A Tour and Demo of this amazing simulation of the classic synth from EMS, the VCS 3.
Official EMS VCS3 emulator
The VCS3 was created in 1969 by Peter Zinovieff’s EMS company. The electronics were largely designed by David Cockerell and the machine’s distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case.
The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track “Won’t Get Fooled Again” (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3’s filter and low frequency oscillators) on Who’s Next. Pink Floyd’s “On the Run” (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3.
The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
DK1 keyboard controller
Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.”
Alba Ecstasy has released a new sound library for theNovation Bass Station II, details below:
87 presets for Novation Bass Station. Demo: all sounds are coming from Novation – The New Vintage pack.
Click here: http://www.albaecstasy.ro/novation/
Delay & Reverb from Ableton.
Nord Wave – Vintage Digitals Vol1, by Don Solaris.
Here’s what he has to say about the sound library:
Instead of going for the factory presets of various machines and sampling those, we went one step further. We went for the original ROM waveforms. And more importantly, their original loop points. The goal was high – to ensure 100% authentic sound. No cross-fade looping techniques here, everyone can do that nowadays and did we mention it totally kills the soul of the sample (due to the x-fade process itself).
Hence we used totally different approach and you bet these loops in here required a lot of screwdriver work to match original factory loop points. But the result is 1:1 original playback where you can no longer distinguish a copy from the source.
available at: http:///donsolaris.com/nord
This Nord Wave library is 99 multisamples made from the following machines:
- Roland U-20
- Roland JD-990
- Roland JV-1080
- Yamaha SY-22
- Yamaha SY-85
- Yamaha TX16W
- Ensoniq SQ-1
- Kawai K-1 rII
Vintage gear demo, details below:
The sample based Roland TR-707 from the year 1985 was my first drummachine and I really love the crisp 8bit sound.
– 15 sounds (kick 1, kick 2, snare 1, snare 2, low tom, mid tom, high tom, rim-shot, cow bell, hand clap, tambourine, open and closed high-hat, crash/ ride cymbals)
– 64 pattern
TR-707 review written by me for the german amazona music magazine:
The Elgam Match 7c is a non programmable analog rhythm box from Italy – the first from Elgam. It came out 1972. The 7 rhythms are mixable and very basic. It has a characteristic sound!
He plays the Elgam with delay and reverb effects (Lexicon MPX-500 and Roland DEP-5).
Just going through some of the sounds in the Arp 2600 V2 Bank.
Going through yet more of the Arp 2600 V2 patches.
Analog Laboratory is an extremely powerful software synthesizer solution.
First of all, Analog Laboratory offers 4300 legendary classic synthesizer sounds from Arturia’s vintage analog recreations: Mini V, Prophet V, CS-80, Jupiter-8, ARP, Prophet VS,Moog Modular V, Wurlitzer and Oberheim SEM V.
But Analog Laboratory goes further by offering a unique interface to tweak them all as well as the ability to edit each of them in depth, in the original synthesizer*.
With the addition of 200 scenes organized by genres, including drum loops, advanced arpeggiation melodies and ways to allocate sounds to different parts of your keyboard, Analog Laboratory is likely to become your favorite synth workstation, constantly feeding your creativity with inspiring ideas.
One of the first fully programmable polyphonic analog synths, the Prophet 5 is the most classic synthesizer of the eighties! It is capable of a delightful analog sound unique to Sequential’s Prophet series in which the P5 was King! Five voice polyphony – two oscillators per voice and a white noise generator. The analog filters, envelope and LFO all sound great and are extremely flexible. The P5 had patch memory storage as well, which scanned and memorized every knob setting for storing and recalling your sounds – a desperately needed feature at the time!
The P5 lacked MIDI (a feature that came later on the P5 spin-off, the Prophet 600). But it is still loved even today for its great string sounds, analog effects, and punchy analog basses. Unfortunately the P5 is not immune to the dark side of vintage synths – it has its fair share of analog synth problems such as unstable tuning, it’s difficult to repair, lacks MIDI, etc.
There are basically three versions of the Prophet 5:
Rev 1 P5s are pretty unreliable, if you find one; they’re also quite rare. These were all hand-assembled in the ‘garage stage’ of the company.
Rev 2 uses SSM chips, and has some differences in its control logic capabilities from the final version. It can’t be retrofitted for MIDI, but is considered by most to be the better-sounding of the two ‘common’ P5s.
Rev 3 is the final version, and subsequent Rev 3.1, Rev 3.2 and Rev 3.3 each are capable of taking a MIDI retrofit. They’re also capable of microtonal tuning. The audio quality of the Rev 3 is different, however, as it uses Curtis chips instead of Rev 2’s SSMs; many people think the Rev 3 units sound ‘thinner’. The Rev 3, however, is considered the most reliable of all of the different versions and they had 120 memory patches.
Background video description:
All sounds are coming from the Sequential Circuits Prophet 5 Rev 3.3 Synthesizer. You can also see the Rev 2 Prophet in the video but it will be another video…Composed and Played by Mr Firechild.
Director Stan Warnow has released his expanded Deluxe Edition of his award-winning documentary on his father, bandleader, composer and electronic music pioneer Raymond Scott.
The Deluxe Edition of Deconstructing Dad – The Music, Machines & Mystery Of Raymond Scott includes all the content from the original release, plus:
- A progress report on the Electronium restoration going on in Portland, Oregon by engineer Darren Davison. This includes views of the inner components of the machine and Davison explaining in some detail how things worked.
- An interview with John Cool, an electrical engineer who formed a company with Raymond Scott in the early 1970′s. The company was meant to manufacture some of my dad?s many ideas for music related electronic devices. He had fascinating tales to tell about Raymond Scott and the mixed results of their business venture, hosting him for Christmas and listening to him compose one tune after another instantly at the piano (kind of like the human Electronium).
- Directors Commentary by Stan Warnow.
Cluster Sound has released Sigman, a multi-sample Live Pack based on the vintage Korg Sigma. Sigman is a multi-sample Live Pack primarily designed for raw analog basses & leads.
In the late 70′s Korg experimented with a machine for players looking for a simpler alternative to knobby synthesizers. The result was the Sigma, a bi-timbric semi-preset synth with rocker-tabs, micro knobs and two X-Y joystic controls. The Korg Sigma is based on 19 VCOs grouped in two discrete sections (Synthe and Instrument) that can be cross-modulated and filtered with a LP/HP Filter. Each VCO is equipped with a single dedicated control including Korg35 filter circuits for shaping the sounds.
Sigman is based on 30 multi-sample recordings obtained by sampling the VCO presets and custom cross-modulated sounds. Sigman delivers 90 inspiring and meticulously crafted Live Racks with dedicated macro controls, part of which simulate the ring-modulator, the joystic filter and the single VCO knobs of the original Sigma.
Vintage synthesizer track featuring the classic Oberheim OB-X
all synthesizer sounds: Oberheim OB-X Analog Synthesizer (1979)
recording: multi-tracking without midi
fx: reverb and delay