Soul sensation Alicia Keys discusses her new virtual piano plug-in “Alicia’s Keys” with editor-at-large Jon Regen in this June 2010 interview.
What is it:
The instrument samples of Native Instruments Alicia’s Keys come from Alicia Keys’ very own Yamaha C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha’s 100th anniversary in 2002 and represents the very top of the Conservatory Collection line.
The exquisite and unique sound of the C3 Neo were painstakingly captured by Thomas Skarbye, Kontakt script wizard Nils Liberg, and Grammy-award winning engineer Ann Mincieli – making this exclusive instrument available to everyone.
Using vintage microphones and preamps and through detailed analysis of Alicia’s playing, the team succeeded in capturing the warm, soulful and inspiring sound of the C3 Neo all the way down to the finest nuances.
Background video description:
Most of my small keyboards are from Casio. But I do have a Collection of small Yamaha keyboards too. Here I use some of them to play the Classic Kraftwerk song “Computer Love”.
You might notice that on the PC-100 keyboard the notes doesn’t seem to match the keys I am playing. The reason is that I had to use the transpose knob to be able to get the notes as high as I wanted them. So on this particular keyboard I am playing in another key than on the others.
Another 80′s drum machine fitted with an analogue filter, digital delay and a proco rat distortion circuit.
One of the typical keyboard-based setups that were used in the ’80s for ballads.
Moog Minimoog: synth bass
Roland TR-808: drum machine
Yamaha DX7: electric piano
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.
Synthesizer demo track by RetroSound
all synthesizer sounds and drums: YAMAHA AN1x VA Synthesizer (1997)
sequencing: internal step-sequencer
recording: multi-tracking without midi
X-Rays (Röntgen X-radiation) is a form of electromagnetic radiation. X-rays have a wavelength in the range of 0.01 to 10 nanometers. (wikipedia)
I know this is the vintage synth channel but for me is the YAMAHA AN1x synthesizer from the year 1997 the best virtual-analog synth ever. absolut deep and unique sound. so underrated in my opinion.
Here is a demonstration of the sound and functionality of the operators of the Yamaha DX7.
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 DX7 was known for generating unique sounds still popular to this day. The DX7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX7 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 had just released the JX-3P with very basic MIDI implementation, and wouldn’t get around to adding full 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.
UVI has released Digital Synsations, a new virtual vintage synths collection inspired by four 90s classic keyboards – the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX.
A brand-new massive library inspired by four 90s classic keyboards — the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations
Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.
We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.
If you’re looking for a new take on the 90′s sound, or just some new classic synth inspiration then look no further.
* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners.
** iLok required
Background video description:
Yesterday was E-day, always inspiring, you met people who are also involved in E-music which genarate new ideas.
This one pops up, just a combinated single 8 step and 4 step row off the Doepfer Dark Time. The 4 step row controls the Moog LP bass and the 8 step the Waldorf micro Q and at 2:36 the Roland Juno 106.
Additional sounds/solo’s came from the Korg DS 8/Lamda, Realistic Concertmate MG-1 and the Kawai K1r.
Used delay’s for the Moog two from the Yamaha E1005 and the Ibanez DM1000, for Waldorf the Alesis Midiverb (3 triplets) and the Ibanez DM1000.
For the Juno I use the Electrix. Mo-fx.
Halfway there are some variations in tone / octave settings (Berlin School style).
I hope your enjoy, and feel free to leave a comment/question
Use a good audio device to listen to it.
Here is a demo Jordan Passmore recorded that is composed solely of tones from the Yamaha MU80. Ableton is sequencing most parts while he plays one patch manually. The track’s clips are all triggered by me with a Novation Launchpad. No effects were added to the MU-80.
“I feel like a lot of producers dismiss ROMplers like the Yamaha MU80 but I really, really enjoy using these things. They’re limited in a fantastic way; paired up with a solid sequencer (like Ableton) you can arrive to a place in your productions you may never thought existed.”
Yamaha’s SK-series are combo-keyboards with synthesizer, organ, brass and string sections. The SK-10 was the first of the SK-series, released in 1979 – the SK-20, 30 and 50D followed in 1980, and the SK-15 in 1981, possibly as a replacement for the SK-10. The SK-10 is the only one in the series that does not incorporate a synth section, but has organ, brass and string sections that can all be played together for more interesting combinations. Very sturdy casing, 4-octave and fully polyphonic the features also include a leslie simulator, vibrato, attack and sustain rocker switches, a slider for ‘brilliance’ and a one-octave transpose switch. Not exactly feature-laden, but a lovely string synth sound. Interestingly, they are often referred to as ‘analog’, but in fact do have a digital section. Its organ has one of the early implementations of Yamaha’s FM technology in a very limited form, concurrent with the GS-1/2 development platforms which eventually led to the DX series.
“Just a quick-and-dirty demo of the Yamaha SK-15 Synthesizer. Please excuse my poor playing skills, I was just making stuff up to show off the various sounds the machine is capable of making. This particular machine I stripped down and nearly completely rebuilt, making more than a few changes in the audio pathway.”