Famous Synths

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Yamaha DX7

The Yamaha DX7 is an FM synthesis based digital synthesizer manufactured by the Yamaha Corporation from 1983 to 1989. Its was very popular in 1980's mainly with pop music. The initial price for the synth was $1995. Now you can get one for like about $248-790. It was developed by John Chowning, a professor at Stanford University. This little Fm synth made its way in may songs like Bad made my Micheal Jackson, Lionel Richie "Dancing On The Ceiling",Janet Jackson "Control" and many others.
The DX7 was really nice because it was also a midi and could save up to 32 patches. It also has 6 envelopes and 8 parameters for each. Also as LFO's it has Sine/ Square/ Triangle/ saw up/ saw down/ and also random. It also comes with 16 voices. And its a 216 bit 6 operator FM. The next one after that was the DX7 mk 2 which is mainly used in techo and electronic music and make ambiance for a song.

You can use this for modern Techno and EDM as well as in Pop music, Hip Hop, and many more. There is a native instrument version which is the FM7 which has the same features as DX7 and the Dx9. Even though of the age of this synth it made its way through the music industry and left a story and its unique sound.

https://www.youtube.com/watch?v=F3rrjQtQe5A

https://www.youtube.com/watch?v=TN4La6qmSnk

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cameron thompson :Roland tr 808

Tr Rowland 808 came out in the 80’s, it was created by engineers name Mr. Nakamura who developed the analog voice circuits and Mr. Matsuka who created the software. 12,000 of them where created through 1980 and 1983it end up surpassing the Lin Lm-1. Many people in the music industry have used the tr-808. From all kind of genre of music too Afrika Bambaataa who made the hit song Planet Rock which is the start of 808’s in hip hop music. Every music nowadays have the 808s drum patterns put in there music. From pop, RnB, trance, electronic, Hop-Hip and Edm so it used in many differenyt genres.
It is a fm-syth, additive and subtractive, it has one sine oscillator, it also have a VCA in it. It has multiple voice range in it that gives it digital sound. Planet rock is one of the songs that use the sound of the 808’s in it that gives it different sounds.

There are some software that emulate it you can go to Google and just type the 808 emulator and you will find it out there on websites. The hard ware version can be found but the are extremely costly, it can b sold from 5,000 too 100 dollars if you are lucky. Listen to too beastie boys old albums you can hear the sound of the 808 drum patterns in the back ground. Know that trap music is world wide it has taken different forms all through out the year

korgMS20

The MS-20 was one of Korg's first major successful portable analog monosynths, it was first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. 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 VCFs (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 Orbit uses the filter in his MS-20 relentlessly to filter and tweak his samples, beats, delay returns, and vocals.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 and screech noises by mistracking the filters.
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.
Today, the sounds of the MS-20 have been reborn as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fitted it into a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original that remains unfaded despite the passage of time.
The MS-20 mini will amaze you with its absolutely authentic analog synth sound.

https://www.youtube.com/watch?v=6ACdFvcwuao

https://www.youtube.com/watch?v=EX9Y4-A4Who

Dieugolais Luxama.

korgMS20

The MS-20 was one of Korg's first major successful portable analog monosynths, it was first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. 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 VCFs (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 Orbit uses the filter in his MS-20 relentlessly to filter and tweak his samples, beats, delay returns, and vocals.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 and screech noises by mistracking the filters.
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.
Today, the sounds of the MS-20 have been reborn as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fitted it into a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original that remains unfaded despite the passage of time.
The MS-20 mini will amaze you with its absolutely authentic analog synth sound.

https://www.youtube.com/watch?v=6ACdFvcwuao

https://www.youtube.com/watch?v=EX9Y4-A4Who

The Minimoog - Oumar Keita

The Minimoog is a monophonic analog synthesizer invented by Bill Hemsath and Robert Moog. It was released in 1970 by R.A. Moog Inc. One of the first users of the Minimoog was Sun Ra, an American Avant-Garde Jazz composer and bandleader known for experimental music. Moog loaned him a prototype of the Minimoog in 1969. Keith Emerson was the first musician to tour with a Minimoog in 1970, and he immediately adopted it as one of his main instruments. It also became a signature sound for music producer Kashif, who used on in songs for many artists including Whitney Houston and Evelyn King.
The Minimoog is Subtractive Synth. The controls can be broken up into three sections. The first section has the Signal Generators, which contains three Voltage Controlled Oscillators, and three noise generators, which can produce Pink or White noise. The Oscillators can only generate one voice at a time, making the Minimoog monophonic. The second section is the Filter Section, which houses a filter with many controls including Cutoff Frequency, Attack, Decay, Sustain and Release features. The third section is the Amplifier section, which controls the overall output levels.
Demonstration of Minimoog: https://www.youtube.com/watch?v=WY2AeD0Tn4Y
The original Minimoog was discontinued in 1981; it was redesigned by Robert Moog in 2002 and released as the Minimoog Voyager. There are numerous software emulations of the Minimoog. The most famous, and probably the best emulation of the Minimoog is Monark by native Instruments. https://www.youtube.com/watch?v=w1ijCcge1ZA
Another very famous one, that I had the chance to use myself is the GForce Minimosta. https://www.youtube.com/watch?v=Y9HmqnldIsQ The Minimoog has dozens of software plugin emulations. Other famous ones are the IK Multimedia SampleMoog https://www.youtube.com/watch?v=-1Y2AJbb7Zs the Arturia Mini V2 https://www.youtube.com/watch?v=h9MLTkjNvXI the u-he Diva https://www.youtube.com/watch?v=argBwTHDDVI and Steinberg’s Model-E. https://www.youtube.com/watch?v=rwS3tDECh1A

ARP 2600

The ARP 2600 is a semi-modular analog subtractive audio synthesizer, designed by Alan R. Pearlman with Dennis Colin, and manufactured by his company, ARP Instruments, Inc. as the follow-on version of the ARP 2500. Unlike other modular systems of the time, which required modules to be purchased individually and wired by the user, the 2600 was semi-modular with a fixed selection of basic synthesizer components internally pre-wired. The 2600 was thus ideal for musicians new to synthesis, due to its ability to be operated either with or without patch cords. On its initial release it was heavily marketed to high schools and universities.

There are three basic versions of the ARP 2600. The first, dubbed the "Blue Marvin", was housed in a light blue/grey metal case with a keyboard that mated to the synthesizer, and was assembled in a small facility on Kenneth Street in Newton Highlands, Massachusetts, during ARP's infancy as a company. They were often mistakenly referred to as "Blue Meanies," but "Marvin" is the correct name as named after ARP's then-CEO Marvin Cohen. Later ARP 2600s used vinyl covered wood construction with metal corners for both the synthesizer and keyboard making it a more durable and portable instrument.

The 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, ARP's CFO at the time. It came in a bright blue aluminum case with a funky and fragile wood and metal enclosure. It used an entirely micro-chip based voice path but the chips wound up being highly unreliable, although they sounded great! Only a few of these were made (approx. 25) and most of them were built in a garage.

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The oldest synth I have researched ever!!!

At $600, the SH-1000 synthesizer was probably really expensive back in 1973. This was Roland’s first creation, coming straight out of Japan. Among some of the people who used or recorded with the SH-1000, were Berry White, Blondie, Steve Roach, and The Human League.

https://youtu.be/-SYzw5AQQPM
https://wornoutjunkie.wordpress.com/2012/01/12/the-making-of-blondie-hea...
https://steveroach.com/Press/ProfileMusicTechnology.html
http://www.the-black-hit-of-space.dk/gear_keyboards.htm

There are many color tabs on the front of the synth so that users can be more familiarized with the synth’s functions. The tabs are reminiscent of your grand mothers organ. At the top of the synth are two holes so that you can attach your old timey music stand. The 10 presets this synth allows you to function cannot be edited, but you can add vibrato and tremolo. What’s unique about this synth is that you can create your own sounds, with 32 squares, ramp or 16-pulse width modulation.

https://youtu.be/tMT7AN6Nodc
https://youtu.be/imRp1S_520A

Strangely this synth is still being used today. There has been many different upgrades Roland has produced over the years but people still feel a warm connection with the grandma tabs. The Roland SH-1000 was succedded by Roland’s SH-2000, which was far less flexible than its predessor. You can use the synth as a VST plugin for Sonar, Cantabile, Cubase, Abelton, or as an application by itself. I don’t know how people are still selling this thing as a hardware platform online, but people are still buying this thing for some reason.

http://www.vintagesynth.com/roland/sh2000.php
https://youtu.be/ZaSNDmmWhYg
http://www.rolandus.com/blog/2014/02/19/roland-synth-chronicle-1973-thro...
http://myweb.tiscali.co.uk/pryer/SP1000%20VIRTUAL%20SYNTHESIZER.pdf
https://reverb.com/item/2271089-roland-sh-1000-with-original-case

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Prophet 5 - Spencer Fountain

The Prophet-5 is an analog synthesizer that was created by Sequential Circuits between 1978 and 1984 best known for its use by rock bands and film composers. Famous bands such as "No Doubt", "Duran Duran", and "The Doobie Brothers" have used this synth. Afrika Bambaataa's famous "planet rock" used the prophet 5. The synth has five voices of polyphony and is one of the first polyphonic analog synthesizers with patch memory. Dave Smith Instruments, the company owned by Dave Smith who is the original creator of the synth, has developed updated versions of the Prophet-5.

https://www.youtube.com/watch?v=z4CGs7lXIiU

The early Prophet-5s used voltage-controlled oscillators, filters and amplifier chips. The Prophet-5 uses five voices of polyphony where each voice is assigned two VCOs. Both oscillators can generate sawtooth waves and square waves and the second oscillator can also generate a triangle wave. A low-frequency oscillator is also included in the prophet 5 to modulate the wave of the first oscillator.

More recent emulations of the Prophet-5 include Pro-53, a VST and Audio Unit by Native Instruments, the Prophecizer 5 by Analog Synth Lab, and the Pro-12 by Creamware.

Oberheim OB-X - Derek Cook

The Oberheim OB-X is an analog polyphonic sound synthesizer. First commercially available in June 1979, it was introduced to compete with the Sequential Circuits Prophet-5, which had been successfully introduced the year before. About 800 units were produced with moderate success before the OB-X was discontinued in 1981, replaced by the updated and streamlined OB-Xa. The OB line developed and evolved after that with the OB-8 before being replaced by the Matrix series.

The OB-X was the first Oberheim synthesizer based on a single printed circuit board called a "voice card" (still using mostly discrete components) rather than the earlier SEM (Synthesizer Expander Module) used in Oberheim semi-modular systems, which had required multiple modules to achieve polyphony. The OB-X's memory held 32 user-programmable presets. The synthesizer's built-in Z-80 microprocessor also automated the tuning process. This made the OB-X less laborious to program, more functional for live performance, and more portable than its ancestors.

The "X" in OB-X originally stood for the number of voice-cards (notes of polyphony) installed. It came in four, six, and eight-voice models with polyphonic portamento, and sample and hold. The entire range used "paddle" levers for pitch and modulation, Oberheim's answer to the "wheel" controls of the Prophet-5. In addition to this unique configuration the polarity of the paddles was distinctive; the player would pull back on the pitch lever to bend the pitch sharp, and push forward to bend flat.
The OB-X would be used in popular music by Rush (on Moving Pictures and Signals), Nena, Styx member Dennis DeYoung (used frequently from late 1979 to 1984), Queen (their first synthesizer on an album), Prince, a keen user, and Jean Michel Jarre who used it for its massive "brass" sounds.

https://www.youtube.com/watch?v=jb-AXmCQclg

https://www.youtube.com/watch?v=3rAzEZswh4k

https://www.youtube.com/watch?v=iDd4p6eJgQQ

Sequential Circuits Prophet 600

The Sequential Circuits, Prophet 600 (developed by Dave Smith from 1982-1985) was the first commercially available synthesizer to implement MIDI. The P600 has been made famous by Wally Badarou, Tangerine Dream, Eat Static, The Fixer, HIA, Mark Jenkins, Brian Kehew and Roger Manning of The Moog Cookbook, Level 42, Mentallo, Mondo Cain, Oznic Tentacles. The sound of the Prophet 600 is bright, and funky.
The P600 is a 6-voice polyphonic analog synthesizer with a 5-octave, 61-note keyboard. Each voice consists of two VCOs, two VCFs, and two VCAs. Each of these components has an independent ADSR envelope. The sound originates in a pair of Curtis 3340 VCOs, each with independent on/off switches for sawtooth, triangle, and pulse waveforms. VCO1 can be synced to VCO2. Both oscillators are set with a frequency knob that is notched in semi-tones, with a separate fine tune knob for VCO2. The sound then passes through a pair of Curtis 3372 chips. Each 3372 contains a VCF, a VCA, and a separate volume control for mixing. The VCF is a resonant 24dB/octave filter, with its own ADSR and knob for frequency. The frequency knob is quantized into steps, not allowing you to change it smoothly. Key follow can be set to full, half or off. The LFO can modulate the oscillators (both at the same time), the filter frequency, and the pulse width on the oscillator. It also has a mono mode with chord memory as well as two one-track sequencers and an arpeggiator. The arpeggiator can be set to the normal up or down modes or can cycle through the keys in the order that they were played. The sequencers are programmed in real-time and cannot be edited.
There are several P600 emulators on the market, even free ones such as this one http://www.vst4free.com/free_vst.php?id=754 In my opinion though, at only $1500 I think the analog hardware version is an affordable option if your into vintage synths. Models with the newest software will enjoy polyphonic MIDI implementation and up to 100 memory patches to store their own sounds.

Prophet 600 demo videos
https://www.youtube.com/watch?v=OZ2BmlttuhI

https://www.youtube.com/watch?v=5uwAJNvZ-2M

https://www.youtube.com/watch?v=jXKaYgU2Lvc

The Jupiter 8 Synthezier-Warren Gallimore

Jupiter 8
(Synthesizer)

The Jupiter 8 synthesizer was manufactured by Roland Corporation in the early 1980’s. At first in the beginning of 1980 the Jupiter 8 was not so popular until its later improvements the next year in 1981. The newer model included Roland’s DCB Interface and it had the ability to slit the keyboard into two zones with a separate patch in each zone. In the early 80’s many producers used the Jupiter 8 one in particular was Quincy Jones he used the Jupiter 8 in many early Michael Jackson records.
The Jupiter 8 is an 8 voice polyphony synthesizer with 2 timbraity. The Jupiter 8 also has 2 VCO’s per voice and it has 1 LFO built in with the main function of a Low Pass filter. The Jupiter 8 synthesizer is overall an analog subtractive synthesizer. Finally the Jupiter 8 has 64 patches of memory and it has 61 keys on the keyboard.
Nowadays the Jupiter 8 can produce efficient front panel layouts and with its sturdy structure and lovely sound it is still a desirable instrument 30 + years later. Most new synthesizer companies of today say that the Jupiter 8 will be around for even more years to come. Also the Jupiter 8 is still used in today’s Industry for example Alicia Keys can be seen playing the Jupiter 8 in music videos. Lastly if you are wondering there is a Software version of the Jupiter 8 called Arturia Jupiter 8V powered by Arturia Software center.

The Jupiter 8 Synthezier

Jupiter 8
(Synthesizer)

The Jupiter 8 synthesizer was manufactured by Roland Corporation in the early 1980’s. At first in the beginning of 1980 the Jupiter 8 was not so popular until its later improvements the next year in 1981. The newer model included Roland’s DCB Interface and it had the ability to slit the keyboard into two zones with a separate patch in each zone. In the early 80’s many producers used the Jupiter 8 one in particular was Quincy Jones he used the Jupiter 8 in many early Michael Jackson records.
The Jupiter 8 is an 8 voice polyphony synthesizer with 2 timbraity. The Jupiter 8 also has 2 VCO’s per voice and it has 1 LFO built in with the main function of a Low Pass filter. The Jupiter 8 synthesizer is overall an analog subtractive synthesizer. Finally the Jupiter 8 has 64 patches of memory and it has 61 keys on the keyboard.
Nowadays the Jupiter 8 can produce efficient front panel layouts and with its sturdy structure and lovely sound it is still a desirable instrument 30 + years later. Most new synthesizer companies of today say that the Jupiter 8 will be around for even more years to come. Also the Jupiter 8 is still used in today’s Industry for example Alicia Keys can be seen playing the Jupiter 8 in music videos. Lastly if you are wondering there is a Software version of the Jupiter 8 called Arturia Jupiter 8V powered by Arturia Software center.