaha Motif synthesizer

2010-01-17T10:55:00.000-08:00

It's not a vintage synthesizer, but it has definitely earned a place in history! Originally released in 2001 by Yamaha, the Motif is a music workstation that really has it all and has grown over the years in polyphony and waveform memory with the ES (2003) and XS (2007) series. Its features include Yamaha's AWM2 tone generators, massive polyphony (62 to 128 notes), an excellent sequencer, a sampler, A/D Audio inputs, AIEB2, mLAN compatibility, and stereo inputs. Between the various models, it has anywhere from 84MB to 355MB of sounds for thousands of waveforms. Its mLAN compatibility works great with Cubase LE (which usually comes included in the package). The Motif Classic, Motif ES, and Motif XS all came in 61, 76, and 88 key versions, and the 88-key models are always balanced hammer-action as well. The Motif is a perfect synthesizer/workstation for studio use as well as live applications.The sounds found on the Motif are conveniently arranged into categories according to their type, such as Piano, Organ, Strings, Leads, Pads, FX, Drums, etc. It has preset voices which are made up of up to 4 of the available waveforms which can be edited individually or all together.

There are plenty of drums kits, and 128 to 384 user voices that you can use to create your own sounds or save edited presets in. The workstation also includes Yamaha's "Megavoice" technology which adds immense realism to its acoustic sounds such as its guitars, basses, pianos, brass, strings, and so on. Megavoice technology provides realistic expressions such as hammer-ons, ghost notes, slides, and fret noises which are all activated depending on how much force you apply to the keys. The quality of the voices will leave you stunned, the acoustic sounds are extremely realistic and of excellent quality and the synthetic sounds are mind-bending. All of the voices can be edited in just about anyway you want as well, such as Cutoff, Resonance, standard Attack/Release. Of course, you also have your Octave Up/Down buttons (not included on the 88-key versions), Pitch Bend wheel, Modulation wheel and a Ribbon controller (ES,XS, MO models), which can be assigned to do different functions. The tone generator is also compatible with Yamaha's Modular Synthesis Plug-In boards which you simply install and you instantly have a vast array of even more new sounds.

The sequencer is just awesome. Once you get passed the user-interface (which we'll come back to shortly) the sequencer has all the great features you need to compose your music without having to get up from your seat. There are 16 tracks which you can record the voices on the synth itself or that you can transfer MIDI data into which is particularly good for percussion tracks if you aren't that good with keeping rhythm, though it does have a built in clicking/flashing metronome. It has multiple sliders which normally act as faders, and there are knobs to adjust different parameters. You can also plug another instrument like a guitar, bass, or another synth into it and use the synth's numerous effects like Chorus, Celeste, Flanger, Phaser, Distortion, Overdrive, and so many more.

The disadvantages: When compared to its rivals (Roland Fantom-X and Korg Triton) the major disadvantage is the user-interface, as mentioned above. The screen was left as a simple LCD screen in order to keep the price a decent amount whereas the Roland Fantom series and Korg Triton series have large color LCD displays. The XS model does, however, have a much improved large LCD screen to address this issue. The Korg Triton's display was also touch screen. Fortunately for Motif users, the controls were easy to learn after a short amount of time.

I'm aware that I'm leaving out a lot of features such as the Arpeggiator and Remote/mLAN features but there's just so much to explain and so many things this workstation is capable of. You'll just have to try it out yourself! There are so many models to choose from, it should not be hard to find one that works for you - in terms of keyboard size, polyphony & waveform memory, or pricing. While on the topic of different Motif models, here are all the different models:
The Motif (as a series) has been used by countless famous artists: Daisuke Asakura, Infected Mushroom, Oliver Palotai from Kamelot, Michael Pinnella from Symphony X, Hip Hop/R&B producer K.O.B.R.A. of The Association and Audio Assassins, Paul Wickens from Paul McCartney's band, Stevie Wonder, Bob Dylan, John Legend, Aryan Nazari, Alicia Keys' band, Elton John, Robert Lamm and Bill Champlin from Chicago, Green Day, Ray Charles, Chick Corea, Die Sektor, Michael McDonald, Clemo of Calif Records, Kenya, Bon Jovi, Mariah Carey's band, David Bowie's band, Justin Timberlake, Barry Manilow, Gary Numan, Beyonc's band, Lonestar, Brian Wilson, Scott Storch, Tim Freedman, Pink's band, and Nick Carter.
Specifications
Polyphony -
Motif: 62 Notes.
Motif ES: 128 Voices.
Motif MO: 64 Voices.
Motif XS: 128 Voices.
All models expandable with Modular Synthesis Plug-in System boards.
Oscillators - AWM2 (sample playback).
Motif: 84MB Waveform ROM (1,309 mutisamples and drum samples).
Motif ES: 175MB Waveform ROM (1,859 mutisamples and drum samples).
Motif MO: 175MB Waveform ROM (1,859 mutisamples and drum samples).
Motif XS: 355MB Waveform ROM (2,670 mutisamples and drum samples).
Sampler - 4MB (expandable to 64MB via 32MB SIMM x 2 Slots); Sample Rates: 5.5125 - 48kHz, 20-bit stereo.
Sequencer - 16-Track, 110,000 notes, 64 songs, 1024 patterns; 128 ROM/256 user phrases; 480 ppqn; SMF import/export. Formats: Akai S1000/3000, Yamaha A3000/4000/5000, AIFF, WAV.
Arpeggiator - 256 Preset Patterns, 128 User Patterns.
Filter - 1 4-pole resonant multi-mode with 21 types.
Effects - Reverb, Chorus, Insertion FX types, Master Effects section, Master Equalizer (5 bands).
Keyboard - 61, 76, and 88 key versions. The 88-key version are weighted/hammer-action. All models feature velocity and aftertouch.
Memory -
Motif: 348 presets + 48 kits, 128 user, 128 performances, 128 master
Motif ES: 768 presets + 64 kits, 384 user + 32 kits, 128 performances, 128 multis
Motif MO: 640 presets + 64 kits, 256 user + 32 kits, 256 performances
Motif XS: 1024 presets + 64 kits, 384 user + 32 kits, 384 performances
Control - MIDI In, Out, Thru (16-parts multitimbral)
Date Produced -
Motif: 2001
Motif ES: 2003
Motif MO: 2006
Motif XS: 2007
Est. Value - $1,000 - $3,000

Roland U-20, Roland U-220

2010-01-17T09:54:00.000-08:00

The U-20 is nothing special. It is a digital synthesizer that uses ROM samples of pianos, brass, strings, bass, drums, etc. However it is built for professional use and is truly a quality instrument, even though its sounds may seem like dated-eighties synth pop cheese. It's got nice piano sounds, but they're not the real thing.

The U-20 features 6 part multitimbrality with a 7th drum part, plus 2 direct outputs and 2 stereo outputs. The 30 note polyphony helps if you take advantage of this synths multitimbrality for creating entire performances and ensembles. Digital reverb, chorus and delay effects liven up your sounds. Editing is simple, but there are no filters. With several performance features, the U-20 has a full 61 note keyboard with velocity and aftertouch. There's an on-board arpeggiator, a chord-memory feature and the U-20 accepts Roland SNU-110 sound library cards. It has been used by Prodigy and Astral Projection.

The Roland U-220 (pictured above) is simply a rack-mount version of the U-20. It has all the same sound
Specifications
Polyphony - 30 voices
Oscillators - 4MB ROM samples
Multitimbral - 6 parts + 1 drum part
Filter - None
Effects - Reverb, Delay, Chorus; arpeggiator
Memory - 64 patches, expandable to 128 with external RAM card
Keyboard - 61 keys (w/ velocity & aftertouch)
Control - MIDI
Date Produced - 1989
Est. Value - $400

Access Virus

2010-01-17T09:27:00.000-08:00

The Access Virus is a very cool, German made desktop synth-module. It quickly became a very popular and favorite synth with its aggressive analog sounds. It's got knobs, analog synth sounds and drums and a whole lot more! The Virus uses physical-modeling to digitally re-create analog sounds. German precision got it right! The Virus has an incredibly punchy and clean analog sound that can give you anything from low sub-woofer blowing basses to overdriven 303-style lead lines! The module is layed out with a very intuitive design that even old-school synthesists will feel right at home with. It has 32 knobs and 27 buttons, all of which allow tweaking in realtime. With 12 note polyphony and 16 multitimbral parts, the Virus is all you need to create complete and vibrant electronic music tracks!
With basic analog waveforms, from sawtooth to pulse with PWM, dual oscillators and filters, two LFO's with sample-and-hold and on-board arpeggiators, you'll find yourself in vintage synth heaven. The Virus can make convincing TB-303, SH-101 and other great bass/lead sounds, as well as a host of analog drum and percussion sounds. You'll also find an advanced ADSTR envelope, effects like chorus, flange, delays, and a very nice Vocoder! Every parameter is MIDI controllable making this a great tool for use in the studio.

In 1999, Access released a next generation model which they called the Virus B (making the original sometimes referred to as the Virus A). Following that came the KB (keyboard version), Indigo (Roadster version) and Rack (rack-mountable sound-module version). In 2002, an even more advanced C series was released including the Virus C, KC, Indigo 2, and Rack XL. A slightly 'hot-rodded' form of the original Virus A was also released in 2000 as the Digidesign Virus TDM plug-in for Pro Tools users, followed in 2002 by an Indigo TDM version. Viruses have been used by Astral Projection, BT, Überzone, The Crystal Method, Cosmosis, and Nine Inch Nails.

Specifications
Polyphony - 12 voices
Oscillators - 2 Osc per voice plus 1 Sub-Osc: Sine, tri, saw, variable width pulse, oscillator sync. 1 FM Mode: 64 digital FM spectral waveforms.
LFO - 2 per voice with tri, saw down, square, sample/hold, sample/glide and more
Filter - 2 independent resonant filters; lowpass, hipass, bandpass, band reject, parallel, split & 2 serial modes with up to 36dB/voice (6-poles), overdrive/saturation.
VCA - 2 ADSTR envelopes per voice
ModMatrix - 3 Sources, 6 Destinations
Effects - Up to 22 simultaneous effects: 4 Chorus effects, Global Reverb/Delay, Vocoder
Keyboard - None
Memory - 256 ROM patches, 256 RAM patches, 128 multi RAM patches
Control - MIDI (16 multitimbral parts)
Date Produced - 1997 - 1999
Est. Value - $1,000

Roland V-Synth

2010-01-17T09:13:00.000-08:00

Released in 2003, the V-Synth was a new flagship synthesizer from Roland debuting some of their coolest features of the time, allowing for a new world of sounds full of life and motion. The V-Synth combines multiple oscillator technologies, user sampling and new COSM filtering for incredibly dynamic new sounds. The user has realtime control of a waveform's pitch, time and formant plus a killer arpeggiator and a host of realtime controllers including the revolutionary TimeTrip Pad and twin D-Beam controllers. All this leads to sounds that can move, morph, evolve and sound totally unique.

The V-Synth has dual oscillators that offer a choice of three different synthesis methods: analog modeling, PCM waveforms with user sampling, and external audio input processing--all with up to 24-voice polyphony. The PCM oscillator is powered by VariPhrase for complete sonic control. Choose from over 300 preset waveforms or sample your own. Then use the "TimeTrip" function to manipulate a waveform's time aspect in any way you wish. Slow it down to uncover rich moving harmonic content; speed it up to create high-speed tonal motion; freeze it at your favorite spot; or rewind it backward at any speed without changing pitch and formant, which can also be independently controlled. The Analog modeling offers several fat-sounding analog style waveforms. The third oscillator type is External Audio Processing, which lets you process any signal arriving at the V-Synth's analog inputs. All three oscillator types can be layered and mixed in several ways, or modulated using FM, ring mod and oscillator hard sync.

All programming is achieved via the large LCD Touch Screen plus a bunch of hands-on controls and knobs including the new TimeTrip Pad, twin D Beams and the velocity/aftertouch sensitive 61-note keyboard. While you can independently manipulate the pitch, time and formant of sampled waveforms using VariPhrase technology there is also powerful COSM processing offering analog-style filter modeling, a resonator and Side Band Filter, plus global reverb, chorus and multi-effects. The V-Synth's programmable arpeggiator can modulate sound parameters to provides additional rhythmic and timbral controls.

The V-Synth is fully suited to the modern day studio as well, with analog I/O and MIDI ports supplemented by USB and digital S/PDIF I/O ports. Use the analog or digital inputs to sample your own waveforms to be used in the variable oscillator. You can even exchange .WAV and AIFF files via the built-in USB port, which also works for MIDI. Resampling is also possible, allowing users to capture any performance with the TimeTrip Pad, D Beam or arpeggiator - or even effected sounds - as an entirely new waveform. All Preset Patches are fully re-writeable, giving users plenty of space for their own creations, which can also be saved via USB to a computer or to an optional PC card. With PC card adapters, other media such as CompactFlash, SmartMedia and MicroDrives can also be used.

Additionally, with V-LINK Onboard Video Control users are allowed playback and performance of video clips with music created on the V-Synth via the Roland DV-7PR Digital Video Workstation (sold separately). Use V-LINK to trigger different video clips with V-Synth's keyboard while using the bender to change playback speed. Using the TimeTrip Pad, you can scan a clip forwards or backwards with your finger, or change colors using the Twin D Beams. A totally unique feature perfectly suited for live use.

Specifications
Polyphony - Up to 24 voices (depends on CPU load); 16-part multitimbral (12 when using arhythm kit)
Oscillators - Dual Oscillators: Three types:
1: Analog modeling (14 waves: SAW, SQUARE, TRIANGLE, SINE, RAMP, JUNO, HQ-SAW, HQ-SQUARE, NOISE, LA-SAW, LA-SQUARE, SUPER-SAW, FEEDBACK-OSC, X-MOD-OSC)
2: PCM/Variphrase (Preset waveforms + Sampling waveforms)
3: External Audio.
Sampler - Yes, make your own PCM samples. Sampling Frequency Internal: 44.1 kHz; Digital Audio IN/OUT: 96, 48, 44.1 kHz
Effects - MFX (Multi-effects): 41 sets; Chorus: 8 sets; Reverb: 10 sets; EQ; COSM: 16 types (OD/DS, W-SHAPE, AMP, SPEAKER, RESONATOR, SBF1, SBF2, COMB, DUAL, TVF, DYN-TVF, COMP, LIMITER, F-SHIFT, LO-FI, TB-FILTER).
Memory - 1 Project; 512 Patches; 999 Waves, Wave memory (RAM): 50 MB (When the unit ships from the factory, 32 MB of this is taken up by the preset waves.); PC CARD slot (Microdrive, SmartMedia or CompactFlash can be used with PC card adaptor.)
Keyboard - 61 keys (with velocity and channel aftertouch)
Control - MIDI In/Out/Thru; USB
Date Produced -
V-Synth: 2003
V-Synth XT: 2005
V-Synth GT: 2007
Est. Value - $2,000 - $3,000

Korg Wavestation Synthesizer

2010-01-17T09:09:00.000-08:00

When Sequential Circuits finally went belly-up, their research and development into vector synthesis was picked up at Korg. This led to the hugely successful Wavestation Synthesizer which was based on Sequential's ProphetVS. The Wavestation incorporated the 2-dimensional vector joystick of the ProphetVS which allowed the user to alter and animate sounds.

Korg added to this a second break-through form of synthesis: wave sequencing, by which short segments of sampled audio waveforms could be played one after the other and cross-faded into each other for some complex and unusual tones, pads, textures and rhythms. The Wavestation had 2MB of ROM based samples at your disposal. Programming is not exactly easy but this great digital synth is capable of lush ambient sounds and strange effects. It has the obligatory lowpass filter, though it is non-resonant and digital sounding. Also on-board are some multi-effects which are pretty nice. This synth is easily upgraded and expandable with PCM cards too.

In 1991 the Wavestation EX, also called EXK-WS, was released (pictured above). The EX added 150 more waveforms (4MB) including acoustic instruments and drums. The EX also adds 8 multi-effects including: Mod Pitch Shift-Delay, Stereo Compressor-Limiter/Gate, Vocoder, Overdrive and Distortion effects, transposable keyboard and added MIDI implementation and control. Wavestations are used by Orbital, The Future Sound of London, Genesis, Jan Hammer, Depeche Mode, Toto, Vangelis, Legendary Pink Dots, Biosphere and Sin
Specifications
Polyphony - Up to 32 Voices
Oscillators - Digital synth with 2MB ROM samples, Vector Synthesis, Wave Sequencing
Multitimbral - 16 parts
Filter - 1 LowPass filter per voice
Memory - 150 patches
Keyboard - 61 keys (velocity / aftertouch)
Effects - 2 onboard effects
Control - MIDI (up to 8 channels at a time)
Date Produced - 1990-94
Est. Value - $500 - $1,000

Korg X3

2010-01-17T09:07:00.000-08:00

The nineties update to the legendary M1. Launched in 1993, it expanded on what made the M1 such a great machine and featured a range of solid, entirely usable sounds. The Strings and Basses are exceptionally good, although truly analog sounding sweeps and pads are not what this machine was about. The X3 (and subsequent X-series models that came after it) was designed as a middle-weight workstation, with the warmer and more powerful 01/W series taking the reins as Korg's premiere ROMpler workstation of the early nineties.

The X3 is based around 6 MB of 16-bit multi-samples, with basses, guitars, strings, drums, pads and much more. You can even add more PCM sounds to the synth, but additional PCM cards are expensive and/or hard to find.

Detailed editing and a flexible sequencer make this machine more than capable of running a MIDI rig if you are averse to PC based sequencing. If you can live without large touch sensitive screens or resonant filters, then you will find the X3 packs more punch than you may imagine. A rewarding synth to own, even 10 years down the line. What it lacks in instant hands-on tweak-ability and cutting edge sounds
Specifications
Polyphony - 32 voices (16-part multitimbral)
Oscillators - 32 Osc: 6MB PCM waveforms
Effects - 47 Digital multi-effects: reverb, delay, overdrive, EQ, chorus, rotary speaker, and more.
LFO - None
Filter - Digital Lowpass Filter, velocity sensitive (non-resonant)
VCA - Digital Amplifier with 4-stage ADSR envelope generators
Keyboard - 61 keys with Velocity, Aftertouch, Multi, Layer, Split modes
Sequencer - 16-Track, 10,000 Notes, 9 Songs.
Memory - 200 user programs, 200 user combis
Control - MIDI In / Out / Through (16-parts)
Date Produced - 1993
Est. Value - $450

Korg X-911

2010-01-17T09:05:00.000-08:00

The Korg X-911 is a very underestimated synth. What it was intended to be, was a stand alone guitar synthesizer. What it now represents, in these enlightened times, is an all analog, quite unique, signal processor/effects unit. Whereas a true guitar synth really requires its own dedicated pickup arrangement, this unit simply accepts a standard 1/4" jack input. Just patch your guitar, microphone, or other instrument into the X-911 and play one note at a time. Sporting both CV/Trigger inputs AND outputs, these features alone, make it quite a useful little toy.

The front panel is divided conveniently into semi-preset traditional sounds, called "Instrument", and more adventurous sounds with the nomenclature "Synthe". The Instrument sounds are named Electric Bass, Tuba, Trumpet, Dist. Guitar, Violin and Flute. The Synthe sounds are designated as graphical waveform icons (Pulse, Ramp, Square). Every voicing has adjustable parameters, with most of the Instrument sounds having a filter control, bar the Violin, which has an envelope control. The Synthe sounds all have envelope controls, namely Attack and Decay.

The two sections may be overlaid or used separately, with control via the central balance slider. Many features such as Portamento, Interval, Hold etc. are foot switchable via inputs on the front panel. Naturally, the all important Voltage Controlled Filter is in residence, as is a Portamento control. Velocity Response/Touch Sensitivity is controlled by a 3 way switch. All in all, this unit is ideal for those Soundmeisters seeking to distance themselves from the all too common sameness of the modern digital era.
Specifications
Polyphony - Monophonic
Oscillators - 2 (Instrument and Synthe)
Effects - Distortion
Filter - 1; Tone, VCF cutoff
VCA - 1; Attack, Decay
LFO - None
Keyboard - None
Memory - 6 Instrument patches: Electric Bass, Tuba, Trumpet, Dist. Guitar, Violin and Flute
Control - Cv/Hz in/out; Trig in/out; FM in; VCF in; 4 fx input
Date Produced - 1981
Est. Value - $200 - $350

Roland XP-10

2010-01-17T09:02:00.000-08:00

The XP-10 was an entry-level Workstation synthesizer. It's a digital synthesizer that uses sampled sounds and waveforms stored on ROM chips. Basic envelope and filter settings can be manipulated to tweak the sounds, but that's it. The sounds themselves are preset and not very tweakable. Though its filter is digital, it is resonant and sounds ok. There is also basic reverb and chorus effects. However, the LCD display is narrow and programming can become tedious, if not boring and the interface is often reported as being 'buggy'.

However, its sounds can be anything but boring at times! Standard GM-set and SR-JV80 type sounds include great acoustic instruments (pianos, strings, winds, percussion and brass) and a lot of nice synth-type sounds (303 lines, sub bass, noise, leads, pads). It is quite capable of creating dance music or symphonic performances.

As a workstation, the XP-10 provides at least a starting point. It has an arpeggiator with several preset patterns (but no user patterns). There are two programmable sliders for real-time control of some of the editable parameters like the filter cutoff. Another feature called "X-Dual" mode layers two sounds which can be panned and mixed independently to create a new sound. Today, the XP-10 makes an ok back-up synth for quality but basic sounds, but it still leaves much to be desired.
Specifications
Polyphony - 28 Voices
Oscillators - Digital Acoustic simulation
LFO - Yes
Filter - Resonant Digital Filter
Effects - 2 Effects units with up to 10 different effect types
Memory - 338 Preset, 256 User patches; 64 Preset, 64 User performances; 16 Preset, 20 User Drumkits
Keyboard - 61 keys (responds to velocity and aftertouch)
Control - MIDI (16-parts; can send on 2 simultaneous channels); PC/Mac port
Date Produced - 1994
Est. Value - $400

Roland XP-30

2010-01-17T08:57:00.000-08:00

The XP-30 is a 64-voice Expandable Synthesizer that offered all of the great sounds of the XP and JV series at a more affordable price tag than previous XP-synths. Roland's XP-80 was a flagship workstation in its time, but by reducing the keyboard down to a standard 61 key (with velocity and aftertouch), elimination of the on-board sequencer, and fewer expansion card slots, the XP-30 was able to offer the XP-experience at a price within reach of serious musicians at any level.

The XP-30 does retain the XP-series synthesis architecture and all the world-renowned sound sets of the acclaimed XP-80 workstation, plus all the waveforms from the "Session", "Orchestral", and "Techno" expansion cards. It adds, however, a boat-load more patch storage than its more famous predecessors: there are 1,406 patches and 28 drum kits. Fortunately there is a Patch Finder and Phrase Preview for quick navigation and sound selection. Besides the two expansion slots for installing the SR-JV80-Series expansion boards, a SmartMedia card slot provides additional storage capability. Plenty of controls and four assignable Sound Palette sliders let you get deep into editing and programming its sounds.

Specifications
Polyphony - 64 Voices
Oscillators - 4 per voice ( 4 x 64 voices), 32 bit custom RISC chips for Digital Acoustic simulation; 512 on-board waveforms (plus up to two 8MB SRJV80 series expansion boards)
LFO - 2 MIDI syncable LFOs
Filter - TVF (lowpass, bandpass, high pass) with cutoff, resonance, key follow and velocity sensitivity
Effects - Reverb, Chorus and 40 multi-EFX
Memory - 1,406 patches, including all sounds from the "Session", "Orchestral" and "Techno" wave expansion boards, 28 Rhythm kits.
Keyboard - 61 keys with velocity and aftertouch sensitivity
Arpeg/Seq - Advanced Arpeggiator capabilities derived from the XP-60/80
Control - MIDI In/Out/Thru (16-parts)
Date Produced - 1999-2002
Est. Value - $750

Roland XP-50

2010-01-17T08:47:00.000-08:00

The XP-50 is not just another synthesizer workstation, it's basically a JV-1080 with a built-in keyboard and a 16-track sequencer! It is a digital synthesizer using sampled ROM waveforms. Superb sound quality capable of emulating most any instrument imaginable plus totally fat analog synth type sounds and loads of percussion! It has 64 voices of polyphony and is 16-part multitimbral. The XP-50 makes a great beginner's pro-quality workstation.

It has 8MB of sounds and it also offers a lot of expandability with 4 expansion slots and 2 data card memory slots. You can get up to 42MB of sounds by adding any of the popular SR-JV80 expansion cards suited for Techno, World Instruments, Orchestral or Synthesizers. There's also plenty of multi-effects, reverbs, choruses and filters for creative flexibility, motion control and extensive MIDI implementation.

Some of the features the XP-50 brings (to the JV-1080) are a standard 61-note keyboard with velocity and aftertouch. The MRC-PRO 16-track sequencer which features 60,000 note capacity and can hold 100 patterns and 1 song. Several recording features (loop, step, realtime), quantization and editing features are available too. A built-in 3.5 inch disk drive facilitates storage of your sequences and MIDI data. With a 'bang for your buck' value the XP-50 still makes a great keyboard alternative to the JV-1080. That means you get some of Roland's best sounds in a performance workstation that is as affordable as 'pro-quality' can get (beyond which come the XP-60 and XP-80 mega-synths). It has been used by The Cure.
Specifications
Polyphony - 64 Voices
Oscillators - 32 bit custom RISC chips for Digital Acoustic simulation; 512 on-board waveforms (plus up to four 8MB SRJV80 series expansion boards)
LFO - Up to 8 MIDI syncable LFOs
Filter - TVF (lowpass, bandpass, high pass, peak) with cutoff, resonance, key follow and velocity sensitivity
Effects - 40 multi-effects, reverb, chorus
Memory - 640 Patches, 128 performances
Keyboard - 61 keys (responds to velocity and aftertouch)
Control - MIDI (16-parts)
Date Produced - 1995
Est. Value - $500 - $1,000

Roland XP-80

2010-01-17T08:44:00.001-08:00

The XP-80 was one of Roland's flagship digital Workstation Synthesizers. With extensive professional features, superb quality PCM sounds, sequencing, effects and more, the XP-80 could be the only synth you may ever need! Compared with earlier XP-series synths, the XP-80 adds a great 76-note semi-weighted keyboard for a realistic playing experience. A bright and large 320 by 80 pixel backlit display gives easy readability to any programming and sequencing you may do on the XP-80.

The XP-80 offers up 64 voices of polyphony and can send on up to 16 MIDI channels simultaneously. The sounds are all digital in nature and sound pretty good too! Though its strengths are the emulation of acoustic instruments, it can create synth-type sounds too. It comes with 16MB of ROM sounds, but there's room for up to four 8MB expansion boards that add Orchestral, Techno, Vintage Synths, World, Bass & Drums and other instrument sets (from the SR-JV80 expansion series).

Bringing up the 'Workstation' end of the XP-80 is a full-fledged on-board MRC Pro sequencer. With a 60,000 note capacity, 100 patterns, and 1 song position - you can create songs, patterns, loops or phrases with relative ease. Other features of the sequencer include Grid, Groove or Shuffle quantization and a built-in disk-drive. The XP-80 also excels as a Master Keyboard controller used to control other synthesizers and MIDI gear. A great Arpeggiator is also available. High quality internal effects are provided such as Reverbs, Chorus, Delays and Roland's EFX multi-effects technology. There are also digital filters (4-pole, 12dB/oct, HP, LP, BP, Peak) and a ring-modulator for analog-synth type effects, perfect for dance and techno music! A Modulation-Matrix provides up to two LFO-effects for adding motion and life to the sounds. In addition, there are 6 sliders for real-time control.

In a nutshell, the XP-80 is a pure digital synth. Its sounds are virtually the same as the JV-1080, JV-2080, XP-60 and XP-50 synthesizers. And the XP-80 makes a great all-in-one Workstation or Master Keyboard controller for any musical application. For a digital instrument, the sounds can be surprisingly expressive and the XP-80 is not reserved for any particular musical genre, other than top-quality music! From Carnegie Hall to warehouse Raves, the XP-80 has been used. If you don't require such an elegant keyboard, the XP-60 is the next best alternative. And if you don't need any keyboard, the JV-2080 or JV-1080 make the next best alternatives to this flagship workstation.

Specifications
Polyphony - 64 Voices
Oscillators - 4 osc. per voice; Digital PCM subtractive with 16MB of ROM (expandable to 80MB)
Sequencer - 60,000 notes, 100 patterns, 1 song
Filter - Resonant 4-pole, 12dB/oct, High pass, LowPass, BandPass, Peak filtering
Effects - 3 processors: EFX (w/ 40 effects), reverb, chorus, delay, ring modulation, distortion, etc.
Memory - 512 Preset, 128 User patches; 64 Preset, 32 User performances; 8 Preset, 2 User Drumkits
Keyboard - 76 semi-weighted keys (responds to velocity and aftertouch)
Control - MIDI (16-parts)
Date Produced - 1996
Est. Value - $1,500

Korg Z1

2010-01-17T08:39:00.001-08:00

Could this be Korg's masterpiece? The Z1 is like a polyphonic Prophecy! It does all the analog sounds and more. This is a great analog modeling synth with 12-voice polyphony, thirteen waveforms, four LFOs, two resonant filters, two effects units and more. The ability to create unique sounds is endless. The factory patches could use some help, but overall the sound is very nice! It has a fully polyphonic arpeggiator that blows all others away. It has five preset arpeggio patterns and fifteen user patterns. Unfortunately there is no on-board sequencer. There is incredible real-time control available with knobs to control the two resonant filters, and a touch controlled 'XY' pad for tweaking patches in real-time. The Z1 is used by KMFDM, Gary Numan, LTJ Bukem and Orbital.

Specifications
Polyphony - 12 voices (expandable to 18)
Oscillators - 2 osc (13 types including pulse, saw, tri, sine, organ, electric piano, piano, brass, reeds, strings, more) 1sub-osc, noise
LFO - 4 LFOs; 18 waveforms including sine, tri, saw, square, sample/hold, stepped
Filter - Resonant low, hi, dual band pass
Effects - 2 effect units with 15 effects including Reverb, Parametric EQ, chorus, phaser, flanger, rotating speaker, overdrive, auto-wah, talkbox, decimator, compressor
Keyboard - 61 keys with velocity and aftertouch
Memory - 256 patches, 32 multis
Control - MIDI (6 parts)
Date Produced - 1997
Est. Value - $1,500 - $2,000

Korg Triton

2010-01-16T07:00:00.000-08:00

The Triton is Korg's latest flagship workstation synthesizer for professional music production! It looks and sounds beautiful, and hiding under the hood is an extremely souped-up synth-engine ready to tear up your tracks! Literally! It is a digital 62-voice synthesizer with built-in sequencing and arpeggiators and an ultra-large touch-screen control panel at the center of its face-plate.

The Triton is in-fact an evolved Trinity...Korg's previous flagship workstation. Whereas the Trinity was capable of 32-note polyphony, the Triton now boasts 62! Waveform ROM has been expanded as well, now with 32MB of multi-sample sounds that sound crystal clear and quite warm. With these samples and the Triton's in-depth programmability you can create pretty much any sounds, from an orchestral flute with life-like vibrato to all-out chord-stabs with filtering for dance-floor house music, complete with beats and cool arpeggio patterns and phrases.

Also on-board is a stereo-sampler. With 16MB RAM and space for up to 1,000 samples there's nothing you can't create with this synth. There are plenty of on-board digital effects as well for sprucing up your samples or the Triton's own internal multi-samples. Controllers include a Joystick, 2 assignable switches, 4 assignable knobs, 3 arpeggiator control knobs and inputs for a damper pedal, PC Interface Host and 2 audio-ins for the sampler section. There are also stereo outputs plus 4 individual outputs. A dedicated 16-track sequencer with a 100,000 note capacity, Real-Time Pattern Play functions and an Arpeggiator with several patterns round this beast out as a truly all-in-one music workstation. The Triton is rivalled by the likes of Yamaha's EX-5, Kurzweil K2500 and the Roland XP-80 comes close. But Triton makes for a professional, versatile, elegant and superb synthesizer. It has been used by The Orb, Orbital, Depeche Mode, BT, Rick Wakeman, Yes, Keith Emerson, Vangelis, Saga, Aqua, Royksopp and Apollo 440.

The Triton Rack, released in 2000, has all of its keyboard counterparts' sonic power, sampling functionality, intuitive operation, and expandability. In addition, this two space, rack-mountable unit dramatically expands the possible number of sounds by allowing for a total of eight EXB-PCM expansion sound boards to be installed. It also provides digital output and features numerous other functions that make it the ideal choice for the musician looking for a no-compromise sound!
Also in 2000, the Triton LE was released to give virtually all the same great sounds and power of the original Triton at a much lower price. Its major changes include the lack of the touch-screen interface (replaced by a smaller LCD only screen), no more ribbon controller, and only one (instead of five) insert effects. There is only one expansion slot for the Korg EXB-SMPL sampling board. Internally, the sounds and synthesis engine remain virtually the same, but a lot of the "workstation" features have been side-lined to make the LE a cheaper and more standard type of keyboard for less demanding entry-level or budget-challenged musicians. The LE was offered in 61, 76 and a weighted 88 note keyboard models. Note that the 88-key model added a 16-MB Piano ROM to the standard 32 MB of waveform memory.
2002 saw the introduction of the Triton Studio. This model made the 16 MB paino ROM waveforms standard on all of its 61, 76 and 88 key models. Polyphony was essentially doubled to 120 voices (2 banks of 60 voices). The Triton Studio also added built-in S/PDIF input and output and could be fitted with an optional hard drive, CD-R/W drive or a "Digital Interface" board providing ADAT output and Word Clock.
The Triton Extreme was released in 2005. The most extreme model, it quintupled waveform memory up to 160 MB with 120 voices of polyphony. Most of the Triton series expansion boards have been pre-installed as standard in the Extreme, while many sounds from the older Tritons have been improved as well. Sample memory is also upgraded (up to 96 MB of sample RAM). And in addition to its new "paint-job" a major feature was the addition of a genuine 12AU7 "Russian Bullet" vacuum tube which could be used as either an insert or master effect, or simply by itself to allow for warmer, guitar amp-like sounds and for more extreme analog overdriven/distorted sounds. USB connectevity has also been added for direct computer interfacing to allow exchange of samples, sound programs, sequences, and other Triton-compatible files through an installable Compact Flash card, as well as for connection of a USB Hard Drive or CD-R. Unlike the Classic, Studio, and Rack Tritons, the Extreme can not be fitted with sample expansion boards due to the expansion ROMs having been pre-installed. However, it is compatible with the MOSS board.

Additional Expansion Options for the Triton Series:
EXB-MOSS - the ultimate 6-voice DSP tone generator
EXB-SCSI - for external SCSI storage devices
EXB-mLan - digital audio and midi transfer for rack model
EXB-DI - optical ADAT output with 48kHz word clock in for rack model

Specifications
Polyphony -
Triton & LE - 62 voices (68 with MOSS)
Triton Rack - 60 voices
Triton Studio & Extreme - 120 voices
Tone Generator - HI synthesis system; 48 kHz sampling frequency, 32 Mbyte PCM ROM, 425 multi-samples + 413 drum samples
Sound Source - 62 oscillators in single mode/ 31 voices, 62 oscillators in double mode. (60 and 30 osc. in Rack module)
Sampler - 16 bit, 48 kHz stereo/mono sampling, 16 MB memory standard, expandable to 64 MB. Maximum of 1,000 multi-samples / 4,000 samples. Up to 128 samples can be assigned to a multi-sample. AIFF, WAVE, AKAI (S1000/S3000) and Trinity sample data can be loaded. (Triton cannot load Trinity format data from TFD-1S, TFD-2S, TFD-3S and TFD-4S , since they use data-compressed data.)
Memory - 640 programs, 512 combinations, 64 drum programs, GM Level 2 - 256 programs + 9 drum set; External Floppy Disk Drive: 3.5 inch 2DD/2HD
Keyboard - All models offered: 88 weighted keys, 76 key or 61 key models. All have velocity and aftertouch sensitivity
Effects - 102 (insert effects/ 89 for master effects); Stereo digital multi-effect system - 2 master effects (mono in, stereo out), 5 insert effects (stereo in / out), and 1 master EQ (stereo in / out) simultaneously
Sequencer - 16 timbres, 16 tracks, 1/192 resolutions, 100 preset / 100 user pattern per a song, 200 songs, 20 cues, 200,000 notes, reads and writes Standard MIDI File (Format 0 and 1)
Arpeggiator - RPPR (Realtime Pattern Play / Recording): 1 set with 72 patterns available per song; Arpeggiator: 5 preset patterns and 232 patterns (approx. 180 preset)
Control - MIDI (16-part), PC-Host input
Date Produced
Triton - 1999
Rack, LE - 2000
Triton Studio - 2002
Triton Extreme - 2005
Est. Value - $1,500 - $2,500

Korg Trinity

2010-01-16T06:57:00.000-08:00

The Trinity was a major break-through synthesizer for Korg. It is a beautiful, state of the art and superb sounding music workstation which first appeared in 1995. Its most notable new feature to the synthesizer industry is the super-cool 320 x 240 TouchView Graphical User Interface....which is also the heart of the instrument! This workstation seamlessly combines excellent digital sounds, in-depth yet intuitive programming, real-time controllers, upward expandability and elegant design to create the perfect all-around synthesizer.

The Trinity's sounds come out of a 24MB ROM chip with 48kHz multi-samples of about 375 sounds and 258 drums. You can even add an expansion board of Prophecy sounds and Z1 sounds! There's a good digital multi-mode filter with hi/low/band pass, band reject, resonance and more. There's also 110 effects for adding life to your sounds...up to 8 simultaneous insert effects and 2 master effects.

The Trinity has an excellent on-board sequencer allowing it to be the center of your music studio...it's that good! And it's fun to use the touch-screen. It's a 16-track sequencer with an 80,000 note capacity, 100 patterns and 20 songs. With the 32 voices and plenty of drum sounds, you can use the Trinity as your all-in-one music studio! Great in the studio, or live there are plenty of real-time controllers including a Joystick, Ribbon controller and 2 assignable knobs and multiple sound outputs. Expandability includes a SCSI port, Internal Hard Disk Recording, 8Mb Flash Rom Playback-Sampler Option (which reads all Korg and Akai sound libraries), Digital ADAT I/O option and the SOLO-TRI Prophecy expansion board.

And now for the history... The original Trinity was released in 1995 and had a hefty 24 MB sample ROM though it lacked some of the features described above. Then, in 1996 the Prophecy sounds were included in the Trinity Plus model. Following that came the Trinity Pro which is basically the same as the Plus but has a full 76 note keyboard. And if that wasn't enough there's always the Trinity ProX which has 88 keys! And then came the V3 series in 1998 (with its own entourage of Pro and ProX keyboards). The Trinity V3 (pictured above) added all the guts and glory of the Korg Z1 for even more outstanding musical sounds! The benefit of the Prophecy and Z1 features is MOSS, Korg's physical-modeling technique that made the Prophecy famous! The V3 or Z1 MOSS board can be added to the older Trinity models. At last it can be said that the final Trinity is the new Triton, released in 1999.

The Trinity(s) has been used by Juno Reactor, David Holmes, Antiloop, Dream Theater, A-Ha, Depeche Mode, Duran Duran, Mike Oldfield, Kitaro, Rick Wakeman, Yes, Vangelis, Yesterdays, Spocks Beard, Alphaville, and Max Martin.

Specifications
Polyphony - 32 voices
Tone Generator - ACCESS (Advanced Combined Control Synthesis System): 24 Mbyte PCM ROM, with 375 different PCM multi-samples and 258 drum samples; 128 Z1 sounds in V3 models
Sound Source - ACCESS (Advanced Combined Control Synthesis System): 32 voices, 32 oscillators (single mode); 16 voices, 32 oscillators (double mode)
Sampler - Optional Add-On: 8MB Sample Playback, reads Akai and Korg sample libraries.
Memory - 56 programs/256 combinations for ACCESS, 64 programs for MOSS, additional 256 programs/256 combinations for ACCESS plus 64 programs for MOSS are available when PBS-TRI optional board is installed
Sequencer - 20 songs, 100 patterns, 1/192 resolutions, 80,000 notes, 16 tracks, reads and writes Standard MIDI File
Arpeggiator - None
Keyboard - 61 notes; Pro models: 76 notes; ProX models: 88 notes; All keyboards are sensitive to velocity and aftertouch
Effects - Stereo digital multi-effect system - 2 master effects and 8 insert effects simultaneously. 14 effects algorithms for master effect and 100 effects algorithms for insert effect
Control - MIDI (16-parts)
Date Produced - 1995-1998
Est. Value - Trinity (various models): $1,000 - $2,500
SOLO-TRI Prophecy Board: $600
PBS-TRI Playback Sampler: $800
HDR-TRI Hard Disk Recorder: (up to 4GB) $800
SCSI: $600
DI-TRI ADAT Optical Interface: $300

Korg MS-10

2010-01-16T06:53:00.000-08:00

The MS-10 is a cool & classic analog synth known for its great bass and percussive sounds. It was released by Korg in 1978 as an entry-level, simple monophonic single-VCO analog synthesizer. With the authentic look of a mini-modular its single VCO is patchable using standard 1/4 inch patch cords to the VCF and VCA. It really is a powerful little mono-synth with plenty of knobs and a compact 32-note keyboard. It is CV/Gate controllable. A very cool feature is its external input to filter which allows you to filter external sound sources! Following the MS-10 came the double-oscillator version, the MS-20. The MS-10 is used by The Orb, SkyLab, the Chemical Brothers, Astral Projection, Autechre, Juan Atkins, Underworld, Sneaker Pimps, Luke Vibert, JunkieXL, and Add N to (X).

Specifications
Polyphony - Monophonic
Oscillators - 1 VCO with mixable white/pink noise generator
LFO - One LFO w/ multiple waveforms
Filter - One lowpass VCF
VCA - ADSR with Hold
Keyboard - 32 keys
Arpeg/Seq - None
Control - CV/GATE
Date Produced - 1978
Est. Value - $200 - $700

Korg MS-20

2010-01-16T06:51:00.000-08:00

The MS-20 was one of Korg's first major successful portable analog monosynths and even today it is still a great little machine! The MS-20 is the big brother to the MS-10. It is an analog two-oscillator monophonic lead and bass synth with hard wired and patchable connections. The hard-wiring can be overridden however, using patch-cords. This type of hard-wired but patchable design was similar to the ARP 2600 of the late seventies. Of course the 2600 was much bigger and better. But the MS-20 offered a lot of flexible control and great sounds at a more affordable price.

In addition to two analog oscillators, the MS-20 featured two resonant VCF filters, two VCAs, sample and hold, a noise generator, an assignable mod-wheel and lots of knobs! The VCF filter section is capable of high-pass, low-pass, notch and band-reject which is unique and different than your basic lowpass style filter. External sound sources can be routed through the filter section as well. In fact William Ørbit uses the filter in his MS-20 relentlessly to filter and tweak his samples, beats, delay returns, vocals, etc.

There's also a Pitch-CV converter for triggering sounds from external sources. Aphex Twin makes quite a bit of use of this, feeding the input stage of his MS-20s with drum sounds and other untrackable audio to get the synth to make a wide variety of crunch/squawp/screech noises by mistracking the filters, etc.

As for its sounds, the MS-20 sounds great! It makes a great alternative for Minimoog-seekers. The MS-20 is great for just about any type of analog synth sound you could want! Fat round bass sounds, percussive bass or sounds, noise effects, squiggly-bubbly sounds or sinuous-worm leads are all waiting to be unleashed from inside this classic beast. The MS-20 is not only a great sounding instrument, but a great learning-synth. It is fairly easy and intuitive to operate but in doing so you can learn and understand more about synthesis and signal-flow. It is used by William Ørbit, Aphex Twin, Hardfloor, Air, SkyLab, Stereolab, Vince Clarke, Astral Projection, Biosphere, Apollo 440, Mr. Oizo, Jimi Tenor, The Prodigy, OMD, Freddy Fresh, Luke Vibert, Einstuerzende Neubauten, Add N to (X), Daft Punk, Coldcut, Die Krupps, Skinny Puppy, Electronic Dream Planet, Jimmy Edgar, Front 242, Front Line Assembly, The Legendary Pink Dots, KMFDM, Severed Heads, Royksopp, The Faint, The Shamen, Jean-Michel Jarre, and Portishead.
Specifications
Polyphony - Monophonic
Oscillators - 2 VCO's + noise
LFO - One LFO w/ multiple waveforms
Filter - 2 MultiMode VCFs: Lowpass, Highpass, Notch, BandReject; with ADSR
VCA - 2 VCAs: ADSR + Sample and Hold with an envelope follower
Keyboard - 36 keys
Arpeg/Seq - None
Control - CV/GATE
Date Produced - 1978-83
Est. Value - $400 - $900

Korg M1

2010-01-16T06:41:00.000-08:00

The M1 was and still is a popular and widely used digital synthesizer and music workstation. The M1 features built-in AI Synthesis for full digital generation and processing using 4MB of PCM sampled and synthesized waveforms which can be shaped using analog-style editing. The M1 is capable of creating acoustic instruments with clarity, nice digital sounds and good buzzy techno sounds. The M1 is sort of like a workstation-version of the Roland D-50.

In addition to its acclaimed sound, it has a somewhat sophisticated 8-track sequencer. It holds 10 songs and 100 patterns and up to 7,700 notes, and offers full quantizing and editing. Full MIDI implementation suites the M1 ideally for studio production and MIDI system use. Up to 8 parts of multitimbrality with the 8 track sequencer makes for a powerful machine. Add to that a host of digital multi-effects and you've got one of the most widely and professionally used Korg synthesizers around.

UPGRADES: The EXK-M1 optional ROM expansion kit doubles the PCM waveform memory to 8MB (275 multisampled sounds) for even greater sonic possibilities. The M1R-EX is the same upgrade but designed for the M1R (rack version). That's right, there's a rack version of the M1 available as the M1R as well. The M1 has been used by 808 State, Banco De Gaia, Ken Ishii, Depeche Mode, Fluke, The Cure, The Orb, The KLF, Plastikman, Bomb The Bass, Gary Numan, Robert Miles, Mike Oldfield, Kitaro, Rick Wakeman, Rod Argent, Joe Zawinul, Patrick Moraz, Pet Shop Boys, Vangelis, the Cranberries, Sin and Jellyfish.

Specifications
Polyphony - 16 voices
Oscillators - 4MB PCM waveforms (144 multisampled sounds)
Effects - Digital multi-effects: reverb, delay, overdrive, EQ, chorus, rotary speaker, and more.
Filter - VDF: Variable Digital Lowpass Filter, velocity sensitive (non-resonant)
VCA - VDA: Variable Digital Amplifier; 3 independent 4-stage ADSR envelope generators
Keyboard - 61 keys with Velocity, Aftertouch, Multi, Layer, Split modes
Memory - 100 patches
Control - MIDI (8 parts)
Date Produced - 1988-94
Est. Value - $600

Native Instruments Kontakt

2010-01-16T06:39:00.000-08:00

Native Instruments have been leaders in the production of software synthesizer plug-ins for some time now. With the release of software samplers such as IK Multimedia SampleTank and Steinberg HALion, NI offers KONTAKT - the ultimate sampler plug-in for your computer! KONTAKT works on both Mac and PC platforms in Stand-Alone or plug-in compatible applications, supporting ASIO 2.0, DirectSound, MME, SoundManager, VST 2.0, Audio Units, Core Audio, RTAS, DXi, DirectConnect, and MAS/FreeMIDI formats.

KONTAKT comes with five CD's full of samples ranging from basic drums, guitar, piano, bass, and samples from each of NI's own line of outstanding synth plug-ins to get you started. At the left of KONTAKT's window is a file browser for searching your disks for samples to drag and drop into KONTAKT's editing windows. Samples are loaded entirely into available RAM which means if you want to use a 200 MB sample, you need at least 200 MB of RAM available to KONTAKT. This is not like HALion which loads only the attack of a sample into RAM and streams the rest from hard disk. The result is KONTAKT has a heavy RAM requirement but is guaranteed to have quick and responsive playback of your samples with no clicks, errors or audible latency.

When you open KONTAKT you have an empty 'instance' which can support up to 16 instruments. Each instrument can be assigned to any MIDI channel. They each have their own key range, velocity range, and polyphony settings. It also displays the instrument name and RAM usage with global Tune, Pan, Solo, Mute and Volume controls. Samples can be freely assigned to key and velocity zones in the Mapping editor by simple drag and drop. Samples can also be layered over the same keys or at various velocity zones on the same key. Crossfades between samples assigned to neighboring keys or velocity crossfades can be set automatically with a drop-down menu or manually with small handles in the Mapping editor. The Loop Editor lets you quickly and easily assign in/out points for up to 8 different loops per sample. Multiple loops lets you create stuttering effects and other wacky stuff. There's a Zero-X mode for tweaking the loop's crossfade point, auto-find loop start/end points, resynthesis and timestretching functions.

KONTAKT has a lot of tricks available to mangle samples into something new. It operates in one of three modes: Sampler, Tone Machine or Time Machine. Sampler mode is the basic mode where your intent is to play-back samples such as those from libraries. KONTAKT supports Akai S1000 and S3000, SoundFont2, GigaStudio, HALion, EXS24, SND, WAV, SDII, AIFF, and NI Battery files. Tuning and Reverse can be used to alter the source sample. The Tone and Time Machines offer interesting sample mangling features based on granular resynthesis. The Time Machine does real-time time stretching and pitch shifting. Assign a sample to a range of keys, for example, and each key can play the sample at a different tempo but maintain the same pitch. Tone Machine gives the sample the pitch of any key played. The Granular Synthesis process here can yield some strange results too.
KONTAKT offers a bunch of lowpass, highpass, bandpass, and notch filters with 6 to 36 dB/oct slopes and resonance, and they sound great. There's also 1-, 2-, and 3-band EQ's, a phaser, and two vocal formant filters. Nearly every parameter of KONTAKT can be modulated from sources like the LFOs, envelopes, step modulators, envelope followers and controllers. All relevant modulators can be synchronized to MIDI clock. Control- or right-click on any control or knob to assign a modulation source or MIDI controller number to it. You can even assign several knobs to the same controller. And it can 'learn' an incoming MIDI controller number from your MIDI controller for quickly and easily assigning knobs on your controller to the parameters of your choice. KONTAKT also offers three types of envelopes: a DBD (Decay 1, Breakpoint, Decay 2) for pitch sweeps, a basic AHDSR envelope, and a flexible 32 point envelope as seen in Absynth and FM7 (pictured below), which allows you to create very rhythmic and looped effects. The cool Step Modulator is an analog style sequencer with up to 32 steps and is used to rhythmically modulate any modulatable destination like the filter cutoff, pitch, etc.In addition there are insert and send effects for each instrument which include EQ, reverb, chorus, delay, lowfi, stereo enhancer, distortion, flanger, phaser, compressor, chorus, or any of KONTAKT's 14 filters. The File Browser window can also be switched to a structure view, in which all the actual modules, zones, groups, instruments, etc. that are being used by the sampler appear so you can easily navigate your way around all he modules in your instrument. And each plug-in instance can support up to 32 outputs in supporting host applications, and 16 outputs in stand-alone mode with an appropriate soundcardAs of this writing, KONTAKT is yet another leading plug-in from Native Instruments! It offers superior sample manipulation with synth-like filtering and modulation that goes beyond what other soft- and hard-ware samplers offer. The user interface is awkward and takes getting used to, but it is very streamlined, efficient, and everything is done graphically within one window. The samples that come with KONTAKT (developed by Yellow Tools) are not the greatest but show you how realistic and creative you can get with sample mapping, layering, modulating, etc. If you were looking to go virtual with your studio, KONTAKT is the affordable sampler that will replace your hardware sampler!

Famous user BT says, "Kontakt is the most comprehensive and elaborate sample engine I've ever worked with. The only software sampler you'll ever need." Paul Hartnoll of Orbital says "Kontakt is the best software sampler that we have ever seen, very simple and easy to use. Yet with it's modular structure it can be as complex as you want. It's an incredible creative device..."
Specifications
Polyphony - Hardware Dependent (Up to 256 per instrument)
Sampler - Sample Formats: Akai S1000 and S3000, SoundFont2, GigaStudio, HALion, EXS24, SND, WAV, SDII, AIFF, Battery and Reaktor files
Interfaces: ASIO 2.0, DirectSound, MME, SoundManager, VST 2.0, DXi, DirectConnect, and MAS/FreeMIDI
LFO - Sine, Triangle, Rectangle, Sawtooth, Random, Multi waveforms
Filter - Sampler filters: Lowpass 1-, 2-, 4-, 6-pole; Highpass 1-, 2-, 4-pole, Bandpass 1+1, 2+2 pole; Notch 2+2 pole; Multimode 3x2 pole.
Equalizers: Parametric 1-, 2-, 3-band EQ.
Effect Filters: Phaser, Vowel A, Vowel B.
Effects - Send Effects: Panning Delay, Stereo Chorus, Stereo Flanger, Stereo Phaser, Reverb
Insert Effects: Distortion, Saturation, LowFi, Compressor, Stereo Enhancer, Filter/EQ
Keyboard - Virtual in Mapping Editor from C-2 to C8 (10 octave range), Velocity (range 1-127)
Macintosh - Minimum: Mac OS 9.2 or higher, G3 500 MHz, 256 MB RAM
Recommended: Mac OS 9.2 or higher, G4 733, 512 MB
VST 2, Audio Units, Core Audio, RTAS, Direct Connect, MAS, Sound Manager, FreeMidi, OMS
Windows/PC - Minimum: Windows XP, Pentium III/ Athlon 500 MHz, 256 MB RAM
Recommended: Windows XP, Pentium III/ Athlon 700 MHz, 512 MB
VST 2, DXi, ASIO, DirectSound, RTAS (XP only)
Date Produced - 2002
Est. Value - $399

Korg KARMA

2010-01-16T06:37:00.000-08:00

The KARMA represents seven years in the making. It's a synthesizer based on the engines and effects of the Triton series. KARMA is a music workstation with a revolutionary new phrase technology. Generate grooves, arpeggios, effects and more, all in realtime with plenty of knobs, switches and joysticks for hands-on control. You can control the rhythmic complexity, harmony, melodic repeat, phrasing, panning, effects and more from these knobs! KARMA is designed to create techno arpeggios and effects, natural sounding glissandos, and many other animated sounds and dynamic effects. KARMA lets you play complex moving synth parts that could normally take hours of programming. Just play some chords and twiddle the control knobs to vary the KARMA patterns, and let KARMA do the rest.

Like the Triton, KARMA features 62 voice polyphony and HI (Hyper Integrated) synthesis with 425 PCM multi-samples and 413 drum sounds. Patch memory consists of 640 user programs, plus 256 programs and 9 drum programs, 64 drum kits and 9 GM drum kits. Up to 8 patches can be combined, split, layered, etc. There is, however, no on-board sampler as there is in the Triton. But the KARMA technology more than makes up for this limitation with its revolutionary ability to generate totally random or fully controllable animated sounds, grooves, phrases, etc. which can't be found in comparable synthesizers. A splendid, studio-quality effects section offers 102 effects to sweeten your KARMA creations. In addition to an LFO, Alternate Modulation and Effect Dynamic Modulation enable you to further modulate the pitch, filter, amp, EG, LFO, etc. All modulation and KARMA functions can be synced to tempo or MIDI clock.

A built-in and powerful 16-track sequencer is all you need to generate complete music tracks with the KARMA. It can hold up to 200 songs, with up to 999 measures per song! Phrases generated by the KARMA function can be recorded into your sequences. Songs are created using a Cue List function to arrange up to 99 different sequences. The RPPR (Realtime Pattern Play/Recording) function lets you play phrases back by pressing a single key. And there are 150 drum and percussion patterns provided. You can jam along with the RPPR function or the Song Play function, using KARMA effects in realtime and in sync! Excellent for live use as well as in the studio.

KARMA - Kay Algorithmic Realtime Music Architecture, developed by Stephen Kay, Karma Lab LLC. The KARMA function separates every aspect of a musical phrase into independently controllable parts. It features over 1000 Generated Effects (1 GE per Program, 4 GEs per Combi or Song). A GE contains over 400 parameters to generate notes, control synth and effects parameters, and provide randomization of these events. There are eight knobs and two switches to control up to 10 of the 16 KARMA parameters in realtime. Two Scene memories store current knob settings to recall them instantly. MIDI control messages can be used to control KARMA too. One KARMA module is available in Program mode, four modules can be used in Combi/Sequencer/Song Play modes. Classic Chord Memory is also available for playing entire chords with just a single key...Trance heaven! KARMA is an exciting new synthesizer technology that adds a whole new level of interactivity and variability suitable for just about any genre of music.

The new Version 2.0 operating system for the Karma Music Workstation is a free of download to all Karma owners and users. It works with the new KARMA MW, a computer software program (Mac/Windows) that allows in-depth access to all of KARMA's creative features. Version 2.0 adds 320 new locations for saving and storing User GEs. These can be loaded in via floppy disk or MIDI dump, and can be created externally using the KARMA MW Computer Software. Other new features packed into Version 2.0 include time signature and tap tempo control, intuitive real-time control, improved sequencing, true swing quantization, improved performance with external sequencers, and much more; all of which are mostly the result of user input and ideas. This upgrade to 2.0 and the KARMA MW software is a must have for all Karma users! Current famous users include Rick Wakeman, Phil Collins, Adam Holzman, Herbie Hancock, Peter Gabriel, Vangelis, Yes, Greg Phillenganes, Pete Townshend, and Keith Emerson.

Additional Expansion Options for the Karma:
EXB-PCM01 - Pianos/Classic Kybds
EXB-PCM02 - Studio Essentials
EXB-PCM03 - Future Loop Construction
EXB-PCM04 - Dance Extreme
EXB-PCM05 - Vintage Archives
EXB-MOSS - the ultimate 6-voice DSP tone generator

Specifications
Polyphony - 62 voices in single mode, 31 voices in double mode
Tone Generator - HI synthesis system; 48 kHz sampling frequency, 32 Mbyte PCM ROM, 425 multi-samples, 413 drum samples. Expandable to 64 Mbyte via PCM ROM options.
Sound Source - 62 oscillators
Filter - Resonant 24dB/oct lowpass, 12dB/oct lowpass and highpass
Memory - 640 user programs (768 with EXB-MOSS installed), 256 drum ROM programs, 768 user drum combinations, 64 user drum kits, 16 preset kits, 9 ROM GM drum kits. 3.5inch 2DD/2HD floppy disk drive
Keyboard - 61 keys (velocity and aftertouch sensitivity)
Effects - Stereo digital multi-effect system - 2 master effects (mono in, stereo out), 5 insert effects (stereo in / out), and 1 master EQ (stereo in / out), all usable simultaneously, 102 effect types, Effect Dynamic Modulation Function.
Sequencer - 16 timbres, 16 tracks, 1 master track, 1/192 ppq resolution, 150 preset patters/100 user patterns per song, 200 songs, 20 cue lists, up to 200,000 notes, 16 preset/16 user template songs, reads and writes Standard MIDI File (Format 0 and 1) and Triton and Karma formats.
Arpeggiator - RPPR (Realtime Pattern Play/Recording): 1 set with 72 patterns available per song; over 1000 patterns with lots of controllers
Control - MIDI (16-part), PC-Host input
Date Produced - 2001
Est. Value - $1,800 - $2,250

Roland JV-2080

2010-01-16T06:36:00.000-08:00

The JV-2080 is everything you could expect from a modern sound module, but more! A massive 64 voice multitimbral performance module that strives to offer the best all-around features for creating new and vintage sounds for any musical style. Excellent acoustic sounds of all instruments both common and ethnic. A massive amount of techno sounds complete with pulses, blips, sweeps, and the ever popular LFO, VCF and VCA type controls for patch editing and real-time editing. The 2080 is extremely expandable with room for 8 sound cartridges from the JV-80 series, as well as a data card slot. The 2080 has 5 excellent effects processors too, including the new EFX processors. Verb, delay, panning effects, chorus, flange, etc... It is used by many artists from all styles including Todd Terry, Max Graham, Richard Barbieri, Mike Oldfield, LTJ Bukem, ATB, and Hardfloor.

Specifications
Polyphony - 64 voices
Oscillators - 8MB of sample ROM and acoustic simulation. Expandable with SR-JV80 expansion boards
LFO - 2 LFO's (sine, saw, square, triangle, trapezoid, sample&hold, random and chaos) w/ key or external sync. Can modulate the pitch, filter, pan, or level
Filter - TVF (lowpass, bandpass, highpass, peak) with cutoff, resonance, key follow and velocity sensitivity
VCA - TVA ADSR (tone level, pan, key follow)
Memory - 128 user, 640 presets, 2 user rhythm kits, 10 preset rhythm kits, 32 user performances, 64 preset performances and 8 expansion board slots
Keyboard - None
Control - MIDI (16 channels)
Date Produced - 1997
Est. Value - $1,200

Roland JV-80

2010-01-16T06:35:00.001-08:00

The JV-80 was an excellent mid-nineties digital synthesizer in its time. It helped lay the foundation for the later JV-1080, JV-2080 and XP-series synths. It featured a full 61-note keyboard and several sliders above the keyboard with assignable parameters for fast hands-on editing. Though its stock sounds are nothing great, it can take any of the SR-JV80 expansion boards for 8MB of great new sounds from any of the Orchestral, Vintage Synths, Techno, etc. sets.

Unfortunately, the JV-80 is no workstation like the XP-synths that followed it. With only 28 voice polyphony and no built-in sequencer, its likely that this won't be your ONLY synth. The JV-90 is basically the same as this, except that it has an excellent 76-note semi-weighted keyboard for a great feel, more memory and sounds. The JV-80 also came in a 1-space rack-mount form as the JV-880. The JV-80 has been used by Eat Static and Vangelis.
Specifications
Polyphony - 28 voices
Oscillators - 4 per voice; Digital 4 MB of ROM sampled sounds
Arpeg/Seq - None
Filter - Digital TVF filters
LFO - 2 LFOs routable to pitch, TVA amps, or TVF filters
Effects - 2 Effects units
Memory - 192 Patches (64 user), 48 Performances (16 user) - expandable via 8mb expansion boards
Keyboard - 61 keys (responds to velocity and aftertouch)
Control - MIDI IN/OUT/THRU (8-parts)
Date Produced - 1992 - 1994
Est. Value - $750

Arturia Jupiter-8V

2010-01-16T06:32:00.000-08:00

The Jupiter-8V is one of the sweetest synthesizers to come from soft-synth maker, Arturia. It is the first virtual analog replica of Roland's venerable Jupiter 8, a truly classic and highly sought after flagship polysynth from Roland's analog era, circa 1981-84. Arturia has faithfully and beautifully recreated the look, feel and sound of the original while at the same time adding many modern features and all at a very reasonable price.

The Jupiter-8V is a stand-alone, VST, RTAS and Audio Unit compatible software synthesizer utilizing Arturia's trademark TAE (True Analog Emulation) algorithm as the underlying architecture for its sound and synthesis. Visually, you see an almost picture perfect replica of the original Jupiter 8, with its fairly basic but surprisingly flexible and sophisticated layout. Along the top of the panel you have instantly familiar LFO, VCO, VCF, VCA and Envelope controls. Below that, a row of colorful buttons allow selection of Arpeggiators, Solo/Poly modes, keyboard modes, and patch selection - all very similar to the classic original.

So we know it looks the part, but does it sound the part? In a word, YES! The original Jupiter 8 was made famous by countless 80's musicians and superstars for its incredibly fat, sweet, lush, and clear synth sounds that rivaled the competition of its time from other polysynths like the Prophets and Oberheims. The Jupiter-8V proudly serves up over 400 high quality sounds right out of the box, many of which were programmed by talented sound designers & programmers. With so many sounds, Arturia have thankfully implemented a filtering system allowing you to narrow searches for sounds by Designer, Preset Type, Characteristics, Keyboard Mode, and more. Right away you'll find awesome Bass, Brass, EFX, FM, Guitar, Lead, Organ, Pad, Perc, Piano, Strings and more. The presets cover a wide range from boring to awesome - it's all about personal taste. But the real fun begins when you start to tweak your own sounds. All controls can be set to "Learn" any MIDI control source so you can tweak your favorite controls right from your MIDI controller.
Synthesis starts as a fairly basic affair, akin to the original synth. There are two VCOs, each with independent waveform selectors (saw, ramp, pulse or square) and range and tuning controls. A VCO Modulator lets you modulate the PWM and VCO 1 or 2 (or both simultaneously) via the LFO and Envelope 1 settings. The LFO offers four waves (sine, saw, square, random). There's a VCF filter switchable between 12 or 24 dB/oct with cutoff, resonance, Env mod, LFO mod and Kybd follow. There's also a separate Hipass Filter with cutoff control. The two ADSR envelopes can be used to shape and modulate the Oscillators and Filter. The Arpeggiator offers Up, Down, Up/Down and Random modes over 4 octaves. And the keyboard can be split or used in a Dual mode which is sort of like having two presets in one! The Pitch Bender can be adjusted to bend and modulate VCO pitch and/or VCF cutoff.Now, unlike the original Jup 8, the Jup 8V offers many new and welcome modern features that take the sound possibilities to the next level. For starters, patch storage is unlimited and instead of the 8 voices for which the Jupiter is named, polyphony is increased to 32 voices. But the biggest differences come from the new modulations and effects features. Among the new effects, there are two Voice effects available within the synthesis path including Chorus, Distortion, EQ, Phaser and Ring Mod. This lets you run the VCO straight through some distortion, for example, before the VCF filter, and after the filter you can add another effect like EQ before the signal reaches the VCA. Additionally there are another two Patch effects that can be placed on the whole patch which includes Chorus/Flanger, Delay, Dual Phaser and Reverb. All the available effects have surprisingly flexible and complete parameters and settings for creating very flexible effects that go miles beyond the original capabilities of the original Jupiter.

But the Jup-8V's flexibility goes even further with the Modulations section which offers a Galaxy module, a live Step Sequencer module (sort of like Reason's Matrix sequencer) and an advanced Keyboard module for programming Velocity and Aftertouch effects.
The Galaxy module is fascinating. It lets you create a sort of evolving motion based on two LFOs (free running or synced) moving in 2-D, the effect of which can be assigned to up to 6 destinations (VCO pitches, PWM, VCF cutoffs, resonance and VCA). With this you can create glistening pads and textures and effects that move like no other Jupiter can do. The Sequencer module offers 32 steps per measure, and you can enter (or draw) which steps play certain notes, and you can add accent and glide effects and the sequencer can trigger up to 3 sources (VCO pitches, PWM, VCF cutoff, resonance or the VCAThe Keyboard module lets you adjust Velocity and Aftertouch curves and assign them to up to 3 sources each (VCO pitches, PWM, VCF cutoff, resonance or the VCA) for incredibly lively sounds at each press of the key!Playing with the Jupiter-8V right out of the box, it instantly captures the nostalgia and sonic history of the original Jupiter in a way that is both exciting and inspiring. It is undoubtedly the cheaper and smarter way to get your mitts on a Jupiter if those are the sounds you desire. But delving deeper into Arturia's advanced modulation and effects functions and all the other advanced features that make this a truly modern software synthesizer make the Jupiter-8V a clear choice for today's synth geeks looking for yesterdays sounds. But even those who are not so desperate for an analog replica, the Jupiter-8V is so flexible and sounds so wonderful that it will surely be a very useful and effective tool in any software-based musician's arsenal. This is definitely one of the best replicas and all around poly synths available in the software synthesizer format.

Specifications
Polyphony - Up to 32 voices of polyphony, and a Unison mode
Oscillators - 2 VCOs per voice (saw, ramp, pulse-width, square)
Modulation - 2 LFOs (sine, saw, square, random waveforms)
Filter - Highpass with cutoff
Lowpass 12 or 24dB/oct with cutoff, resonance, ENV mod, kybd follow
VCA/Envelopes - 2 ADSR envelopes
Arpeg/Seq - Arpeg: Up, Down, Up/Down, Random
Step Sequencer: 32 step with glide & accent, multiple destinations
Keyboard - Virtual 61-note keyboard with Dual, split and layer modes
Effects - Two Voice Effects: Chorus, Distortion, Param EQ, Phaser, RIng Mod
Two Patch Effects: Chorus/Flanger, Delay, Dual Phaser, Reverb.
Memory - Ships with over 400 presets. Unlimited patch memory.
Interfaces - Stand-Alone: ASIO, Core Audio.
Plug-In: VST, RTAS, Audio Units.
Macintosh - OS X 10.3.9 or higher, 1.5 GHz, 512MB RAM
Windows/PC - Windows 2000/XP, 1.5 GHz, 512MB RAM
Date Produced - 2007
Est. Value - $249

Roland JUPITER 8

2010-01-16T06:31:00.000-08:00

The Jupiter 8 was Roland's first truly professional analog synthesizer. The Jupiter 8 features 16 rich analog oscillators at 2 per voice, eight voice polyphony and easy programming! At eight voices you can get some pretty thick analog sounds. Easy and intuitive programming via front panel sliders, knobs and buttons for all your tweaking needs. The legacy of the Jupiter synthesizers is due to their unique voice architecture and design, creating sounds that were so unreal and amazing that they have to be heard! No other synths in the world can create analog sounds as cool and authentic as these.

The Jupiter 8 was the biggest and fattest of them all (Jupiters and Junos)! It was one of the first synths to allow its keyboard to be split and layered - it's eight voices of trance heaven! Cross-mod, oscillator sync, a great LFO and a classic arpeggiator are also on-board. (The arpeggiator can be heard all over the Duran Duran classic, "Rio".) There's also two killer resonant analog 24dB/oct filters with 2-pole and 4-pole settings as well as low- and high-pass filtering methods. Unfortunately for the earlier models, tuning was very unstable but that seemed to be resolved in later models. Unlike its smaller counterpart, the Jupiter 6, the Jup 8 does not feature MIDI, only Roland's DCB sync can be found on some models. However, MIDI retro-kit's are available from various companies. Patch presets can store keyboard splits, arpeggiator settings, voice assign mode, hold, portamento and modulation settings
The Jupiter 8 has been used by Tangerine Dream, Orbital, Future Sound of London, Moby, Duran Duran, Underworld, Vince Clarke, Überzone, Jean Michel Jarre, Roxy Music, OMD, A Flock Of Seagulls, Depeche Mode, Rush, Meat Beat Manifesto, Banco De Gaia, Josh Wink, Thomas Dolby, Howard Jones, The Cars, Prince, Gary Wright, Jan Hammer, BT, Adrian Lee, Heaven 17, Kitaro, Elvis Costello, Tears for Fears, Huey Lewis and the News, Journey, Moog Cookbook, Toto, Yes, Devo, Freddy Fresh, George Duke, Greg Phillanganes, Jonathan Cain of Journey, Greg Johnson & Kevin Kendrick of Cameo, Stevie Wonder and Simple Minds.

Specifications
Polyphony - 8 voices
Oscillators - 2 VCO's per voice (16 oscillators's!) switchable between triangle, sawtooth, pulse, and square waves plus noise on OSC 2
LFO - 4-waveform (sine, tri, ramp, random) LFO
Filter - 24 dB/oct lowpass/high pass, 12 dB/oct bandpass, 6dB high pass with their own ADSR envelope. 2-pole and 4-pole settings
VCA - Standard ADSR and mixer to balance oscillator levels
Memory - 64 patches and 8 patch presets
Keyboard - 61 note keyboard
Control - DCB Roland to Roland sync/interface on some models
Date Produced - 1981 - 1984
Est. Value - $500 - $1,500

Roland JUNO-G Workstation Keyboard

2010-01-16T06:29:00.001-08:00

Is the JUNO back? Maybe. The JUNO-G is a full-sized Workstation Keyboard from Roland featuring much of Roland's current state-of-the-art synthesis technologies, putting a studio's worth of sound, sequencing, and audio recording into one complete instrument. It shares the same high-powered processor as Roland's Fantom-X series but packages it in a synth that looks very reminiscent of the old JUNO-synths, and also puts many of the controls at your finger tips. Not to mention, considering what you get, the JUNO-G is a very affordable synth.

Roland's powerful Fantom-X sound engine offers up to 128 voices of polyphony (a quantum leap from the 6 voices offered by the original JUNOs). The sounds of the Fantom-X engine are typical of Roland's most current sonic palette. This is no analog wannabe synth, its sounds are purely digital although many analog modeled sounds are available. You also get Roland's 88-note multi-sampled grand piano, and a wide range of sounds that span from classical to cutting-edge. You can further expand your JUNO-G sound library with one of Roland's optional SRX expansion boards.

True to its workstation capability, the JUNO-G features an onboard audio/MIDI recorder for programming and recording your own music sequences. There is a 16-part MIDI sequencer with dedicated transport controls and mixer. There are also four companion stereo audio tracks which allow you to lay down live parts from external audio sources (like vocals, guitar parts, etc.). Both the MIDI sequencing and audio recording memory is ample, allowing room for plenty of recorded ideas, performances, songs and parts.

The JUNO-G has a fairly user-friendly interface featuring a very large back-lit LCD display (not a touch screen), clearly labeled buttons, six knobs to modify sounds, five sliders for the audio section, a data wheel, a D-Beam controller, and a pitch/mod lever. Additional performance controls and features include the on-board Arpeggiator, Chord Memory and built-in multi-effects. The JUNO-G really has everything you need to perform, compose, record and create your music. Of course it offers MIDI in/out as well as USB connectivity for interfacing with computers (all MIDI communications can be handled over USB, which can also be used to send and receive WAV/AIF files and patch data). There's also a PC Card slot (which accepts CompactFlash or SmartMedia cards via adapter) for external memory storage.
Specifications
Polyphony - 128 voices (16-part multitimbral)
Oscillators - 64 MB Waveform memory
Sequencer - MIDI: 16 tracks, 400,000 note capacity, 9,998 measures, Realtime recording, Step recording.
Audio: 4 stereo tracks, 16-bit linear, Sample Rate: 44.1 kHz, Recording Time: memory not expanded (4 M bytes): approx. stereo 23.5 seconds, memory fully expanded (516 M bytes): approx. stereo 51 minutes
Arpeggiator - Arpeggio - Preset: 128, User: 128
Rhythms Pattern - Preset: 256 (32 groups), User: 256 (32 groups)
Chord Memory - Preset: 64, User: 64
Effects - Multi-Effects: 3 systems, 78 types, Reverb: 5 types, Chorus: 3 types, Mastering Effects: 3-band compressor, Input Effects: 6 types
Memory - Preset Patches: 768 + 256 (GM2), Rhythm Sets: 36 + 9 (GM2), Performances: 64.
User Patches: 256, Rhythm Sets: 36, Performances: 64.
Keyboard - 61 keys (velocity sensitive)
Control - MIDI (In/Out), USB (supports file transfer and MIDI)
Date Produced - 2007
Est. Value - $1,000

Roland JUNO-D

2010-01-16T06:27:00.001-08:00

Roland has brought the JUNO back, but this is not an analog synth--it is a budget digital wavetable synthesizer. It may not look anything like its predecessors, nor does it sound like the classic analog poly-synth whose name it bears, but like those before it, the JUNO-D offers a fairly robust package of synth sounds and potential in a streamlined, user-friendly interface at a reasonable price---making it a good entry-level keyboard.

The JUNO-D comes with 32 MB of waveforms in its memory including Roland's stereo multi-sampled piano, and a whole range of synth sounds from vintage synths to GM2-compatible. Patches are organized in categories such as Piano, Guitar, Orchestra, etc. There are digital resonant filters, LFOs, multi-effects, phrase sampling, chord memory, five front-panel control knobs and a D-Beam controller so you can twist any of the hundreds of patches it ships with into your own more unique sounds. Those who want to program their own JUNO-D sounds via computer, a Mac/PC editor is included.

A Limited Edition model was released (pictured above) which doubled waveform memory to 64MB and added extra patch memory storage (706 total patches, 66 are new) and featured some newly programmed sounds including an incredibly realistic piano based on 88-key stereo multi-sampled waves, a massive rock organ, '80s-era brass and electric piano, vintage synth sounds and many others.

As entry-level keyboards go, you can't go wrong with the JUNO-D. It has hundred of quality Roland sounds at your disposal, and tweaking them is fairly easy. However, this is not a workstation (like the JUNO-G) nor is it a retro re-make of the classic JUNO series synthesizers. It offers JUNO-like simplicity, yes, but more discerning synthesists and keyboard players may want to look elsewhere for better sounds or a more advanced keyboard than the JUNO-D. In other words, the original JUNO-series has nothing to worry about from this new JUNO.

Specifications
Polyphony - 64 voices (16-part multitimbral)
Oscillators - 32 MB (64 MB Limited Edition Model) Waveform Memory, 686 Original Tones
Sequencer - Rhythm Guide: 32 Preset Patterns
Arpeggiator - Phrase/Arpeggio Templates: 342; User Templates: 8; Styles (Variations): 473
Multi-Chord Memory: 16 Presets, 8 user
Effects - Multi-Effects: 47 types; Reverb: 8 types; Chorus: 8 types
Memory - 640 Patches (706 Limited Edition Model), 20 drum kits, 32 Performances, 128 User Patches
Keyboard - 61 keys (with velocity)
Control - MIDI IN/OUT
Date Produced - 2005
Est. Value - $500

Roland JUNO-60

2010-01-16T06:25:00.001-08:00

Roland JUNO-60

Among the first in Roland's amazing JUNO family! Six analog voices of polyphony and patch memory storage!! The JUNO-60 sounds great, however, like the JUNO-6 it lacks MIDI control. The JUNO-60 includes 56 patches of memory storage. The JUNO-60 is still popular due in part to opinions that it sounds better (punchier) than the JUNO-106. The JUNO-6 and 60 are very rich sounding synthesizers and are great analog machines as long as you can withstand the absence of MIDI control. The JSQ-60 sequencer is an external sequencer controller for the JUNO-60 and is usually worth acquiring. Of course nobody can deny that the wooden side panel look is a true sign of Vintage status! JUNOs have been used by Enya, The Cure, Sean Lennon, Faithless, Astral Projection, Vince Clarke, Rabbit in the Moon, Men at Work, Flock of Seagulls, Olive, Dee-Lite, Howard Jones, Locust, Eurythmics and Add N to (X).

Cool Tips:
The JUNO-60 can have 76 patches. By pressing down nr 5 and 1 or 2, at the same time, you get access to patch 57 to 76.

To access patches 80 to 98, (dead-patch) plug a cord into the PATCH SHIFT connector. Now you can access the test-programs 80-98: Keep 5 down and press 3 for bank 8, 5 and press 4 for bank 9.

Fire the JUNO up with the KEYTRANSPOSE button pressed and the arpeggio mode-switch up to enter MONO-MODE. All 6 voices will be assigned to the last key pressed.

Specifications
Polyphony - 6 voices
Oscillators - DCO: pulse, saw, and square
LFO - rate and delay
Filter - non-resonant high pass and resonant low pass
VCA - level, ADSR and gate
Arpeg/Seq - External JSQ-60 Sequencer
Keyboard - 61 note keyboard (no velocity or aftertouch)
Control - DCB Roland to Roland sync/interface (Roland MD-8 converts DCB to MIDI for MIDI control)
Date Produced - 1982
Est. Value - $350 - $500

Roland JP-8000 Music Synthesizer

2010-01-16T06:23:00.000-08:00

Roland JP-8000 Music Synthesizer has been designed using a first-of-its-kind Roland Analog Modeling sound source, combining the fat, powerful sounds associated with vintage analog synths with the flexibility of digital technology and MIDI. Like the classic Roland analog synths of the past, the JP-8000 sports a collection of 38 front-panel knobs and sliders for powerful real-time control, opening a brand new world of sonic possibilities. Innovative "Motion Control" feature memorizes all sequential slider and knob movements, ensuring that a great real-time "tweak" will not be lost. "Analog" synth functions like oscillator sync, ring modulation, -12/-24 dB filtering, cross modulation, an assignable ribbon controller and powerful pitch bend/modulation lever make the JP-8000 a very powerful synthesizer for live and studio use!

The JP-8000 is excellent for use in any music where classic synth sounds are needed. For techno, dance, drum&bass, hiphop, film scoring, synth pop and more! It is used by the Crystal Method, BT, Orbital, Ken Ishii, Vince Clarke, Goldie, Dave Holmes, Prodigy, Groove Armada, Pet Shop Boys, Depeche Mode, ATB, Überzone, Faithless, Gary Numan, Scooter, Konflict, William Ørbit, Paul Van Dyk, Groove Armada, and Garbage.

Specifications
Polyphony - 8 voices
Oscillators - 2 Roland Analog Modeling DSP oscillators: Saw, Square (PWM), Triangle (PWM), Super Saw (7 de-tuned Saws), Triangle Mod, Feedback OSC, noise
Filter - Resonant 12/24dB/oct low pass / band pass / hi pass; ring modulator
Effects - Onboard digital delay and chorus
Memory - 128 preset patches, 128 user patches, 64 performances, 64 user performances
Arpeg/Seq - Powerful vintage-style arpeggiator with beat patterns; Programmable real-time Phrase Sequencing (RPS) functions
Keyboard - 49 keys (with velocity)
Control - MIDI (2 parts)
Date Produced - 1996
Est. Value - $1,200

Roland JD-800

2010-01-16T06:22:00.001-08:00

The JD-800 is Roland's answer to half a decade of hard-to-program synthesizers. Covered in sliders that act as dedicated editors just like a classic analog synth, the JD-800 is an extremely programmable and hands-on digital synthesizer. It is also an interesting and great sounding digital synth with incredible flexibility and control. Internal ROM based waveforms are combined to build your sounds. The sounds are based on Roland's D-50, but updated for the nineties with multimode filters - uncommon but welcome at the time. Unlike classic synths that came in wood cases, the JD-800 came in a somewhat cheap plastic case and wasn't very sexy. Programming is a little too scientific for most but once you know what you're doing with it, almost any sound you can dream up can be dialed in and stored. It's used by William Ørbit, Emerson Lake & Palmer, 808 State, Ken Ishii, Astral Projection, Rabbit in the Moon, Depeche Mode, Underworld, Tangerine Dream, LTJ Bukem, Apollo 440, Jean Michel Jarre, ATB, Vangelis, Pet Shop Boys, Faithless, Luke Vibert, Mouse on Mars, Laurent Garnier, MC Hammer, Bushflange, Genesis, and Eat Static.
Specifications
Polyphony - 24 voices
Oscillators - ROM based digital synthesizer
#Instruments - 6 part multitimbral
Keyboard - 61 key keyboard with velocity
Arpeg/Seq - NO
Control - MIDI
Date Produced - 1991-93
Est. Value - $1,450

HALion

2010-01-16T06:19:00.000-08:00

HALion is a top of the line 32-bit software VST-Sampler for Mac/PC. It integrates an affordable, fully programmable digital sampler with your VST host applications. Because of this, HALion is a sampler with almost no limits! You get up to 256 voices of polyphony and 16 MIDI channel multitimbrality! HALion loads WAV, AIFF, Akai, E-mu, Soundfonts, ReCycle's REX, and LM 4/9 sample formats. You can load samples (it ships with tons to get you started) but you can not record your own samples directly (you can record sounds into your computer by other means, and store it as AIFF or WAV to load into HALion). Sample memory is limited only by your computer's hard drives! HALion plays samples by loading only the attack into RAM and streaming the rest from disk. This gives a lightning fast initial response and allows for more samples to be loaded into memory at any time.

HALion has everything you'd expect from any hardware sampler and more. There is course/fine tuning, octave, glides, LFOs, sample quality, and a scrollable virtual keyboard. It has 12/24 dB filters which include notch, high, low, and band pass with resonance. Yet, even with the added Fatness switch, the filters are not really all that fat...but they do alright. There are two 8-stage envelope generators for very dynamic samples...great for textures, ambiences, pads and effects! Modulation possibilities are pretty good. There are 12 modulation sources including LFO1, LFO2, velocity, pitch wheel, mod wheel, aftertouch, 4 assignable MIDI controllers and more. These can be assigned to control the filter cut-off, resonance, volume, pan, pitch, and more.
HALion is simply great! You may find using your computer to edit samples is much better than your old hardware Akai or E-mu. Drag and drop samples across the keys as you wish and edit away! Easily set key zones, layer samples onto the same keys and use HALion's velocity cross-fading so that the harder you play a key, the more the other sample layer is heard! Easily set the start and end points of a sample, define loop points and more. Store any number of samples into a Program, up to 128 Programs can be stored in a Bank. Each program can be assigned to a MIDI channel (1-16) and to any of the 12 virtual outputs. Programs can be saved within your sequences for instant accessibility! No more messing around with loading disks into your old hardware samplers! In this age of VST and software synthesis, it's nice to see a widely compatible, user friendly, feature rich, and pro-quality sampler hit the market.

HALion String Edition from Steinberg/Wizoo features sections of 8 double basses, 10 cellos, 12 violas and 16 violins, with full control over articulations such as crescendo, bowing or portamento. Each section is provided in two versions you can combine freely with other sections. Fantastic playing feel and a sound character suited to any musical style from classical to contemporary.

Specifications
Polyphony - Up to 256 voices (100 voices for each group, depending upon processor speed and RAM available). 16 Midi channels (full VST integration, sample accurate timing),
Sample Formats - 32-bit (AIFF, WAV, Akai, E-mu, SF2, LM-4/9, ReCycle REX)
LFO - 2 LFOs with 10 waveforms each (sine, tri, pulse, sawtooth, saw pulse, pulse 15, pulse 30, sine complex, long, positive, long negative), syncable to sequence tempo, up to 3 seconds Delay
Filter - Notch / HiPass /Lowpass / BandPass / 12dB / 24dB Filter with fatness function
Envelopes - 2 envelopes with up to 8 edit points
Effects - No built-in multi-effects
Memory - 128 programs
Macintosh - PPC 603e/266 MHz, 128MB RAM, OS 9.1, VST-Host app.
Windows/PC - Pentium II/266 MHz, 128MB RAM, Windows 95/98/NT, MME- or ASIO-compliant sound card, VST host app.
Date Produced - 2001
Est. Value - $399

Native Instruments FM7

2010-01-16T06:18:00.000-08:00

The FM7 from NATIVE INSTRUMENTS could be the best software synthesizer ever! The FM7 is based upon the classic and legendary sounds of FM synthesis found in Yamaha's DX-series, from the DX7 to the DX200! The FM7's brilliant user-interface makes FM synthesis understandable, and for the first time, visually intuitive. And since the FM7 can import SysEx patch files, of which thousands can be downloaded from the internet, you have virtually every Yamaha FM synthesizer and more available to you in an easy to use and totally modern software plug-in compatible with every major computer music program (ASIO, MME, DirectX, SoundManager, VST, DXi, Audio Unit, RTAS, MAS, DirectConnect)! The FM7 can read all programs from the original DX7, DX7-II, DX11, TX81Z, TX7, DX21, DX27, DX100, TX802 and it reproduces the sounds of these machines exactly, if not better!
As part of NI's Vintage Line, the FM7 not only recreates the look and sound of DX-synths, but in many ways it surpasses what those original FM synthesizers could do. To get you started, it ships with two 128-patch banks of new sounds, a set of 128 DX200 patches, and the factory and some additional presets from the original vintage DX7. The FM7 is not just a DX emulator in the form of another software plug-in. It is a genuine FM algorithm synthesizer that takes the concept to the next level! It adds distortion and filter operators, extensive modulation capabilities, a comprehensive effects section, audio input and much more to the traditional FM architecture.

The FM7 has eight operators, each of which can be selected and graphically edited on-screen or via MIDI controller. The first six operators (A-F) are modeled after the DX-series. Operators are unique to FM synthesis. Each one generates a waveform which can be used as a carrier (the sound that is heard) or a modulator (like the way an LFO is a wave that modulates an audible carrier wave). Whereas the original DX-synths only used sine waves for their operators, the FM7's operators offer a choice of 32 waveforms from simple sine to complex TX and formant waves. Additionally, the original FM synthesizers had 32 preset algorithms for designating and routing which operators will be carriers and/or modulators. FM7 has a fully programmable FM matrix in which you can freely adjust the signal routing from one operator to another, and you can even make the operators modulate themselves in a feedback loop. The original 32 DX-algorithms can be chosen from the FM Matrix's presets menu.
Specifications
Polyphony - CPU Dependent
Oscillators - 6 FM Operators with 32 waveforms plus 1 distortion Operator and 1 dual resonant multimode filter Operator (with low/band/highpass)
LFO - 2 LFOs per voice, 32 waveforms each (same as in Operators), Sample-and-Hold, Modulation Matrix
Keyboard - 6-octave 73-note simulated keyboard (complete 12-octave 145-note keyboard range)
Effects - Stereo effects section with chorus, flanger delay, can be used for external audio signals; Unison mode, Portamento
Interfaces - Runs stand-alone with ASIO, MME, DirectX, Sound Manager, or as a plug-in using VST-2.0, MAS, DXi, Core Audio, RTAS, and DirectConnect
Macintosh - Mac OS 8.6 or higher, G4 400 MHz, 128 MB RAM, OMS or FreeMIDI
Windows/PC - Windows 98/ME/2000/XP, Pentium 450 MHz, 128 MB RAM, 16 bit sound card
Date Produced - 2002
Est. Value - $299 (list)

Korg ElecTribe/A EA-1

2010-01-16T06:15:00.000-08:00

"When you're laying down your next big groove, you need the phattest, most aggressive analog synth sounds possible. You need to call on the 'Tribe. Korg's new ELECTRIBE series uses the ultimate in analog modeling to give you the richest, most versatile analog-style sounds out there. And with unlimited real-time control of every sound parameter, you know your sound will be just that -- yours."

"The ELECTRIBE-A is a compact analog modeling synth box that lets you create analog synthesizer, bass, and sound effect sounds simply - just tweak the knob that controls each element of the sound as on an analog synthesizer. Operation is easy and intuitive because the results of moving the knobs are reflected immediately in the sound. The sounds you create on this compact synthesizer can be input to the internal sequencer to create phrases."

"Volume dynamics and filter frequencies of the sounds or patterns you create can be modified using the knobs. You can record these changes into the sequencer precisely as you make them. Use this capability to create continuous shifts in the sounds or to gradually apply an effect, creating phrases that include tonal changes. Phrases you create can be stored as a pattern that includes a chosen knob movement, and up to 256 1 to 4-bar patterns can be stored in internal memory."

"The ELECTRIBE-A can also be controlled from an external sequencer, keyboard, or sampler to function as an analog sound tone generator, or set up to control or be controlled by other hardware or computer-based sequencers." - Korg-USA The Electribes are used by Orbital, Crystal Distortion and Cirrus.

Specifications
Polyphony - 2 voices
Waveforms - Sawtooth, square, tri, external audio-in
Memory - 256 patterns, 16 songs
Filter - 1 VCF resonant low pass with external inputs
Effects - Distortion, Tempo delay, chorus/flanger
Keyboard - None (16 touch pads)
Arpeg/Seq - Pattern: 64 steps, motion sequence, 1 parameter per part, 64 events; Song: 256 patterns per song, 65,500 events
Control - MIDI (2 parts)
Date Produced - 1999
Est. Value - $300

E-mu Emulator III

2010-01-16T06:14:00.000-08:00

The Emulator III was E-mu's biggest classic "Digital Sound Production System". Also called the "EIII", it was E-mu's biggest and most professional sampler-synthesizer prior to the 1990's. It was the first sampler to offer 16-bit CD-quality specs with stereo or mono sampling at 44.1kHz or 33kHz. RAM memory is 4 MB expandable to 8 MB. There are extensive and modern sample editing features (from looping to rate conversions). The on-board 16-track sequencer and arpeggiator are also superb. Equipped with MIDI, SMPTE, SCSI, built-in disk-drive and multiple outputs, the EIII is comfortable in any studio. A Macintosh can also be hooked up to the EIII for easier graphical editing which was very useful since the LED screen on the synth is so tiny.

As a sampler workstation the EIII was at one time the dominating force. Although modern machines far exceed it today, the EIII is still a quality instrument with controls and functions that would be familiar to anyone who uses samplers. A very classic machine that can still stand strong among a generation of sampler workstations 10 years later, the EIII is still in use and will continue to be used for many more years. It has been used by Depeche Mode, Genesis, and JellyFish.

Specifications
Polyphony - 16 voices
Sampler - 16-bit, 44.1kHz (67 seconds)
Sequencer - 16 tracks, 100 patterns, 100 songs
Filter - Yes there is a filter and it is FAT!
VCA - ADSR envelope control
Keyboard - 61 keys (velocity and aftertouch)
Memory - 4Mb expandable to 8Mb
Control - MIDI
Date Produced - 1987
Est. Value - $1,200

Native Instruments Dynamo

2010-01-16T06:12:00.000-08:00

DYNAMO is a lite version of REAKTOR, the powerful virtual synthesizer, sampler and effects processor from Native Instruments. Dynamo comes with 25 presets from the Premium Library of Reaktor sounds. These presets feature awesome drum machines, effects, samplers + transformers, FM-synths + hybrids, sequenced-synths, and subtractive-synths; all created by top sound designers. Dynamo can act as a stand-alone software synth using ASIO, SoundManager, and DirectSound or as a plug-in using VST-2.0, MAS, MME, and DirectConnect for Pro Tools. And it's available for both Mac and PC.

When you load a library preset you get its control panel on screen. You can edit every parameter available to suit your needs. Editing can be done on the fly, recorded into your sequences, and Dynamo works with 4CONTROL for enhanced hands-on real-time control! Although Dynamo gives you access to some amazing sounds from the Reaktor synth, you do not have the ability to create your own new modules or synthesizers. A major feature absent from Dynamo is the ability to select, route and design various synthesizers from some 200 modules available in Reaktor. You can save your tweaked versions of the library presets however.

Because of Reaktor's steep learning-curve, Dynamo offers not only an affordable but easier to use solution to Reaktor. Dynamo still sounds just as good as Reaktor but comes at less than half the price! Native Instruments also plans to extend the library of sounds periodically adding new presets available as free downloads!

Anyone interested in software synthesizers should look at Dynamo. Its 32-bit real-time synthesis offers state of the art emulation of general purpose analog to digital sounds. It doesn't limit itself to the specific recreation of any one particular vintage instrument and it is much easier to operate than Reaktor. Download the audio and program demos and see if it's right for you!

Yamaha DX-21

2010-01-16T06:07:00.000-08:00

A consumer level DX synth that sounds just like the DX-100 - thin and brittle. Following the DX model this synth also uses FM synthesis which is difficult to master. You will need to program this synth to get better sounds because the presets are only moderately useful. It's capable of a good string, bass and droney-pad sound as well as industrial sound-effects and metallic like sounds.

Still it makes a better option than a DX-27 or DX-100 because it has the capability of layers and splitting the keyboard and there is a chorus effect. Portamento and a Unison Mono-Mode are also nice features for screaming lead synth performances. For a cheaper source of DX sounds with moderate programmability, check out the DX-21. It's been used by Hardfloor, Level 42, Brother Beyond, Astral Projection, Technotronic, Vangelis, and Norman Cook (Fat Boy Slim).

Specifications
Polyphony - 8 notes
Oscillators - 4-Operator Digital FM synthesizer
#Instruments - (1) Monotimbral
Filter - None
Effects - Chorus
Keyboard - 61 Keys (no velocity/aftertouch sensitivity)
Memory - 128 patches and 16 performances
Control - MIDI (w / Velocity and Aftertouch)
Date Produced - 1985
Est. Value - $200

Yamaha DX7s/IID/IIFD

2010-01-16T06:05:00.000-08:00

A classic synth gets a make-over by three significant updates to the original. The DX-7 was an amazing digital FM synth. The DX-7s carries on the torch once held by the DX-7. It offers the same great FM synthesis method and can also create sounds just as unique and wild as the DX-7. However, they can be just as difficult to program and understand for most users. Some general improvements include enhanced MIDI support, micro-tuning, aftertouch controlled pitch bending, and multiple LFOs. Although many improvements have been made to the DX-7 in this upgrade there still could have been room for improvement, which is where the DX7IID and DX7IIFD come in.

These next models allowed for keyboard split and layering capabilities. The DX7IID (pictured above) and DX7IIFD hold 64 voices in internal memory, as well as an additional 64 voices in a RAM/ROM cartridge that can be accessed. These voices can be layered in dual mode providing very rich sounds or a nice combination of sounds that would be impossible on the original DX7. They can also be split, for a two voice multi-timbral capability. Again, impossible on the original DX.

They have wonderfully clean sound and are stereo, providing pans and chorus and a few other nice effects. There are two real time sliders on these instruments, allowing control of user-programmable items in real time. Micro-tuning, as well as fractional tunings for eastern music etc. is possible. The FD includes a floppy drive for storage of patches, performance presets and sysex information. Like the DX7, these new models may have been used by The Crystal Method, Kraftwerk, Underworld, Orbital, Talking Heads, Brian Eno, Depeche Mode, D:Ream, Front 242, U2, A-Ha, Enya, The Cure, Stabbing Westward.

Pictured in silver & gold above is the DX-7 Centenniel, released in 1988 to celebrate Yamaha's 100th anniversary. Not just a new paint job, the limited edition model had 64-voice internal RAM memory and 64-performance memory, 32-note polyphonic stereo output (2 x 16 voices), and a 76-key velocity and after-touch sensitive keyboard that glows in the dark. Additional improvements include enhanced MIDI support, stereo panning, 6 envelope generators and enhanced 16-bit circuitry. Only about 300 were made and it originally sold for $4,000!

Specifications
Polyphony - 16 voices
Oscillators - Programmable 6-operator x 2 (A & B) 32-algorithm digital FM tone generator
LFO - Sine/Square/Tri/SAW up/SAW Down/Random
Filter - None
VCA - 6 Envelope generators 8 parameters each
Keyboard - 61 keys, Velocity and Aftertouch, Split and Layer mode
Memory - 128 patches, 32 performances
Control - MIDI IN/OUT/THRU
Date Produced - 1987
Est. Value - $350 and up

Yamaha DX-7

2010-01-16T06:03:00.000-08:00

One of the most popular digital synths ever was the DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, many of which seemed counter-intuitive and unfamiliar. And programming had to be accomplished via membrane buttons, one data slider and a small LCD screen.

Still the sounds it shipped with and that many users did manage to create were more complex and unique than anything before it. Percussive and metallic but thick as analog at times, the DX-7 was known for generating unique sounds still popular to this day. The DX-7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX-7 one of the best selling synths of all time! It also came with MIDI which was brand new at the time - Sequential had already released the first MIDI synth, the Prophet 600. Roland wouldn't get around to adding MIDI for another year with the Juno-106, and it would be three years before Roland can counter the popularity of the DX7 with a digital synth of their own, the D-50.

The DX-7 has been used by the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Les Rhytmes Digital, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Sneaker Pimps, Lynyrd Skynyrd, Greg Phillanganes, Jerry Goldsmith, Jimmy Edgar, Beastie Boys, Stabbing Westward and Herbie Hancock. Pretty impressive for just a partial listing!

Following the monaural DX-7 came the stereo DX-7 mkII - just as popular and much more advanced. Its unique sounds are very popular for industrial techno type music as well as ambient and electro. The TX-7 is essentially a desktop module form of the DX-7 but is even harder to edit or program since it requires external editors or software. The monolithic DX-1 and DX-5 models which packed two DX-7 synth engines into one instrument were the epitome of the DX line of synths created by Yamaha. There have also been a few budget spin-offs like the DX-9, DX-100, DX-21 and DX-27. FM synthesis has also made its way into the TX-81Z & TX-802 and software synthesizers like Native Instruments FM7
Specifications
Polyphony - 16 Voices
Oscillators - 16 bit Digital 6 operator FM.
#Instruments - (1) Monotimbral
LFO - Sine/Square/Tri/SAW up/SAW Down/Random
VCA - 6 Envelope generators 8 parameters each
Keyboard - 61 keys (w/ velocity and aftertouch)
Memory - 32 Patches
Control - MIDI
Date Produced - 1983-87
Est. Value - $300

Korg DW-8000

2010-01-16T06:01:00.000-08:00

Take Korg's first digitally controlled analog synth hybrid (DW-6000) two steps higher and you get the more popular DW-8000. Sound is digitally generated from the DWGS (Digital Waveform Generator System) and has been doubled from 8 sampled digital waveforms to 16 simple analog to complex digital waveforms. The DW-8000 has 8 voice polyphony in two modes, or one monophonic mode with all eight voices stacked. The analog VCF resonant filter and VCA both have independent ADBSSR envelopes. Parameters can be altered in real time via a single programmable slider. There are 64 presets that can be reprogrammed by the user.

When the DW-8000 succeeded the DW-6000, it expanded it to 8 notes polyphony, 16 sampled waveforms, a velocity sensitive keyboard with programmable aftertouch, auto-bend, a simple arpeggiator and a digital delay unit. The Digital Delay was an astonishing goody for the time, offering up to 512ms delay, phasing, flanging, chorusing and other time effects. Both the Arpeggiator, Auto-Bend and Digital Delay make this synth an inspiring and great sounding machine to use for great 303 basslines, techno and house bass and synth sounds and more! The EX-8000 (pictured above) is a rackmount version of the DW-8000. Several 3rd-party developers offered expansion boards for the DW-8000 providing up to 1024 presets, layered sounds, keyboard splits and Sample+Hold for the LFO. Though later overshadowed by the M1, the DW-8000 has been used by Divine Masquerade, Juno Reactor, Depeche Mode, Dream Theater, Joe Zawinul, and Keith Emerson.

Specifications
Polyphony - 8 voices
Oscillators - 2 DWGSs per voice; 16 sampled digital waveforms (including saw, sqr and sin)
LFO - YES
Filter - Analog Low-pass resonant filter with ADBSSR 6-parameter envelope generator
VCA - ADBSSR 6-parameter envelope generator
Keyboard - 61 keys (with velocity and aftertouch)
Arpeg/Seq - 64 note arpeggiator
Effects - Digital Delay
Control - MIDI
Date Produced - 1985-87
Est. Value - $300 - $500

Korg DSS-1

2010-01-16T06:00:00.000-08:00

A wonderful early digital synthesizer. With eight notes of polyphony, two oscillators per voice, a noise source, two multi-stage envelopes, a resonant filter and auto-bend, the DSS-1 has much in common with Korg's previous flagship DW-8000. But it went much further, boasting twin digital delays, oscillator sync, an improved unison mode, a lush analog VCF switchable between 12 and 24dB, and more. Whereas the DW-8000 got its raw material from 16 stored digital waves, the DSS1's oscillators take their source from sampling, additive synthesis, or even hand-drawn waveforms!

It actually had a warm sound and was great for creating pads and textures, as well as deep basses and drones. The synthesis method is based on altering various waveform samples via 2 data sliders. It can sample and then treat the samples as its waveforms - that includes all filtering and envelopes. The DSM-1 was the expanded rackmount version. It was used by Jean Michel Jarre, Joe Zawinul, Michael Cretu of Enigma, Mark Jenkins, Hiro Kawahara, Paul Nagle, Shriekback, and Steve Winwood.

Specifications
Polyphony - 8 Voices
Oscillators - 16 - 2 oscillators per voice
Sampler - 256k
Memory - 5 sec sampling
Synthesis - 128 Sine waveforms you re-shape using 2 sliders
Keyboard - 61 keys w/ velocity and aftertouch
Filter - Lowpass 2 or 4 pole + envelope
Control - MIDI
Date Produced - 1986
Est. Value - $300 - $600

Korg Delta

2010-01-16T05:58:00.000-08:00

Korg's Delta is an analog semi-poly string machine, basically a slimmed down version of the Korg Trident. Though limited in the range of sounds compared with other synths of the same genera, the sheer quality of the sound from this little beastie really does make it something of a marvel. It can be found used for cheap and is worth it for the retro synth strings and fat bass synth tones.

The synth is split into two sections, Strings and Synth, for which there are separate audio outputs along with a combined output for headphones or mixing. Each section has it's own controls. The String section has two pitch sliders (16' and 8') along with two tone controls (Bass and Treble) and variable Attack and Release controls to modify the sound. The Synth section has four pitch sliders (16', 8', 4' and 2'). There is also a white noise generator along with a very effective 24db/oct low pass filter (high pass and band pass options are included too) and full ADSR controls. The synth has no memory storage or MIDI, however it does has voltage control & gate ins and outs.

The string sounds are very basic but with it's separate outputs and when mixed together with the polysynth you do get that classic 'layered' sound which is useful enough on this synth; and it's fully polyphonic, so you wont be running out of notes! There is a joystick to the left of the 49-note keyboard for pitch bending and modulation capabilities. The construction is solid and heavy partly due to the implementation of a wooden base but also because it was designed for heavy usage on the road. Added bonuses: noise modulation, stereo out (strings/synth split), and the ability to combine synth and strings or turn off oscillators in the mixer section. It has been used by the Human League, Bitch Cassidy, Flock of Seagulls, Ladytron, Zensor and Broadcast.

Specifications
Polyphony - Full polyphony (49 notes)
Oscillators - 1 VCO with white noise generator
LFO - 1 LFO: fixed sine waveform
Filter - 1 VCF: 24db/oct LPF, HPF and BPF (with Cut off, resonance and env mod amount controls)
VCA - 1x AR for Strings section, 1x ADSR for Synth section
Keyboard - 49 keys
Memory - None
Control - CV and trigger (In/Out)
Date Produced - 1979 - 1984
Est. Value - $100 - $250

Korg DDD-5

2010-01-16T05:57:00.001-08:00

The DDD-5 is a digital programmable drum machine from Korg from the mid-eighties. It was a newer but less professional version of the DDD-1. It offers 14 electronic drum sounds at once with a typical mid-eighties electronic drum sound that is not too popular today. In fact today the DDD-5 may be used more often as a trusty old play along drum machine for practicing musicians. Basic sounds include kicks, snares, toms, rimshot, closed hi hats, open hi hats, ride, crash, claps, cowbell, tambourine and cabasa. Additional sounds can be added using ROM cards, compatible with the DDD-1. The DDD-5 does not include the sampling option that was available on the DDD-1. And there are only seven assignable Dynamic Sound buttons for triggering drum sounds.

Programming the DDD-5 is fairly straight forward. Memory holds 100 patterns which can be linked or chained to form songs, for which there are 24 song memory locations. The drum sounds have editable parameters such as tuning and decay. For added groove in your patterns there are Roll and Flam effects. The DDD-5 is equipped with MIDI implementation making it an easy drum machine to use in any MIDI environment. If you like typical eighties drum sounds, the DDD-5 is a cheap alternative to the DDD-1 and other similar drum machines like the Roland TR-707.

Specifications
Polyphony - 12 (14) voices
Sounds - 18 sampled sounds: 2 Kick, 2 Snare, Low/Mid/Hi Toms, Rimshot, Claps, Crash, 2 Open hihats, 2 Closed hihats, Ride, Cowbell, Tambourine and Cabasa
Controls - decay, tuning and more
Patterns - 100
Songs - 24
Keyboard - 7 velocity sensitive pads
Effects - None
Control - MIDI
Date Produced - 1987
Est. Value - $175

Korg DDD-1

2010-01-16T05:55:00.000-08:00

The DDD-1 is a digital programmable drum machine from Korg from the mid-eighties. It offers 18 electronic drum sounds with a sound that is typical of this era. Basic kicks, snares, toms, rimshot, closed hi hats, open hi hats, ride, crash, claps, cowbell, tambourine and cabasa. Additional sounds can be added using ROM cards. The DDD-1 also featured a sampling option allowing very short and limited sampling for that extra edge of unique sounds to add to your drumkit. Drum sounds can be triggered from the 14 assignable velocity sensitive trigger-pads and there are some individual outputs.

Programming the DDD-1 is fairly straight forward. Memory holds 100 patterns which can be linked or chained to form songs, for which there are 10 song memory locations. The drum sounds have editable parameters such as decay and tuning. For added groove in your patterns there are Roll and Flam effects. The DDD-1 is equipped with full MIDI implementation making it an easy drum machine to use in any MIDI studio. If you like typical eighties drum sounds, the DDD-1 would be a formidable alternative to other similar drum machines like the Roland TR-707 and offers more professional features than its counterpart, the DDD-5.

Specifications
Polyphony - 18 voices
Sounds - 18 sampled sounds: 2 Kick, 2 Snare, Low/Mid/Hi Toms, Rimshot, Claps, Crash, 2 Open hihats, 2 Closed hihats, Ride, Cowbell, Tambourine and Cabasa
Controls - pitch, dynamics, decay, roll and flam
Patterns - 100
Songs - 10
Keyboard - 14 assignable velocity trigger buttons
Effects - None
Control - MIDI
Date Produced - 1986 - 1987
Est. Value - $100 - $200

Roland D-10 / D-110

2010-01-16T05:54:00.000-08:00

Second generation D-50 style synthesis. The D-10 is a Digital Linear Arithmetic Synthesizer and the D-110 is its upgraded rackmount version. Capable of decent acoustic sounds and great new synth-type sounds the D-10/110 is a great and cheaper alternative to the popular D-50. It has a confusing synthesis / editing method composed of tones, partials and timbres. Basically it all boils down to tricky programming which, if you know what your doing, can have interesting and unique results. On-board drum sounds, reverb effects and internal / external memory storage are also a plus.
The D-110 rackmount version adds 6 individual outputs, and the follow-up D-20 keyboard version adds an 8-track sequencer. Definitely worth a listen for any musician on a budget! It has been used by Suzanne Vega, Future Sound of London, and Information Society.
Specifications
Polyphony - 32 voices
Oscillators - Digital LAS (Linear Arithmetic Synthesis) & ROM Samples
Effects - 8 Effects
Multitimbral - 9 parts
Drums - 1 kit, 63 sounds
Memory - 128 internal & 128 external patches, 64 performances
Keyboard - 61 note with velocity sensitivity (D-10)
Control - MIDI
Date Produced - 1988
Est. Value - $200

Roland D-70

2010-01-16T05:52:00.000-08:00

Billed as the next in line to the Roland "LA" synthesis crown, the D70 is an odd keyboard. It actually has more in common with the U-20/220 series ROMplers than with the D-50/550, which it was "kind-of meant" to replace. In fact, if you open it up, you''ll find the circuit boards are labelled "U50". Unfortunately, the D70 / U50 was rushed into production, to compete with the likes of the Korg M1 and T1/T2/T3ex series machines, and this lack of design care shows when navigating the user-interface, which could be politely described as "challenging".

So, given the similarities to the rather mediocre U-series sample ROMplers, and the "Super-LA" name....what to make of it?

The D-70 has a sample playback engine married to D50 style TVF filters, together with on-board effects, and a percussion soundset. The filters are resonant, and add some much needed "welly". This is the D-70's redeeming feature, because the filters are actually pretty damn good. It's a shame that (to this reviewer's knowledge) it doesn't seem possible to filter the drum samples though.

Performance wise, the D70 has a good quality 76 note keyboard in a sleek housing, and given its size, it's remarkably light. It is equipped with a large LCD display, to the left of which are 4 assignable faders. There is a fifth controller fader, labelled "C1" just above the pitch bender, in between the volume and brightness (filter cutoff) faders. The faders can be assigned in real-time to the following parameters: Level, Pan, Tuning, Cutoff, Resonance, Attack, and Release, using the keypad to the left of fader 1. The four faders equate to the four tones that can be used to make up a patch, rather like the D50's "upper / lower partials" although the more tones you apply, the lower the polyphony. This gives the performer real-time tweakability for doing filter sweeps, changing the relative levels of tones (for drawbar-style effects), etc. As an added bonus, the faders send MIDI data...

...which makes the D70 an excellent master keyboard for MIDI setups. It has keyboard splitting and zoning options that you'd expect to find on master keyboards. That's if you can decipher the midi implementation and work your way round an interface that redefines the word "awkward". Couple that with a 220 page manual, and it's not something you really want to do on stage, unless you've got it all worked out in advance. The D70 is one of those synths that you'll find yourself both enjoying and cursing in fairly equal measure.

Sound-wise, the D70 raw samples are your typical U20/220 faire. In fact the D70 reads U220 series PCM cards, and has two PCM card slots on the rear of the unit, together with a RAM slot. This may not sound too appealing - if you're looking for genuine acoustic instruments, then it's not for you. But, the D70 has some remarkably good Rhodes and Organ patches, and some fantastic synth bass and lead sounds. Couple this with the on board fx, and it is a bit like a souped-up D50 with much better filters, which provide both squelchy resonance and knob-twiddlyness.

To summarize, it's a nice ROMpler, albeit a little schizophrenic, capable of some wonderful classic Roland synth-noises, and makes a decent performance / live / master keyboard as well. It sounds better than the U220. If you're looking for a "proper synthesizer" you may be disappointed. Real shame actually; a bit more effort on Roland's part and this could have been a right little stomper. Due to the fact that it was never really a success, the D70 can prove very hard to find on the used market. But once you've got one, you probably won't want to let it go - it has JUST enough features in several different departments to redeem itself, and the warmth of the synth sounds belies their digital origin.

Specifications
Polyphony - 30 voices
Oscillators - Digital ROM samples and DLM ("Differential Loop Modulation")
LFO - YES
Filter - TVF FILTER: low-pass-resonant (like D50).
VCA - TVA (like D50).
Effects - Reverb, Chorus, Flanger (like D50)
#Instruments - 5-parts + 1-percussion
Keyboard - 76 note keyboard with velocity and aftertouch
Arpeg/Seq - None
Memory - 10 user sets, 64 performances, 128 patches, 128 tones.
Control - MIDI
Date Produced - 1990-91
Est. Value - $300-$500

Roland D-50

2010-01-16T05:48:00.000-08:00

The D-50 is an all-time favorite digital synth that's still just as popular today as when it first came out in '87. Once Roland's hottest digital synth, it competed against the Yamaha DX7, and was much easier to use. By joining 8-bit PCM samples with "LAS" synth-generated sounds, the D-50 is capable of unique and complex sounds. The PCM samples contained the attack transients, while the rest of the sound came from the Linear Arithmatic Synth (LAS) section which sounds very analog, with subtractive-style synthesis and low-pass-resonant filters. Built-in chorus and (for the first time) digital reverb are also included for giving your sounds space and life! It also has a joystick controller for real-time timbre manipulation. The D-50 was great for new and non-acoustic, percussive, ethereal and beautiful pads & sounds.
Both the D-50 and D-550 benefit from the PG-1000 external controller which gives you very plain and simple slider/fader type control of all adjustable parameters of the synth. The D-50 includes MIDI on all 16 channels but because it is monotimbral you can only use one channel at a time. There is an upgrade which will give the D-50 and its rackmount version a full 16 channels of simultaneous MIDI multitimbral data communication. This popular synth has been widely used in all forms of music. Eric Clapton, Enya, 808 State, Jean Michel Jarre, Vince Clarke, Apollo 440, Eat Static, LTJ Bukem, Fluke, Information Society, Lab-4, Gary Numan, Rick Wakeman, Kitaro, Rush, Vangelis, Richard Barbieri, Boston and Nick Rhodes of Duran Duran are just a few of the many satisfied users.

Specifications
Polyphony - 16 voices (32 partials with 2 per voice); 8 voices (using 4 partials per voice in Dual or Split Mode)
Oscillators - Digital LAS (Linear Arithmetic Synthesis) & PCM, 32 osc.
LFO - YES (3 x 2tones = 6 LFOs)
Filter - low-pass-resonant
Envelopes - ADSR envelopes
Effects - YES
#Instruments - Monotimbral (can be upgraded for multitimbrality)
Keyboard - 61 note keyboard with velocity and aftertouch
Arpeg/Seq - None
Memory - 64 patches
Control - MIDI
Date Produced - 1987-89
Est. Value - $400 - $600

Casio CZ-101

2010-01-16T05:45:00.000-08:00

It's small, it's cheap, and it's good! This is the pea-size version of the CZ-1000 with a mini-keyboard. The CZ-101 is a digital synth and although the programming is somewhat limited there are plenty of analog-like traits and sounds to interest most anybody. It has a good 8-stage envelope design and uses Phase Distortion (PD) synthesis which gives it some pretty great sounds. The sounds are very similar to the Yamaha DX synthesizers, and they're much more affordable. PD is Casio's own take on digital synthesis from the mid-eighties and is found in all of their CZ series. You basically modify digital waveforms (sine waves) to create various sounds. It can create wild new sounds, notably percussive sounds. But it's not too easy to program if you don't know much about waveform theory and design.

Make no mistake, the CZ-101 is no toy although it can be considered very entry level. Three sets of 8-stage envelope sections are used to modulate your sounds extensively. The first is used to modify the DCO pitches over time. Another 8-stage envelope section in the DCW is used to modify the Phase Angle over time (like filtering). Finally the DCA amplifier also has an 8-stage envelope to modify the volume of sounds over time. For further tweaking the CZ-101 employs some surprisingly analog effects. Four types of Vibrato make up a simple LFO-type section with triangle, square, ramp up or down waveforms as well as rate, depth and delay settings. Portamento adds that classic glide effect from one note to the next. Double up on the oscillators with 4-note polyphony. Built-in noise and ring modulation. It's also MIDI equipped with 4 monophonic multitimbral parts. However, with only 32 patches (16 preset, 16 user) storage is a bit slim.

The CZ-1000 is a full-size keyboard version of the CZ-101 for a slightly more practical edge. Later CZ-series models like the CZ-3000 and CZ-5000 used this new Phase Distortion synthesis in more professional instruments. But none are as small and portable as the CZ-101 is! It can even be strapped on like a guitar and run on battery power. The CZ-101 has been used by Cirrus, Moby, Jimi Tenor, Vince Clarke, Jimmy Edgar, and They Might Be Giants.

Specifications
Polyphony - 8 note
Oscillators - Digital Phase Distortion Synthesis (sine, saw, square, pulse, resonance, double-sine, saw-pulse)
#Instruments - 4 part multitimbral
DCW - 8-stage envelope generators with level and rate controls and Key Follow (Adjusts Phase Angle)
DCA - 8-stage envelope generators with level and rate controls and Key Follow (Adjusts Volume)
Keyboard - 49 note mini keyboard (no Velocity or Aftertouch)
Memory - 16 preset, 16 user, 16 more via external cartridge
Control - MIDI
Date Produced - 1985 - 88
Est. Value - $100

Arturia CS-80V

2010-01-16T05:35:00.000-08:00

There once was a 200 pound beast of a classic analog synthesizer used and coveted by some of music's greatest players and synthesists since the 1970's. That synth, almost impossible to find and afford in stable working condition these days, is known as the Yamaha CS-80. It was Yamaha's flagship polyphonic analog synthesizer during it's hey-day, and now it can be yours thanks to Arturia. Arturia has developed "TAE" - "True Analog Emulation" which they have employed in their Minimoog V and Moog Modular V software synthesizers and now, in the CS-80V as well. The CS-80V is available for Mac or PC and is compatible with all major formats (VST, DXi, Audio Units, MAS, RTAS, HTDM, and more).

The CS-80V is a brilliant and faithful recreation of the original CS-80 in looks and sound, with a few welcome additions that make the CS-80V even better than the original, and at only a mere fraction of the CS-80's original and current second-hand prices! Some of these new features include additional LFO's, an Arpeggiator, Stereo Delay, a flexible Modulation Matrix, and most importantly - MIDI Sync options! Arturia's "TAE" sounds wonderful and the CS-80V sounds very warm and analog. Visually, the CS-80V is very large (1024x768 resolution needed) but beautifully recreates the front panel of the original CS-80, complete with 61-note keyboard, ribbon controller; it even has virtual built-in spinning fans which are an instant turn-on for any software synth freak!
The original CS-80 had a unique synth architecture in that it was basically two discrete 8-voice polyphonic synths. A quick glance at the front panel shows two rows of identical sets of controls and sliders for Signal Paths I & II. Each Signal Path has a single oscillator, high and lowpass filters, a VCA section and keyboard velocity/aftertouch response controls. Each Path also features independent noise generators and LFO mode selectors. The two Signal Paths can be layered or played individually. A few basic effects including Ring Modulation, Tremolo, and Chorus can be applied globally to both Signal Paths.

The Oscillator (VCO) section offers six waveforms (sine, saw up, saw down, square, noise, and random) and adjustable Pulse-Width Modulation and Noise level. The Oscillator can be modulated by the LFO in one of three modes: free, triggered, or mono. The LFO triggering can also be sync'd to MIDI for each Signal Path. The two oscillator sections can be "Linked" so adjusting one's settings affects both the same, and they can be sync'd together as in the traditional sense of oscillator sync.

The VCF Filter section is unique and very rich. There are switchable 12 or 24dB/oct highpass and lowpass filters available in series (one after the other) with adjustable Cutoff and Resonance controls. The Highpass and Lowpass filters can be individually turned on and off. There are also Level, Attack, Decay, and Release envelope controls for the filter. The VCA section offers standard Attack, Decay, Sustain, and Release envelope controls as well as VCF and VCA Level sliders.

Then we get to the global controls that affect both Signal Paths. For an LFO, the original CS-80 had just a simple triangle wave sub-oscillator. The new CS-80V employs an LFO with the same waveform shapes as the VCO's (note: the LFO is labelled as the Sub-Oscillator on both the CS-80 and CS-80V). The LFO is simultaneously assignable to the VCO, VCF and VCA sections! The Ring Modulator section offers adjustable Attack, Decay, Depth, Speed, and Mod controls. To the left of the keyboard is the effects section: Chorus and Tremolo as well as performance effects such as Portamento and Glissando are all here. The new addition of a stereo Delay with MIDI sync capability is a great enhancement. An Arpeggiator has also been added to the CS-80V (similar to that in the Minimoog V) with MIDI sync as well as adjustable speed and Up, Down, Up/Down, Random, and Notes played patterns adjustable over a 4-octave range and with up to 4 repeats (# of repeats before moving pattern to next octave). There are also Transpose sliders for each oscillator, global "Brilliance" and "Resonance" and Osc 1+2 Mix controls, keyboard touch response controls, and the original's cool Ribbon Controller for pitch bending.

Under the hood are a few major upgrades that really bring the CS-80 into the 21st century! The original CS-80 had its VCO-VCF-VCA signal flow diagramed on it's front panel where it housed its preset programming section. Pop it open on the CS-80V to reveal the Modulation Matrix. Here you can route up to 10 different sources (LFOs, Envelope Generators, Ribbon Controller, etc.) to modulate almost any of the CS-80V's synth parameters. This just gives you tremendous flexibility that the original never offered. Speaking of upgrades, the memory on the original was severely limited, but the CS-80V has virtually unlimited patch storage, and ships with over 400 patches designed by famous artists (Bass, EFX, Leads, Pads, Horns, Ambient, Sequences, Percussion, Keyboards, Guitars, Organs, Strings, and more).

Finally, a Voice Control section allows you to control each of it's eight voices independently! Each voice can be assigned to 1 of 4 keyboard zones or turned off, transposed, de-tuned, panned, mixed, and more! They can also be assigned to up to 4 different MIDI channels for multitimbral use, and even different patches can be assigned to each voice so you can cycle through patches as you play! All of these flexible and functional new features integrate seamlessly into the CS-80V's design, and are simple enough to navigate and use.

Arturia's CS-80V is a must have software synth for anyone looking for a very warm and very classic analog sound. Everything about the original CS-80, even its quirks are recreated here with stunning detail and sonic quality. Few software synthesizers offer such warm analog sounds as well as the chance to learn about the unique and classic instrument that put Yamaha on the map of analog synthesizers.

Specifications

Polyphony - Polyphonic (8 voices)
Oscillators - 2 oscillators plus 1 sub-oscillator (for vibrato)
"TAE" - No aliasing from 0.1 Hz to 16 kHz, 64-bit floating point precision, Sampling rate: up to 96 kHz
Modulation - 2 LFOs plus Modulation matrix: a choice of 12 sources and 38 destinations
Filter - 4 filters: 1 Highpass + 1 Lowpass in series per Signal Path, each with Frequency Cutoff and Resonance controls. 12 or 24 dB/oct modes for each Signal Path. Attack, Decay, Sustain controls for each Signal Path.
VCA/Envelopes - 2 VCAs (one for each Signal Path): Attack, Decay, Sustain, Release, VCA, and VCF level controls.
Arpeg/Seq - 1 arpeggiator with Up, Down, Up/Down, Random, Notes played patterns; 1-4 Octave range; 1-4 repeats; MIDI Sync On/Off.
Keyboard - 61-key virtual keyboard with Ribbon controller, Polyphonic after touch and Expression and sustain pedals
Effects - 1 stereo delay (with MIDI sync), 1 chorus, 1 tremolo, 1 ring modulator
Memory - More than 400 presets, made by professionals (Bass, EFX, Leads, Pads, Horns, Ambient, Sequences, Percussion, Keyboards, Guitars, Organs, Strings, and more)
Interfaces - Runs stand-alone with ASIO, DirectX, Sound Manager and Core Audio, or as a plug-in using VST-2.0, Audio Units, RTAS, HTDM, MAS, and DXi.
Macintosh - G3 500 MHz, 128 MB of RAM, MacOS 9.x, Mac OS X 10.2
Windows/PC - Pentium II 500 MHz, 128 MB of RAM, Windows 9x/2000/ME/XP
Date Produced - 2003
Est. Value - $249

Yamaha CS1x

2010-01-16T05:33:00.000-08:00

The CS1x is Yamaha's first Analog Emulation performance keyboard for electronic and dance musicians (the CS line is back!). It's a digital synthesizer that emulates analog style, sounds and controls. All controls and parameters are real-time and MIDI controllable. As well as a superb set of quality synth bass, pads, voices, leads and arpeggiated sequences there are plenty of amazing drum sounds also with analog sound and control.

Some of the coolest features of the CS1x aimed at dance musicians will provide you with instant sonic gratification and hands-on real-time tweakability. There are 6 knobs for envelope attack, release, filter cutoff, resonance and 2 are assignable knobs. Two scene memories will remember the current state of the envelope and filters as set by the control knobs so they can instantly be recalled and you can even use the Mod-wheel to morph from one scene into the other, very cool! Scene Memory data is also stored with your synth patches. Built-in digital effects are great but the Arpeggiator steals the show with 30 inspirational patterns suited for techno, house, basslines and basic arpeg. patterns.

Plenty of memory (128 preset, 128 user) and MIDI control make the CS1x perfect for both live and studio use. Control the synth, arpeggiator and editing through MIDI control. The CS1x only has limited multitimbrality in which, when hooked up to a sequencer, MIDI channels 5-16 offer plain old Yamaha XG synth sounds but MIDI channel 1 holds the CS1x's main sounds and effects. It's already being used by Underworld, Bushflange, Jamiraquai, Skylab2000, Somatic Responses, and David Bowie.

Specifications
Polyphony - 32 notes
Oscillators - XG Format - 480 Normal Voices and 11 Drum Kits
#Instruments - 16 Part multi-timbral
Filter - YES (w/ real-time control)
Arpeggiator - Yes, including Hold and Split
Keyboard - 61 keys (velocity sensitive)
Memory - Preset: 128; Programmable; 128
Control - MIDI & computer interface
Date Produced - 1996
Est. Value - $500

E-mu Carnaval

2010-01-16T05:32:00.001-08:00

Carnaval is a great sounding synth-module with authentic Latin music sounds. It follows the Orbit 9090 and Planet Phatt sound modules, having all the same great specifications. Carnaval has got 640 preset sounds (plus 100 beats via Beats Mode) for all your Latin, Salsa, Samba, Tejano, Merengue, Afro-Cuban and other zesty sounds! Beats Mode offers up instant Latin loops for you to play with and tweak interactively. Carnaval also features (digital) filters, six analog outputs and full MIDI capability. A great choice for anyone interested in quality Latin sounds for use live or in the studio!

Native Instruments Battery 2

2010-01-16T05:28:00.000-08:00

Battery offers studio musicians and programmers an awesome digital percussion software-sampler. Battery 2 updates this software based sample player with enhanced sound editing and interface features making it easier than ever to create your own dynamic drum kits for any style. The focus of this review will be on Battery's new features, so for a review and introduction to just what exactly is Battery, check out our review of the original 2001 version of Battery.

The folks at Native Instruments have listened to their users. Battery 2 has a much better interface and enhanced sound quality and shaping features. It has a new 256 voice polyphonic sampling engine with support for Direct From Disk streaming. Now you can create massive drum kit libraries. And speaking of libraries, it ships with a 3.5 GB drum sample library with 23 kits, as well as updated versions of all Battery 1's original kits. Battery 2's other major new feature is the optimized and resizable interface. The window can display from 9 to 72 "cells", and the edit pane is retractable for a stream-lined display.

The edit pane is significantly improved in it's layout as well. The left side has 6 tabbed menus that display the Cell, Mapping, Modulation, Filter, Compressor, and Loop pages. The right shows the graphic waveform display with simple volume envelope and pitch controls. In the middle are four simple knobs to modify the sample's tuning, saturation, bit-degrade, and sample de-grade. All these edit functions apply to each cell independently.
The compressors are new to Battery 2 as well as the multimode filters with 15 filter types ranging from 6-pole resonant low-pass to parametric EQ's, vowel filters and more. Battery's loop features are expanded with up to four loops per cell and several sliders to adjust each loop. The Modulation section adds an LFO with saw, triangle, square waveforms and an additional envelope. There are no surprises in Battery 2's interface, everything you need to totally reshape each cell is easy to find and just a click away, and they're all MIDI CC assignable too!

Battery is also compatible with just about every sample format, adding support for Kontakt, Gigasampler, and REX 1 & 2 files (beat-sliced loops). The edit pane can be toggled into the import pane, from which you can import all kinds of sound formats by simply dragging and dropping them into a cell. Battery 2 itself is very compatible, functioning as VST, Audio Units, and RTAS plug-ins and stand-alone using DXI, ASIO, Core Audio, and DirectSound. It's clear that for a software synth with uncompromised sound quality and easier than before editing features and almost universal compatibilities, Battery 2 is the way to go if you're dedicated to drums and percussion.
Specifications
Polyphony - 256 stereo voices
Sampler - Internal 32-bit resolution and sample-accurate timing. Reads samples in the formats BATTERY 1, KONTAKT, INTAKT, KOMPAKT, EXS24, Gigasampler, Halion, LM4, AKAITM S-1000/S-3000, REX I & II, AIFF, WAV, SDII, SoundFont2, SampleCell
Drums/Samples - From 9 to 72 cells, each with 128 velocity layers, tuning, volume envelope, pitch envelope, bit reduction, shaper and FX Loop for innovative effects.
Keyboard - n/a
Effects per cell - Reverse, Voice Group/Overlap (up to 63), LFO, ADHSR Envelopes, Multimode Filters (15 types), Compressors, Loops (up to 4 per cell)
Interfaces - Runs stand-alone with ASIO, MME, Sound Manager, or as a plug-in using VST-2.0, MAS, DXi, FreeMidi and DirectConnect
Macintosh - Minimum: Mac OS X 10.2.6, G3 500 MHz, 256 MB RAM
Recommended: Mac OS X 10.3, G4 733 MHz, 512 MB RAM
VST, RTAS, Audio Units, ASIO, Core Audio
Windows/PC - Minimum: Windows XP, Pentium III/Athlon 500 MHz, 256 MB RAM
Recommended: Windows XP, Pentium III/Athlon 1 GHz, 512 MB RAM
VST, RTAS, DXi, ASIO, DirectSound
Date Produced - 2004
Est. Value - $229, $119 upgrade

Native Instruments B4

2010-01-16T05:26:00.000-08:00

The Native Instruments B4 is a software plug-in that emulates the look and sounds of the classic Hammond B3 tonewheel organ and rotating speaker. With an authentic looking B3 complete with drawbars, dual manuals (keyboards) and a pedal keyboard, the plug-in is very visual and intuitive to use. It even features a nifty rear-view for tweaking more adjustment parameters, kind of like the real thing! Unlike the old B3's however, the new plug-in adds flexibility in sound generation and seamless integration into the studio that the original never had.. and at a fraction of the cost.
The B4 can create all the classic B3 type sounds with stunning clarity and detail while emulating the effects of rotating speakers, tube circuitry and other electro-mechanical functions that made the B3 a legend. The sounds are physically modeled and Native Instruments has included such B3 nuances as harmonic foldback, drawbar crosstalk and loudness robbing for an authentic recreation.The B4 plug-in should be part of any VST set-up. Sure it could be used to make church music or take you out to the ball game. But it is also capable of sounds used by such legendary artists as Pink Floyd to Herbie Hancock to Air to Portishead. For use on Macintosh or Windows, by itself or as a plug-in with any VST 2.0, Audio Units, or RTAS compatible music apps. Demo sounds and Plug-In demos and updates are available at Native Instruments and their B4 Page.

NEWS: The new DXi B4 update is now available and can be downloaded. It adds full DXi support to the B4 Organ and allows the perfect integration into Cakewalk's digital multitrack recording system Sonar. You can now use the B4 as a Sonar plug-in and benefit from all DXi features, such as seamless control and automation via MIDI track, routing to audio tracks and auxiliary sends, and much more.

Available as of November, 2001 comes the NATIVE INSTRUMENTS Studio Collection Pro Tools Edition. This is a bundle of RTAS plug-ins for Pro Tools which include the B4, Pro-52 vintage synth, and Battery drum sampler. For $999 (list) these synths and sampler can be used seamlessly within Pro Tools (TDM/LE/Free).
Specifications
Polyphony - Unlimited (depending on CPU power)
Oscillators - 91 modeled tonewheels
Keyboard - 2 manuals and pedal keyboard; 9 drawbars per manual
Speaker - Emulated rotary speaker
Effects - scanner vibrato/chorus; tube distortion sound
Memory - Save Patches directly to your hard disk or as part of a VST sequence/MIDI file.
Macintosh - Mac OS 8.6 or higher, PPC 604, 233 MHz, 64 MB RAM
VST 2, Audio Units, RTAS, Core Audio, Core MIDI, ASIO
Windows/PC - Windows 98/2000/ME/XP, Pentium 233 MHz, 64 MB RAM.
VST 2, DXi, RTAS (XP only), ASIO, MME
Date Produced - 2000
Est. Value - $199
$999 for Native Instruments Studio Collection For Pro Tools Edition (includes: Pro-52, B4, Battery)

ENSONIQ ASR-10

2010-01-16T05:23:00.000-08:00

The ASR-10 stands for the Advanced Sampling Recorder - a completely digital music production studio. It's a 16-bit sampler that came in both keyboard and rack-mount versions. It shipped with 2 MB of sample memory which could be expanded to 16 MB for a few minutes of stereo cd-quality sampling time. It lets you choose from sample rates of 30 to 44.1 kHz and has all the professional sample editing functions you would expect to find from a pro sampler including autolooping, volume smoothing, normalize, crossfading, and time comp/exp. Even resampling through its effects, EQ, etc. is possible!

What's special about the ASR-10 is that it is a sampler using the synthesizer architecture of Ensoniq's classic line of synths from the SD-1 to the ESQ-1. Your samples are stored as part of its WaveSample memory. The ASR-10 can hold 127 WaveSamples, which can also consist of its two multimode digital filters, the LFO, one random noise generator, three envelope generators (hard-wired to the pitch, filter cutoff, and amplitude), and a modulation matrix with 15 routable modulation sources. Up to eight layers of WaveSamples can be combined to create your final sound. In this light, the ASR-10 basically looks like an advanced TranseWave (waveform modulation) synthesizer in which YOU create its WaveSamples!

The ASR-10 integrates a digital effects processor and MIDI sequencer on-board for a complete workstation. There are up to 62 effects (including vocoding) based on Ensoniq's DP/4 effects processor. A whole range of reverbs, chorus, flange, phaser, distortion, digital delay, speaker effects, etc. are available.

The ASR-10's sequencer has 16-tracks and with its 31 voices of polyphony you can create some pretty complete musical performances. The sequencer (reminiscent of the SD-1 and VFX-SD workstations) provides real time and looped recording modes, 96 PPQ clock resolution, an auto-locate function, punch in/out, and other useful features. And the ASR-10 can sample while the sequencer is playing. It can store up to 80 sequences or patterns which can be chained into a song (only one song can be in memory).

The ASR-10 also has a "Tape Recorder" mode in which you can record two tracks of audio for use along with the sequencer for an advanced all-in-one music making machine! Recording can be to its RAM or to external SCSI hard drives via the SP-3 SCSI interface (optional on keyboard version) for extended sampling/recording time and memory. It can support up to seven simultaneous hard disks and/or CD-ROM drives. You can even process external audio through the ASR, live or along with sequences.

As mentioned, the ASR-10 comes in a 61-note keyboard version and a rack-mount. But there's more. Over the years Ensoniq has continued to upgrade it adding an AES/EBU digital I/O upgrade, digital audio recording and importing of new sound formats, and more. The ASR-88 version is an ASR-10 with a fully-weighted 88-note keyboard and the SCSI interface comes standard. The ASR-10 is compatible with Akai (S-1000/1100) and Roland CD-ROM sound librarys. A high-density (HD) 3.5" disk drive comes standard on all models. The ASR-10 has been used by Atomic Babies, Autechre, Rammstein, Jimmy Edgar, Black Lung, Rabbit in the Moon, Timbaland, Pharell Williams (Neptunes), The Alchemist, Kanye West.

Specifications
Polyphony - 31 voices
Sampler - Sigma-Delta 64 times oversampling, 16-bit, 30kHz or 44.1kHz variable sampling rates; 127 WaveSamples, up to 8 Layers per Program.
Filter - 2 digital filters in series, one low-pass, one high pass. Up to 4-pole filtering with 6, 12, 18, and 24 dB/oct slopes.
Envelopes - 3 envelopes: Env 1 to WaveSample Pitch; Env 2 to WaveSample Filter Cutoff; Env 3 to WaveSample Amplitude.
Sequencer - 16 tracks, 80 Patterns (999 measure limit each), 1 Song at a time
Effects - 1 effects unit with 50 to 62 effects including vocoder (reverbs, chorus, flange, phaser, distortion, digital delay, speaker effects)
Keyboard - 61 keys w/ velocity and aftertouch (88 weighted keys on ASR-88)
Memory - Sampler: 2 MB expandable to 16 MB;
Patches: 8 Instruments
Control - MIDI (8-parts)
Date Produced - 1992 - 1994
Est. Value - $800 - $1,000

ARP 2600

2010-01-16T05:20:00.000-08:00

The ARP 2600 is without a doubt one of the finest analog synthesizers ever. It is very popular and has been used by artists for over 20 years in all forms of music, especially today's electronic music. The 2600 is a professional, semi-modular, monophonic, patch-cable synthesizer that competed directly against the first professional Modular Moog synths during the early 1970's. Unlike other modular systems of the time which required you to pick and choose modules that you (or the manufacturer) then had to mount inside a case and wire together, the 2600 is semi-modular with a fixed selection of basic synth modules internally pre-wired and ready to go! Most of these connections can be "re-wired" with patch-cords and clearly labeled patch-points. This made the 2600 more user-friendly, portable and easier to create sounds with!

The 2600 is a 3-VCO analog beast capable of creating some amazing sounds thanks to exclusive ARP technologies. Truly a model of analog synthesis, the 2600 has plenty of switches & sliders to satisfy all your tweak-able needs. You have the freedom to route the sounds that originate from its oscillators anywhere you want. If you have a keen understanding of signal-flow and understand how the different synth modules operate, you can create some of the most musically expressive analog sounds ever! It even has a built-in spring reverb, amp and stereo speakers.

There's a lot of history here, and we think we've finally sifted through all the myths & rumors & disinformation to finally have a good breakdown of all the different versions of the 2600 that have existed over its decade-long production run. They are all a little bit different, some with changes due to instability issues, some due to legal issues, and some for cosmetic reasons. It's accepted that while the 2600's became more reliable and serviceable as their production progressed, they also became worse sounding, especially among models made after 1972. The best sounding models are the oldest and rarest. Much of the following info can also be found at CMS Discrete Synthesizers.

Model 2600:

The very first model 2600 was produced in early 1971 and is known as The Blue Marvin. It has mistakenly been called the "Blue Meanie" but according to Alan R. Pearlman, the Blue Marvin is so named after Marvin Cohen, head of engineering at ARP at the time. It came in a bright blue aluminum case with a funky and fragile wooden enclosure. It used an entirely micro-chip based voice path but the chips they used wound up being highly unreliable, although they sounded great! Only a few of these were made (approx. 25) and they were mostly built in a garage
Model 2600C:

Next, the factory produced 2600C Gray Meanie (pictured above) appeared in 1971 and can be identified by the rectangular 'ARP' logo on its right speaker grille. About 35 of these were made.

Model 2600P:

Later in 1971 came the 2600P V1.0 which featured the same metal case (housing the same electronics as the original models) now enclosed in a much more roadworthy suitcase-style enclosure (similar to the pic below). In 1972, ARP switched out the unreliable (Teledyne) VCO chips for the model 4027 and 4027-1 (National Semiconductor) VCO chips in the 2600P V2.0 and 2600P V3.0, respectively. These new VCO chips sounded weak and nowhere near as good as the originals. A new duo-phonic keyboard (3620) with LFO was introduced with the 2600P V4.0 in 1974. The 2600P V3.0 and V4.0 models are denoted by the "G-clef" ARP logo and are the most common models out there with roughly 1700 2600P's produced during 1971-1974. Unfortunately, further changes to inferior parts were just around the corner. The Model 4012 filter used in the all the 2600's through 1976 used a design that was a copy of Moog's patented ladder-filter design. This led to a law-suit between Moog and ARP which forced ARP to design their own filter for their next version
Model 2601:

The Model 4072 filter, a four-pole low-pass designed to replace the original 4012 was widely considered to be faulty. The frequency response of this filter only goes to about 12kHz, giving this model a duller sound than models with the Moog style 4012 filter. The early 2601 V1.0 models were still using the disputed 4012 filters during 1975-76. In 1977 ARP started using their new 4072 filter in the model 2601 V2.0 with the modern orange-on-black design (pictured below). Around 1978 ARP unleashed a whole new line-up of their synthesizers using this new orange-on-black look. These were produced from 1977 through 1980. Very late 1980 versions of this model featured un-potted submodules, making them easier to maintain (but they are more rare).
There were also three versions of the remote keyboard: The Model 3601, which is a very rudimentary version with just Portamento and Tuning controls. The Model 3604 is similar but adds adjustable scaling and was used until 1974. The duo-phonic Model 3620 (pictured at top and bottom) which adds a dedicated LFO, latching and some other very useful features was introduced with the 2600P V4.0, and used with all subsequent models from 1974 to 1980.

ARP 2601 with matching 3620 keyboard

Famous 2600 users include Orbital, Underworld, 808 State, Meat Beat Manifesto, Hardfloor, Jean Michel Jarre, BT, Joy Division, Depeche Mode, Weather Report, Rebirth, Xpando, Add N To (X), Chemical Brothers, Front Line Assembly, David Holmes, Tony Banks, Rick Wakeman, Pete Townshend, Roger Joseph Manning Jr., Patrick Moraz, Matthew Sweet, the Crystal Method, Stevie Wonder, Vince Clarke, Freddy Fresh, Nine Inch Nails, and Edgar Winter. It was even used at Skywalker Sound to create the vocalizations for R2D2! A little less than 3,000 were made, so if you own one...please take care of it!

The 2600 has been reborn as software synth emulations. For a realistic sounding reproduction check out Timewarp 2600. Also be sure and look at Arturia's ARP 2600V.
Specifications
Polyphony - Monophonic
Oscillators - 3 VCOs: VCO 1 saw / sqr; VCO 2 saw / sqr / tri / pulse / sine; VCO 3 saw / sqr / pulse (Model 4011 VCO on early 2600s, replaced by Model 4017 VCO, replaced by Model 4027 & 4027-1); White Noise Gen: Continually variable from LF to pink to white (Model 4016 Noise Gen replaced by Model 4022).
LFO - Patchable with tons of modulation sources and shapes; Model 4015 Sample and Hold.
Filter - 24db lowpass, self-oscillating; Digital Ring Modulator: AC or DC coupled. Model 4012 VCF (1970-76). Model 4072 VCF (1976-81).
VCA - Env 1: ADSR
Env 2: AR; Linear or Exponential control; Envelope Follower
Model 4010 VCA on early 2600s, replaced by Model 4019 VCA.
Effects - Spring Reverb
Keyboard - Remote Keyboard with 49 keys (Models: 3601, 3604, 3620)
Arpeg/Seq - YES via ARP Model 1601 Sequencer
Control - CV/GATE
Date Produced - 1970 - 1981
Est. Value - $1,000 - $2,500

Yamaha AN1x

2010-01-16T05:19:00.001-08:00

The AN1x is a powerful retro-analog synth with a really cool new feature that lets you record real-time editing and filtering and be able to store it as part of the sound! A major contender in the new wave of analog-digital synths using DSP modeling of analog waveforms to recreate the coveted sounds of analog synths with modern digital specifications. It offers truly traditional yet modern methods of analog synthesizing, 10 notes of polyphony, 8 knobs for tweaking, and an arpeggiator with dozens of inspiring patterns!

Although the AN1x is not a follow-up to the CS1x (which has since been followed by the CS2x and the CS6x) it has borrowed many functions and technologies from the CS1x synth. First, it's built in an almost identical case with the same layout of buttons and knobs as the CS1x. However the function of every knob and button has been greatly expanded. The AN1x also has 2 Scene memories for instant recall of any envelope and filter settings and the mod-wheel can be used to morph between the two scenes. On-board effects and a state-of-the-art arpeggiator section also are on-board for giving your sounds life and motion.

The AN1x adds a new Ribbon controller for increased real-time control. It also includes pulse width modulation, ring modulation and oscillator syncing. The AN1x may not be the next evolution of the CS1x but it is basically a more advanced synth capable of increased sound potential and quality. It has a better feeling keyboard than the CS1x as well assuming that the AN1x is for those looking for something more professional than the CS1x. The AN1x is already being used by several artists, film and TV composers world-wide, including Nitin Sawnhey, the Faint, Igor Khoroshev, Yes, Little Tragedies and Phish.

Specifications
Polyphony - 10 notes
Oscillators - 2 osc: saw, variable width pulse, FM
Effects - Reverb, delay, 3-band EQ, chorus, flanger, phaser, enhancer, compressor, distortion, overdrive, amp simulator.
Filter - Resonant 12/18/24dB/oct low/band/hi pass filter + 1 more hi pass
Arpeg/Seq - Arpeg: 1 mon/poly, up, down, up/down, random; MIDI-capable. Seq: 16 steps, 1 track
Keyboard - 61 keys (with velocity)
Memory - 128 patches
Control - MIDI (2 parts)
Date Produced - 1997
Est. Value - $600

Roland Alpha Juno 1

2010-01-16T05:07:00.000-08:00

The Alpha Juno is a great sounding Juno type synth! Not quite as warm in sound as the previous Juno's but still a nice addition to any techno synth rig. Sliders and buttons were replaced by membrane buttons and the Alpha Dial which is used to edit and browse through the extensive selection of parameters: DCO digitally controlled oscillators, LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF filter with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. The PG-300 synthesizer programmer gives you traditional slider control of each parameter for much easier and faster editing.

Other nice touches include better MIDI implementation than previous Roland synths, 64 presets and 64 user patches, a nice LCD display, an LFO capable of a very slow rate for some cool sweeping effects, and a great bass sound (especially nice for acid basslines) and noise effects! It also has chord memory which is perfect for rave & techno, portamento and keyboard transposing. The Alpha Juno 1 was soon replaced by the Alpha Juno 2 which added a few MIDI & keyboard enhancements. The MKS-50 is an upgraded rackmount version of the Alpha Juno. The Alpha Juno is used by Mundo Muzique, Vince Clarke, Matt Megaton Haines, Paul Hardcastle, Massive Attack, Bomb the Bass, The Prodigy, Youth, Joey Beltram and Human Resource.

Specifications
Polyphony - 6 voices
Oscillators - 3 DCOs: Pulse, Sawtooth, Sub, noise waveforms
Effects - portamento, chord memory, transpose, chorus
Memory - 64 User, 64 preset, backup to cassette
Filter - 24db analog lowpass filter
Envelopes - ADSR Envelopes
Arpeg/Seq - None
Keyboard - 49 note keyboard (no velocity or aftertouch)
Control - MIDI
Date Produced - 1986
Est. Value - $200- $400

Native Instruments ABSYNTH

2010-01-16T05:02:00.000-08:00

ABSYNTH is a wonderfully organic software synthesizer for the Macintosh and PC! It is a semi-modular synthesizer with the ability to layer multiple synthesis techniques for really unique textures, pads, tones, soundscapes, rhythmic effects and other synth sounds ranging from analog to digital. ABSYNTH was originally released in 2000 by Rhizomatic Software as an internet download. Native Instruments saw the potential for ABSYNTH and have worked with Rhizomatic to make a new and truly professional version.

ABSYNTH not only sounds great but looks cool too! Its alien-organic design is the perfect visual complement to the alien-organic sounds it can generate! ABSYNTH offers several synthesis methods including subtractive synthesis, FM and AM via three independent oscillators. You start by choosing synthesis methods in the Patch Window (pictured below) and then adding or layering additional filters, effects and other modules. A patch can have multiple oscillators and up to four filters, three ring modulators, a waveshaper and a delay effect.

ABSYNTH offers a Waveform Editor where you can freely draw in your own waveforms and hear the results in real time. These waveforms can be used by the oscillators, LFOs, and as waveshaping distortion functions. This is a truly unique feature to ABSYNTH among competing soft-synths. The Spectral Waveform Editor allows you to trim individual harmonics for entirely new timbres. And waveforms can be Transformed using normalization, DC offset, phase inversion and offset, reverse, fractalize, filter, FM, and more.
ABSYNTH has three discrete LFOs. Each of them can modulate pitch, amplitude, filter, FM depth, pan or delay time. There is also Sample and Hold for each LFO for that classic analog synth effect. The LFO's waveforms can be drawn and edited within the Waveform Editor. There are plenty of envelopes as well. The Graphical Envelope Editor allows you to see and edit your envelopes. They contain up to 68 breakpoints per envelope so your sound can drone out with multiple decays, attacks, sustains and other evolving or rhythmic dynamics. This allows you to easily and truly sculpt your sounds like never before! The Envelope Function Generator allows you to build tempo driven or percussive rhythms using the envelopes. The envelopes can be used to shape the amplitude and/or the pitch, filters, or other synth parameters. As for effects, Delays can be modulated by the three LFOs and MIDI controllers for truly surreal delay effects. Delay times range from as little as one sample to 10 seconds.

ABSYNTH 2 released in 2003 added Mac OS X support including CoreAudio and CoreMidi support (and most recently RTAS). In addition, ABSYNTH2 can import any-sized samples for processing through it's modules. There's also Granular sampling, and full MIDI/Host tempo synchronization for all envelopes, effects times and LFO's. Other improvements include sonically enhanced oscillators and filters (improved analog-style 2-, 4- and 8-pole low pass and all pass filters), more envelope controller functions and 128 brand new Preset patches. ABSYNTH 2 continues to support Mac OS 9 and Windows PC (VSTi, DXi, ASIO, DirectSound, MME, and Sound Manager). All of its parameters can be modulated by MIDI continuous controllers, aftertouch, velocity and note number. It is used by Richie Hawtin and many others (it was used extensively in the Matrix Reloaded soundtrack).

Absynth Sonic Expansion Sounds Vol. 1 is a library from Native Instruments Sound Line ($49) with 256 brand new presets for Absynth. Absynth is a powerful and flexible synthesizer, but programming it may seem a little overwhelming to some users; this collection gives you a whole new batch of bizarre and organic synth sounds, atmospheres, textures, loops, synth and acoustic type sounds to play with. Velocity, modulation, and MIDI controllers are programmed into each sound for dynamic, responsive, and inspiring sounds.

Specifications
Polyphony - Limit depends on CPU power
Oscillators - 3 oscillators (Preset Waveforms); Subtractive, FM, AM synthesis including 3 Ring Modulators and a WaveShaper; Freely drawable waveforms for oscillators
Filter - 4 filters per voice; Lowpass 6/12/24 dB/oct, Highpass 6/12/24 dB/oct, Bandpass, Notch, Comb
Envelopes - Many graphical envelopes with up to 68 breakpoints each
LFO - 3 LFOs; Freely drawable waveforms for LFOs
Keyboard - Virtual 86-note keyboard
Effects - Delay Effects, can be modulated by the 3 LFOs and MIDI controllers
Interfaces - Runs stand-alone and as a plug-in on Macintosh or PC; Supports VST 2.0, AudioUnits, DXi, ASIO, Soundmanager, CoreAudio, CoreMIDI, OMS
Macintosh - Mac OS 9.1 or higher, G3 400 MHz, 256 MB RAM; Mac OSX 10.2 or higher, G4 400 MHz, 256 MB RAM
Windows/PC - Windows XP, Pentium 500 MHz, 256 MB RAM
Date Produced - 2000 - By Rhizomatic Software
Spring 2001 - Native Instruments
Est. Value - $299