[via Spin Magazine]
UPDATE: LINK FIXED Here's another one from the Quietus.
Showing posts with label Vintage Synths. Show all posts
Showing posts with label Vintage Synths. Show all posts
Wednesday, April 11, 2012
Cool Interview with Martin Gore on VCMG
[via Spin Magazine]
UPDATE: LINK FIXED Here's another one from the Quietus.
Wednesday, April 20, 2011
Saving Patches on Pre-Memory Synths
We sort of take it for granted today that our synths have patch memory on them. In fact, for those of us working with software synths, we even take for granted that the exact settings for a particular song will be restored every time we open a song.
But for those of us with a love for vintage synths, patch recreation can be an issue since not many of them include the ability to save patches. So how to remember those crucial settings so you can dial those settings in when you need them?
In the past, you'd write the settings down on a piece of paper or a patch sheet, but since just about everything in existence has a camera built in to it these days, now all it requires is a well-lit overhead shot of your patch panel. Even better? You can name the photo files with synth name, patch name, or descriptors that make searching for it on your computer a breeze!
Tuesday, November 16, 2010
Free Vintage/Analog Synth Samples on ModularSamples.com
Don't know how long it's been around, but I recently discovered ModularSamples.com which features a nice selection of free samples of vintage/analog synths for Logic EMX-24 and Native Instruments Kontakt.Monday, October 4, 2010
Vince Clarke Posts New "Analogue Monologues" Profile of Roland System-100m
Synth-pop legend Vince Clarke presents another profile of one of his favorite analog beasties as part of his Analogue Monologues series of videos. Check them out here!
Wednesday, September 1, 2010
Friday, July 16, 2010
Free Sample Friday: Cheetah MS-6 Synth Sounds
Welcome to another weekend! Today's free sample selection are some samples I made of a Cheetah MS-6 nearly 15 years ago. If you haven't heard of it before, the MS-6 was a British rack-mounted synth that was extremely similar to the Oberheim Matrix-1000 (it used the same chip set), except for the fact that you could program it from the front panel.
The sounds are mono, 16-bit WAVs that had been sampled directly into my old Ensoniq EPS-16+. I resampled all of the sounds to 44.1k, so they should work just fine. All root keys are C. 11 sounds in all. Enjoy!
GO GET THEM!
Friday, July 2, 2010
Free Sample Friday: JX-10 Bass
Welcome to the start of another weekend! Today we have samples provided by another guest, Matthias S. (Be sure to give him a shout out if you enjoy the sound!)This is a bass sound taken from Roland's JX-10, sampled every 'C' note for 7 octaves as 16-bit/44.1k WAV files.
GO GET THEM!
Thursday, June 17, 2010
Cool Synth Demo Site
This site has been around for quite some time, but somehow I only just found it the other night. Tons of really good demos of different synths and drum machines. The music in the demos isn't really my thing, but the sound programming does a nice job of showing off the personality of these synths....
Friday, March 26, 2010
Tuesday, March 23, 2010
Tuesday, December 15, 2009
Money to Burn....
A little while back, I wrote a post about vintage synths you could pick up for a song and a dance on eBay. A lot of you seemed to enjoy that one, so I thought it might be fun to look at the opposite end of the spectrum - those vintage synths that are positively stratospheric in price. Sure, these are well out of reach for most of us mere mortals, but it can be fun to dream, right? I generally avoided some of the big modulars and super-boutique-y stuff like Buchla's on purpose, but if you see something you feel I missed, by all means add it to the comments.PPG Wave 2.3 - Approximately $4,500
Undoubtedly one of the more unique-sounding synths on the list, the PPG Wave laid the foundation for what would eventually become Waldorf's Microwave and Blofeld series of synths. What made it unique among the other digital synths from the early to mid 80's was that it used modulatable wavetables instead of static oscillators which allowed for unique sounds that evolved in interesting ways. The PPG Wave was favored by many 80's artists such as the Fixx and Depeche Mode, but the units are notoriously unreliable, so if you are looking for one, it's probably best for you to try it out in person. I'd be remiss if I didn't mention Waldorf's similarly named Wave, which often goes for some pretty top shelf prices itself.
Crumar Spirit - Approximately $2,000-$5,000
This 2 VCO monosynth is notable mainly because of the involvement of Bob Moog along with Tom Rhea and Jim Scott in the design. The quality of sounds it produces has been the topic of a lot of internet debate (though honestly, what HASN'T?), but it is remarkably well-equipped in terms of features including oscillator sync, ring mod, multi-mode filters with switchable slopes, an arpeggiator, and audio input for processing external sounds. Prices on this are a bit hard to nail down. There seems to be quite a bit of disconnect between asking prices and the prices they actually get, thus the big range of prices listed above.
Moog Memorymoog - $5,500
As the last synth Bob Moog designed for Moog in its original incarnation, the Memorymoog was a hell of a note to go out on! It shared much of the same architecture as the famous Minimoog, but used different chips, so sounded different, although still unmistakably "Moog". Additionally, it was 6 note polyphonic and, as the name suggests, you could actually store patches on it (a version called the Memorymoog+ could also be retrofitted for MIDI). Those 6 voices could also be stacked in a massive-sounding unison mode. Its sound wasn't the only thing massive about it, though. This thing is about the size and weight of a Sherman tank. I don't know if if there are reliability issues with this in general, but the only ones I've ever seen in person have been non-functional. This may have more to do with user modifications than the original build, but the usual caveat to check out any vintage synths before making the plunge applies. Probably most famously used by Larry Fast (Peter Gabriel's old keyboard player) and the Cars.
Synton Syrinx - $5,500
Synton was a relatively short-lived Dutch company that produced electronic instruments, the most famous of which was probably the Syrinx. Even so, only a couple hundred were ever made, so its price is largely due to its scarcity. With 2 VCO's, extremely flexible filters, oscillator sync, FM, PWM, and a very unique touchpad replacing the traditional mod wheel, the Syrinx has plenty to make it appealing regardless of how rare it is. (And if you are looking for something REALLY rare, a handful of red colored Syrinx's were made).
Yamaha DX-1 - Approximately $6,000
Have you ever said to yourself, "I like the DX-7, but I wish it weighed 200 pounds"? Okay, that's not really fair. The DX-1 was based around 2 6-operator FM synths that could be split and layered for much more complex sounds. The DX-1 also featured elegant wood paneling, weighted keys with polyphonic aftertouch, and actual buttons instead of the flakey membrane buttons favored by the later DX series, but perhaps the biggest advantage it afforded was in all the additional parameter displays it offered which can help make the sometimes vexing process of programming an FM synth a bit more enjoyable.
ARP 2600 - Approximately $6,000-$7,000
The ARP 2600 is one of those 'holy grail' synths that is often spoken of with the sort of hushed reverence normally reserved for royalty - and with good reason. The ARP 2600 took some of the mystery out of modular programming by having all the modules pre-wired and programmable right from the get-go. You'd be missing out on a lot of the machine's capabilities, though, as the patch panel allows you to re-wire connections between modules to open up mind-boggling new sonic possibilities. 3 VCO's, noise source, 24db lowpass filter, ring modulator, sample and hold, and even a built-in spring reverb give the 2600 a thick, complex tone a step above most other synths from the same time period. Depeche Mode's favorite synth... what more do you need to say?
Yamaha CS-80 - Approximately $8,000+
Looking more like an organ than an analog polysynth, the CS-80 is probably best known as one of Vangelis' weapons of choice during the height of his career. If you want to hear a good demo for the synth, check out his soundtrack for the sci-fi classic "Blade Runner" which is filled to the bursting point with CS-80. Its dual VCO architecture was 8 voice polyphonic and featured patch memories, which was quite a feat in 1976 when it first hit the market. It has wonderfully rich, detailed filters, but wasn't terribly snappy in the envelope department, so it mainly saw duty for pads, brass, and string which it was absolutely brilliant for. Nothing else sounds quite like it.
Gleeman Pentaphonic - Approximately $7,500
Another synth whose price is mainly a function of its rarity, this 5-voice polysynth featured 3 stable DCO's sent through an analog filter and an overall relatively simple architecture. The Pentaphonic came in both a black version and a rarer clear version, but over all, only about 50 are rumored to have ever been built which definitely makes it extremely appealing to collectors.
EMS VC3 - Approximately $8,000+
The VC3 is definitely one of those 'status symbol' synths. Sure, a lot of this has to do with the asking price, but with famous users including luminaries such as Pink Floyd and Jean Michel-Jarre, one has to assume it has much to recommend it. Introduced in the late 60's, the VC3 packed modular features in a relatively small space and utilized a unique pin matrix system for signal routing instead of the traditional patch cable jungle. What makes the VC3 so appealing is how unapologetically weird it is. In fact, many would argue that the VC3 really isn't that well-suited for what one might consider traditionally 'musical' purposes, Where it excels are in wild, otherworldly sci-fi sounds (it was used heavily on the television show Dr. Who back in the day) that would be difficult to achieve on machines lacking the VC3's programming depth. Not for everyone, to be sure, but if you want to impress the hell out of your geekier synth friends, very few machines will do it more than this.
ARP 2500 - Approximately $15,000+
If a "mere" 2600 doesn't get you all excited in the pants, then perhaps the 2500 is more your speed (although the 2600 is actually much better-equipped). This was ARP's first product, and boy, was it a doozy. The massive cabinet (or cabinets if you bought the expansion modules) housed all the modules in the middle with all routing done via EMS-like pin matrices. So if it has less features than a 2600 why is it so much more expensive? Once again, scarcity. Only about 100 are rumored to have been made. (And its appearance as the synth used to communicate with aliens in "Close Encounters of the Third Kind" I suppose makes it a movie-star, too...)
Yamaha GX-1 - $50,000+
There's a lot of folklore about the GX-1 which makes it hard to know for sure approximately how many were made, but most sensible estimates seem to be in the neighborhood of 50 - 200. This surprises me because I've actually seen one of these beasts in person. When my band was on tour in Europe many years ago, we were walking around Hamburg and soaking in all the pre-Christmas ambience when we heard loud, electronic versions of Christmas carols echoing off the buildings. We tracked the source down to a sort of smarmy lounge lizard type surrounded by analog synths happily playing away. And there, at the center of everything was a GX-1. I thought for sure I had to be hallucinating - after all, who in their right mind brings something that expensive and rare OUTSIDE in the middle of winter? Apparently, this guy. A closer look confirmed that it was indeed a GX-1 and not a home organ (which, with its multiple keyboards and organ like design, the GX-1 could easily be confused for). Sonically, this machine is dwarfed by the significantly smaller CS-80 (note: that is probably the only time you will ever hear the words "CS-80" and "significantly smaller" next to one another in a sentence), but if you absolutely want to flaunt what a big, rich jerk you are, it's touch to top this one. : )
Sunday, November 22, 2009
Son of 'Vintage on the Cheap': The Sequel
Last week I made a post about vintage synths you could pick up for pocket change (relatively speaking). I got a ton of mail about this, as well as a lot of helpful suggestions in the comments both here and on Synthtopia. (Thanks, guys!) So, by popular demand, here are some more pieces of vintage gear you can get for a song and a dance. Enjoy!Akai AX-60 - (typically around $300)
Akai were such a dominant force in the sampler market, that many people don't know that they made synths before sampling came along. And actually quite good synths, at that. The AX-60 was a six voice analog polysynth with a nice interface that people often compare to the Roland Juno-106. The AX-60 was actually quite a bit more flexible than the 106, though, as it included ring modulation and a number of other features not found on the Roland synth. Really nice resonant sweeps and a unison mode for super thick sounds. Also available in an 8-voice version called the AX-80.
Arp Axxe - (typically around $300)
This single-oscillator monosynth often gets overlooked given its relatively simple architecture, but everyone I know who has owned one absolutely loves it. Sure, it's not going to give you Arp 2600 levels of complexity or variety, but if you crave some of the famous Arp sound, this is probably the easiest entry point. There are two versions of this out there that sound a little different. The black and gold version has a bit more of a 'Moogy' filter, while the black and orange version is more typical of the later Arp sound.
Cheetah MS6 - (typically $100-$150)
Cheetah was a relatively short-lived British company and the MS6 was sort of their version of the Oberheim Matrix-1000. Eerily so, actually. The big advantage the MS6 has is that it is programmable right from the front panel, whereas the Matrix-1000 needs to be programmed from a software editor or a Matrix-6. To my ears, the MS6 actually sounded better than the Matrix. It just seems to have a thicker, occasionally almost "evil" sound. It can do some amazing synth strings and despite the envelopes not being super snappy, it can do some nice, meaty basses too.
Korg Poly 800 - (typically $100-$250)
The first synth I ever owned. The Poly-800 combines digitally controlled oscillators with a single analog filter. The single filter wouldn't be an issue, except that this is a polyphonic synth (4 voices if you use two DCOs, 8 if you only use one), which can cause some odd retriggering on sustained notes. It can be kind of an interesting effect, though. Practically speaking, you really need both DCOs to get the best results, as even with the built-in chorus, a single DCO by itself sounds pretty thin. Not an amazing synth by any means, but it can do very nice synth strings, pads, and simple basses. A Mark II version that included a built-in digital delay effect is also available. A rare reversed keys version was also available for the Japanese market only.
Sequential Circuits Six Trak - (typically $300-$400)
While it pales in comparison to Sequential Circuits more famous Pro One and Prophet 5, the Six Trak is capable of some really nice sounds. Six analog voices that can be stacked in a unison mode for more beastly sounds. It generally needs a bit of processing to get the best out of it in the poly mode, but nothing that a little chorus can't sort out. I've found the build quality of a lot of the old Sequential stuff to not be quite as robust as some other manufacturers, so be sure it's in good condition before you buy.
Yamaha TG-33 - (typically $150 or less)
Basically a slightly more beefed-up version of Yamaha's SY-22 keyboard, the TG-33 is a desktop synth that represented one of the first vector synths on the market. It combines 12-bit sampled sounds and FM and you can crossfade between layers using the joystick or various modulators. 8 part multi-timbral too! The biggest disadvantage it has is that it lacks a resonant filter. But if you can get past that, this can do some absolutely stunning pads and atmospheric sounds as well as giving you access to vector type sounds without having to spring for a Prophet VS or Wavestation.
Tuesday, November 17, 2009
Vintage On The Cheap
There's no doubt that these days software is king. And why not? It costs a fraction of what hardware does, the sound quality is improving all the time, and you can literally fit your entire studio in a laptop bag. But for all its distinct advantages, there are some areas where software falls short for synth geeks. It's not really collectable. It has a far more limited lifespan than hardware given how quickly operating systems change. And, for lack of a better term, software just isn't 'sexy' in the same way hardware is. No amount of high end rendering is ever going to look as nice as the wood panels on a real Prophet-5. Even the most smoothly-animated softsynth knob isn't as satisfying as twisting the big, fat knobs on a real Moog Modular. I'll pause here while my British readers snicker at the phrase 'big, fat knobs'. Ahem.Unfortunately, vintage hardware doesn't usually come cheap and this can be a barrier that prevents a lot of electronic musicians from giving one of these old beasts a try. Prices for vintage gear go up and down depending on the piece, how trendy it is at the moment, how rare it is, etc. But there are a number of really underrated synths that seem to go for consistently low prices. They're awesome synths, but nobody seems to know about them, which means you can get a great deal. So today, I'll share some hidden gems to keep your eye out for on Ebay or your local pawn shop.
Casio CZ-101 (typically less than $100)
Casio never really got a fair shake with the professional music market. Known primarily for making digital watches and cheesy home keyboards, by the time they attempted to enter the professional market, their name was tainted - synonymous, it seemed, with images of blue-haired old ladies playing Auld Lang Syne to bleepy rhumba rhythms. That's too bad, because the CZ synths were capable of some decent sounds. Yes, it also has a lot of cheesy, 80's-tastic sounds, but if you work with it, you can get some very cool basses and digital timbres. The CZ series uses Phase Distortion synthesis which isn't too unlike FM in both sound and application. It's also 4-part multi-timbral.
Ensoniq ESQ-1 (typically $150-$300)
I'll grant you that Ensoniq is not a name you generally associate with 'classic' synths, but for the life of me, I'll never understand why the ESQ-1 isn't more popular on the used market. Although it is a digital synth (with a selection of 32 8-bit multi-sampled waveforms), it has a very nice sounding analog filter and can do some amazingly convincing analog timbres. The sawtooth wave, although a sample, sounds GREAT and can itself form the basis for all manner of really thick sounds, thanks in part to its 3 oscillator architecture (which in itself can be layered). Lots of modulation capabilities, oscillator sync (which sounds very cool on digital waves), and AM offer the possibility to make very weird sounds. Comes with a built-in sequencer and is 8 part multi-timbral. For a little more, you can spring for the SQ-80, which ups the number of waveforms to 75 and includes a floppy drive for saving sounds and sequences.
Moog (Realistic) Concertmate MG-1 (typically $100-$500)
This one can vary a LOT in price, so it pays to shop around and wait for a deal. They seem to come up on auction sites fairly regularly, so this shouldn't be difficult. The Realistic Concertmate MG-1 was born out of a collaboration between Moog Music and Radio Shack, aimed at bringing synthesis into the home market. It's a very simple dual-oscillator monosynth, but is undeniably analog and can produce some nice bass sounds. The addition of oscillator sync and ring modulation only sweeten the deal.
Oberheim Matrix-6R (typically $150-$350+)
The price of the Oberheim Matrix-6R is another that varies quite a bit, so luck can be a factor in getting one for a good price. I got mine for $80, but I've seen them go for as much as $500 recently. The Matrix-6R is the rack-mounted version of the Matrix-6 synth. (If programming is less important to you, the cheaper Matrix-1000 offers a lot of presets in place of being able to program your own sounds... although this is possible too through a software editor or a Matrix-6/6R). While not as deep as, say, the Xpander, the Matrix-6R is a surprisingly deep synth with lots of modulation capabilities and a warm sound. Like most Oberheim synths, the envelopes aren't terribly snappy, so it isn't something I'd favor for basses on its own, but it sounds brilliant and wooly layered with a more percussive bass sound.
Roland HS-10/80 (typically $25-$100)
The HS-10 was aimed at being a consumer-level version of the company's famous Alpha Juno 1, itself generally a very inexpensive synth. (The HS-80 is the consumer version of the Alpha Juno 2). It is identical to the Alpha in every way except that it has a built-in speaker. To record it, you simply use the headphone out as your output. This is another synth that isn't the most versatile thing in the world, but it excels at warm pads and, most famously at doing rave/hoover leads.
Roland HS-60 (typically $200+)
Like the above, the HS-60 was yet another attempt by Roland to market one of their professional synths to the more causal, home user. This time, it takes Roland's famous Juno-106 and includes a built-in speaker. Otherwise, the units sound the same. As with the previous entry, plugging into the headphone jack bypasses the speakers and allows you to record or plug into a PA as normal.
Roland MKS-7 (typically $200+)
The so-called 'Super Quartet' is 4 part multi-timbral, divided into a monophonic bass part, a duophonic 'Melody' section, and a 4-note polyphonic 'Chords' section, in addition to a rhythm section with a handful of sampled drum sounds. The bass, melody, and chords sections share the architecture of the Juno-106, while the rhythm section's sounds come from the TR-707. So you essentially get a 3-part multi-timbral Juno-106 and a TR-707 for less than you'd pay for a single 106! The big downside is that you have to edit sounds via SysEx or a computer-based editor.
Yamaha CS-01 (typically $150-$250)
Although it may look like a toy, Yamaha's miniature CS-01 is actually a pretty decent little analog monosynth. It's not the most flexible synth in the world, but the PWM on it sounds really nice and can make some very warm bass sounds. The original CS-01 features a 12db filter. Later, a Mark II version of the CS-01 was released with a snappier 24db filter.
Yamaha TX81Z (typically $50-$85)
The TX81Z was one of dozens of different FM synths released by Yamaha back in the 80's. Although it only features 4 operators (the DX-7 features 6), it makes up for the more restrictive architecture by allowing you to use a selection of different waveforms instead of just sine waves. This is a ludicrously underrated synth, capable of extremely punchy, digital basses, brilliant percussive/sequence sounds, and crystal clear bells and mallets. It's not the easiest synth to program, but your efforts are usually rewarded if you spend some time getting to know it. Most of the presets are terrible and dated sounding, but the price of admission is almost worth it solely for the 'LatelyBass' preset which has been used on countless dance tracks and is still as great a sound today as it was back then. Oh, and did I mention it's multi-timbral?
So there's a handful to get you started. This is by no means a comprehensive list, though. Take the time to research stuff you've seen on Ebay that you haven't heard of before. There are a LOT of vintage synths out there that can be had for pocket change simply because they never had the name or streed cred that others did. Are there any I missed? Any unknown vintage goodies out there just waiting to be had for cheap?
Monday, June 1, 2009
Goldbaby Introduces Tape 101
Thursday, May 28, 2009
Cool Old 'History of Electronic Music' Filmstrip
I know I have recommended WFMU's "Beware of the Blog" in the past before, but if you're new here, it's definitely worth checking out when you have some time to kill. If you have an appreciation for weird, old records, you will lose hours of your time on this site. Poking around there recently, I found this cool filmstrip from the 70's on the history of electronic music called Pathways to Music that I had somehow missed before. Enjoy!
Part One
Part Two
Saturday, May 2, 2009
Korg MS-20 Patch Panel Part 3
Part 3 of Automatic Gainsay's excellent explanation of the sometimes cryptic MS-20 patch panel.
Part 1 is here.
Part 2 is here.
Wednesday, April 22, 2009
Depeche Mode Boxset Chock Full o' Gear Porn
So my copy of the "Sounds of the Universe" boxset just arrived. I was actually really pleasantly surprised with the amount of vintage synth goodness contained within. The pictures of piles of gear in the "Making the Universe" photo booklet alone will be enough to make most gearheads pee their pants in jealousy. The documentaries give a good look at some of the vintage synths used on the album too. Even without the gear porn, this is a great boxset. The extra tracks include at least 3 songs that probably should've been on the album, the demos are really interesting to hear (Gore singing songs that Gahan went on to sing, hearing the songs before Wilder had a chance to do his magic to them...), the 5.1 mixes sound great, and the included films are very interesting. It's nice to see Depeche acknowledge their musician fans who are interested in their techniques and gear, though.
Filter FM on the Novamodded SH-101
A while back I posted some demos of some of the extra features added to the Roland SH-101 through the infamous Novamod modification. Here's another one - this time, it's a demo of the filter FM feature and I'm just tweaking the filter cutoff and resonance.
Wednesday, February 25, 2009
Cyberworm Posts Free Juno-106 Samples
From Cyberworm's page:
"Juno 106 big samples collection. Contain basses, pads, chords, sfx, various synth sounds. 80 multi-sampled, 49 one-shot samples.
wav format, 16 bit, 44100, stereo, 46 mb.
Please don't forget to donate! :)"
GO GET THEM!
Friday, February 20, 2009
Dr Who (How To Remake TV Theme)
Via Synthtopia. A behind the scenes look at the how the greatest television theme song ever was created.
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