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
DAIS Records has an upcoming release that features vintage Buchla works by composer David First. Here’s what they have to say about the album, David First: Electronic Works 1976 – 1977:
During his time at Princeton, First was introduced to the classical electronic music studio there, a lonely outpost of the famed Columbia-Princeton Electronic Music Center which housed one of the very first Buchla 100 series systems acquired by Vladimir Ussachevsky & Otto Luening.
Due to the introduction of digital technology within the music world, this system was left to languish in the studio unattended and nearly forgotten. First fell in love with this equipment and seized the opportunity to compose using the Buchla 100 synthesizer, at first experimenting only with electronic synthesis but later adding in his signature guitar stylings to make these compositions unique to the academic output typical of university music.
Thankfully, these compositions were recorded by First at Princeton on various reel to reel tapes and stored away for over 35 years. It wasn’t until the summer of 2012, when David First and Ryan Martin (of Dais Records) decided to revisit and transfer these reels to compile an album presented here as a selection of genuine, uninhibited exploration into modular electronic synthesis.
The release is limited to an edition of 500 copies, with liner notes by David First. The release/shipping date is Jan 21, 2014.
Nord Modular + Boss DR660 _________ Tascam 22-2
Five demo clips of the Roland Juno-60 and Roland Juno-106, two classic DCO-based analog synths of the ’80s. LinnDrum – drums; Eventide H3000-D/SE = dual long delay
Clip 1: Juno-60: Bass; Juno-106: Brass — 00:10
Clip 2: Juno-60: Harp; Juno-106: Strings — 01:57
Clip 3: Juno-60: Syn Strings; Juno-106: Synth — 04:21
Clip 4: Juno-60: Strings; Juno-106: Bass — 07:09
Clip 5: Juno-60: Organ; Juno-106: Bass — 09:54
The Roland Juno-60 is a popular analogue 61-key polyphonic synthesizer introduced by Roland Corporation in 1982 and a successor to the slightly earlier Juno-6. Like its predecessor, the Juno-60 has some digital enhancements, used only for clocking the oscillators and for saving and loading patches. This instrument was succeeded by the Roland Juno-106 in 1984.
Roland was losing market share with the Juno-6 in competition against the Korg Polysix. Related in features and price-class, the Polysix featured external control and patch memory, which the Juno-6 lacked. These features were quickly added to the Juno-6’s design, which sonically and architecturally did not change notably between the two versions, and then released as the Juno-60.
The Juno-106 is a very common and widely used analog polysynth. It continues to be one of the most popular analog synths due to its great sound and easy programmability. It was the next major incarnation of the Juno-series, following the Juno-60. While it has virtually the same synth engine as the Juno-60, the 106 added extensive MIDI control making it one of Roland’s first MIDI-equipped synthesizers. There was also increased patch memory storage, up to 128 patches instead of the 56 patches available in the Juno-60. However, the Juno-60 is often said to have a slight sonic edge over the more advanced 106. The 60 had the ability to modulate oscillator pulse from its envelope and has a “punchier” sound quality.
The Juno-106 is a six-voice polyphonic and programable analog synth with one digitally controlled oscillator (DCO) per voice. While classic monophonic synths used two or three oscillators to create a fatter sound, the Juno-106 uses built-in Chorus to fatten up its sound to dramatic effect. The nature of its DCO meant it was stable and always in perfect tune but still warm and analog. There is an excellent 24dB/oct analog lowpass filter with plenty of resonance and self-oscillating possibilities and a non-resonant highpass filter. The programable pitch/mod bender can be assigned to control the DCO pitch, VCF cutoff, and LFO amount all at once or individually.
The Juno-106 was the first MIDI equipped Juno and its implementation is quite good. There are 16 MIDI channels available and MIDI SysEx data can be transmitted/received from all the sliders and buttons for total remote control and sequencing capability. A switch on the back of the keyboard, next to the MIDI ports allows the user to switch between three types of MIDI modes: Keyboard and Hold data only; Keyboard, Hold, Bender, Patch selection data; or All data (including SysEx). Most users simply set it to MIDI Function mode 3 and forget it.
This synth is incredibly straightforward and very powerful. It’s SH-series derived panel layout is easy to understand and very hands-on. Use it to generate lush pads, filter sweeps, and funky bass lines and leads. The Juno-106 is an awesome learning tool for anyone new to analog synthesis, as well as an electronic musician’s dream for its warm analog sounds coupled with modern features like MIDI and memory – all at a very reasonable price. And still the Juno-106 has an even cheaper alter-ego in the form of the HS-60 – a hobbyist version with built-in speakers.
All synthesizer sounds: Oberheim OB-Xa Analog Synthesizer (1981)
drums: Roland TR-808
fx: reverb and delay
The Oberheim OB-Xa was Oberheim’s overhaul of their first compact synthesizer, the OB-X. The OB-Xa was released in December 1980, a year after the OB-X was released. Instead of discrete circuits for oscillators and filters, the OB-Xa (and the Oberheim synths to follow) switched to Curtis integrated circuits. This made the inside of the synth less cluttered, reducing the labor required to replace bad parts, and reducing the cost of manufacture. However, today it’s much easier to fix an OB-X than an OB-Xa, as Curtis parts are getting scarcer, whereas discrete parts used in the OB-X are almost always readily available.
Aside from hardware changes, the OB-Xa had better interface features than the OB-X. These included being able to split the keyboard into two halves with different voices and the ability to layer voices to create thicker sound (essentially making two notes sound for every key pressed). Polyphony stayed the same – again 4,6 and 8-voice models were offered.
One function that did disappear from the OB-X voice architecture was cross modulation, or frequency modulation of the first VCO with the second VCO. When done with analogue circuits, it’s a unique sound made famous by the Sequential Circuits Prophet 5 and its poly-mod section. The lack of this feature somewhat reduced the range of sounds possible on the OB-Xa.