All about synths

KORG SP250

2013-12-02T04:47:00.001-08:00

The Korg SP-250 brings you the sound and feel of an 88-key piano in a package that's as complete as the real thing. You get a sturdy stand, built-in speakers, music rack, and even an integrated damper pedal right out of the box. Touch a button to access stereo sampled grand piano sound, plus an assortment of classical electric pianos, organs, and more. Whether you're a novice looking for a realistic keyboard to learn on, or a pro who needs a compact rehearsal instrument, the Korg SP-250 will have you up and playing right out of the box.

Everything Included

The Korg SP-250 may just be the most complete digital piano package you can get. A sturdy, robust stand designed specifically for the SP-250 supports your instrument with no fear of wobbling or tipping like a run-of-the-mill X-stand, yet is easily removed and collapsed down for easy travel. Another feature that's optional for most keyboards in this price range (but standard on the SP-250) is the included damper pedal, which attaches securely to the integrated stand, so it won't slide back and forth when you're playing. This high-quality pedal provides realistic acoustic piano damping and "half-pedaling," adding to the expressiveness of this instrument. Along with the built-in, full-range 2 x 11-watt speaker system, you've got a complete digital piano package, ready to play right out of the box. Just add a pair of headphones, and you'll have everything you need for those late-night practice sessions.

Detailed, Realistic Piano Reproduction

With a bass port for extended low frequencies, the SP-250's on-board speakers sport enough power and range to faithfully reproduce Korg's inspiring palette of 30 sounds. Korg's stereo piano samples are longer in length than just about any other keyboard in this class, meaning slow, emotive passages are even more dramatic, full, and authentic, with no audible looping to spoil the atmosphere. The Korg SP-250 also boasts a number of electric pianos, pipe organs, blues organs, harpsichord, clav, choir, strings, mallet percussion and guitar sounds. Layer two sounds together and adjust their levels independently for the perfect blend. Whether you're playing in a worship service, a jazz trio, or at cocktail hour, you'll have the appropriate sound at your disposal. Three levels of reverb and chorus effects add depth and color to your favorite instruments at the touch of a button.

Experience Korg's Third-Generation Weighted Keyboard

Adding to the real-piano experience afforded by the SP-250's realistic piano sound is the RH3 graded hammer-action weighted keyboard, the latest refinement of Korg's "Real Hammer" mechanism. "Graded" means the keys feel heavier in the bass and lighter on the treble end of the keyboard, just as on an acoustic grand piano, where the hammers get thicker and heavier as you move toward the low end of the keyboard. Pianists used to playing on an acoustic instrument will appreciate the quick response and familiar feel of the RH3 keys, while new players will be getting the accurate piano experience they'll need to be comfortable on the real thing later on. Not only are the keys substantial and responsive, but their sensitivity can be adjusted to suit the player.

The Perfect Practice Partner

The Korg SP-250 offers plenty of extras to make practice more efficient, whether you're rehearsing by yourself or with a private instructor. A flexible metronome is on board with an intuitive slider for tempo adjustment. You get two headphone outputs for student and teacher, and a transpose function to accompany a singer in any key, or play along with your favorite songs. There's even standard MIDI I/O jacks so you can use your keyboard with composition and education software, and dual 1/4-inch audio outputs to plug into an amp or PA for live performance. Of course, nothing will improve your playing more than more playing - and nothing will inspire you to play more than a digital piano that sounds and feels as good as the Korg SP-250.

Features:

- 30 expressive, high-quality sounds, including a stereo concert grand piano
- Layer function to simultaneously play two sounds
- Built-in reverb and chorus effects and depth and richness to your sound
- Damper pedal included
- Built-in metronome
- Graded hammer-action RH3 keyboard with 3-level adjustable touch control
- In addition to equal temperament, choose Kirnberger or Werckmeister temperaments
- Transpose function lets you play in any key at the touch of a button
- Pitch Control can make fine adjustments -- play duets in tune with a grand piano!
- MIDI I/O -- connect the SP-250 to your computer or any MIDI device
- Powerful on-board speakers
- Two headphone ports -- practice duets or with a teacher without disturbing others
- Built-in keyboard stand and music rack -- just add a piano stool

Power Supply: DC 12V 3.5A Power Cord (Included)

zZounds is an authorized dealer of Korg products.

- Keyboard: 88 notes, Real Weighted Hammer Action 3 keyboard
- Touch Control: Light, Normal, Heavy
- Sound Generation: Stereo Sampling System
- Polyphony: 60 notes maximum
- Programs: 30 sounds (5 Pianos, 7 Electric Pianos, Harpsichord, 2 Clavs, Vibraphone, Marimba, Acoustic Guitar, 3 Jazz Organs, 3 Church Organs, 3 Strings, 3 Choirs) Two Programs can be layered
- Effects: Reverb, Chorus (3 levels each)
- Demo: 30 songs (10 songs in 3 banks)
- Sound System: 2 Dual Cone Speakers (2 x 10 cm) with bass-reflex speaker box, 2 x 11 Watt
- Tuning: Key Transpose, Fine Tuning, Temperament (Equal, Kirnberger, Werkmeister)
- Pedal: Damper (included). Half-pedaling supported
- Metronome: Tempo, Time Signature, Accent and Volume controls
- Power Supply: DC 12V (External AC adapter) 3.5A
- Power Consumption: 42 Watts
- Dimensions (WxDxH): 50.98 x 14.96 x 5.51 in. (1,295 x 380 x 140 mm) main unit only, not including stand
- Weight: 41.89 lbs. (19 kg) main unit only, not including stand.
- Accessories (Included): Stand, Music stand, Damper pedal, AC adapter
- Sound processed by INFINITY.
- Specifications subject to change without notice

Power Supply: DC 12V 3.5A Power Cord (Included)

STUDIOLOGIC NUMA COMPACT

2013-12-02T04:43:00.000-08:00

Studiologic Fatar Numa Compact, 88 Key Masterkeyboard with semi-weighted Keys, Polyphony: up to 128 Voices, 10 Sounds, Layer-Function thomann (2 Sounds), Effects, Pitch Bend and Modulatio Wheel, Connections: 2x 1/4" TR Line Out, Headphone Out, Sustain Pedal Input, Expression Pedal Input, MIDI In/Out, USB, 12v DC Power Supply Input, Dimensions: (L x D x H): 1260 x 220 x 80 mm, Weight: 6.3 thomann kg

Product Highlights
88 Weighted Action Keys
128 Voice Polyphony
10 Built-in Sounds
Adjustable Keyboard Touch Sensitivity
Lightweight and Portable Design
Pitch Bend and Modulation Wheels
Transpose, Master Tune, Velocity & More

Onboard Modulation and Reverb Effects

Fatar / Studiologic VMK-161-plus

2013-05-18T08:31:00.003-07:00

Fatar / Studiologic VMK-161-plus

Features

What drove my selection is a mixture of a quality poised touch with the many MIDI commands. Furthermore, I also liked that you could carry, while retaining their musical possibilities with 61 keys.
In terms of features, it seems quite complete: 8 knobs, 9 sliders, 8 buttons, a wheel of pitch, 3 pedal inputs, and everything is assignable. Feeding classic USB or adapter.
I use it with Live to manage virtual instruments (piano, vintage synth ...), I add effects, samples shipping in concert. I could bricolage again with vintage synthesizers, and touch that looks like a piano ... excellent.

Utilization

The touch is very nice, of course we are far from natural piano touch but, anyway, never achieved any digital keyboard complexity play a piano touch. So it is nice touch, too quick with a quick return, sensitivity and dynamics is present also, just one good use virtual instruments.
The manual is informative but poorly documented. A beginner can MIDI panic.
The MIDI setup a once understood the concept of MIDI, it's easy to use and coupled to a program like Live, is a charm.

Studiologic SL-990 Pro

2013-05-18T08:26:00.001-07:00

Studiologic SL-990 Pro

Master Keyboard

88 hammer effect keys for a realistic touch piano
Speed Sensitive thomann
Pitch and modulation wheels
Eight velocity curve settings
1 output MIDI
Sustain Pedal Connection
Includes power supply 9VDC 500mA (positive inside)
Dimensions: 132.8 x 34.92 x 12.07cm
Weight: 20kg

KING KORG

2013-05-17T10:24:00.001-07:00

KING KORG

The new King Korg Virtual Analog Synthesizer has been somewhat overshadowed by the simultaneous announcement the Korg MS-20 Mini, which frankly stole the show at NAMM this year. However the King Korg also has some pretty desirable features.
We had a visit from product specialist Luke Edwards, who showed us what the new King Korg can do.
One of the big surprises for me was the CV/GATE output which we were able to hook up to the original MS-20.

3 Oscillators
Multi-mode modeling filters
Three master effect sections (each with six effect types)
Vacuum tube driver circuit adds rich overtones and powerful distortion
Support for librarian software that lets you manage programs

NORD LEAD 4

2013-05-17T08:07:00.004-07:00

NORD LEAD 4

Main features

Three models

Nord C2D B3 tone wheel simulation NEW

Improved Key Click and Percussion NEW

122 Rotary Speaker simulation NEW

Vox and Farfisa organ simulations

Nord Piano Library compatible

String Resonance (Gen 1)

Long Release

Nord Sample Library compatible

Powerful Effect section

4 Live Locations/Program Banks

Extended Control Pedal Support

USB MIDI NEW

2X Memory for Nord Sound Libraries

(Electro 4 SW73/HP Only)

The Nord Electro 4 features the B3 tone wheel organ engine from our flagship organ Nord C2D and includes a redesigned Key Click simulation as well as the Rotary Speaker simulation of a vintage 122 unit with a great new overdrive. The percussion model has been improved to offer increased control over the percussion levels when playing near-legato. Naturally, the vibrato and chorus scanners have been carefully modeled to be just as alive as the tone wheels.

The Farfisa* and Vox* models are just as impressive as the B3, simulating the behavior and unique response of the original instruments. The Farfisa Compact Deluxe, considered by many to be the mother of transistor organs, involves routing matrixes and complex filter combinations that offer a tailored sound with massive energy and high-end.

The Vox* Continental's brute design brings you a more hollow tone, but with a very intense character. Both these transistor organs have their own unique, irreplaceable personalities. Combine them with any of the Amp simulations, add some distortion, adjust the EQ and they will definitely get you through any organ gig with flying colors.

Click to enlarge

The Nord Electro 4D is fitted with physical drawbars of the same type as on our flagship organ, the Nord C2D, perfect for actively shaping the sound on the fly.

The Nord Electro 4 SW73 & HP organ section is identical in features but sports our Digital LED Drawbars.

The organ can be split, for compact dual manual action and its even possible to assign the lower manual to a second MIDI keyboard. Inputs for a Swell pedal and Rotary Speaker control are also available.

he Nord Electro 4 comes loaded with a selection of amazing sounds from the Nord Piano Library - our specialized library for Grand, Upright and Electrical Pianos, Clavinet and Harpsichords.

All the sounds have been recorded using our state-of-the-art sampling techniques to capture the extraordinary nuances and unique characters of the source instruments and covers everything from brilliant, factory new Grand Pianos to detuned upright bar pianos with tons of charm.

The entire Nord Piano Library is included on DVDs and new additions can be downloaded free on the Nord Piano Library page. Replacing the sounds is simply a matter of dragging and dropping files in the Nord Sound Manager for Mac and Windows.

The Long Release feature is suitable for legato playing styles and the String Resonance (Gen 1) feature on Grand and Upright Pianos can be turned off when desired.

185 MB of the Electro 4D memory is dedicated to Nord Piano Library sounds.

FL STUDIO

2013-05-17T06:15:00.001-07:00

When learning any new piece of software it takes a little while to understand things. The Fruity Loops workflow is the basic set of activities taken to make a tune.

Creating a choice music track in 5 steps:

Instruments/ generators -These are used to make sounds and are arranged vertically in the step sequencer. The instruments/generators are shown to the left as Kick, Clap, HiHat, Snare ect.
Step sequencer:

Composition/ sequencing – The musical elements are entered in to the step sequencer or piano roll. The step sequencer consists of the grey/red boxes in the image on the left. Highlight a box in the step sequencer to play a note on the corresponding beat.

Playlist editor

Arrangement – Pattern blocks are arranged and can be looped in the Playlist window. The are shown on the right as long grey rectangles. Audio clips can be loaded in and arranged towards the bottom of the playlist editor.

Mixing – The sound produce by the instruments, generators and/or audio clips pass through the mixer where effects can be appliend to them. Reverb, compression, eq and distoriton are just some of the many effects to choose from. The mixer can also be also used to set the levels of each of the individual sounds so that the overall sound is loud enough to a level that it doesn’t clip.

Mixer

Exporting/ rendering – After a set of intruments have been programmed in the playlist to form a song, the sound data can be exported to a sound format such as .wav or .mp3 and played in winamp or burnt to a CD.This is a basic overview of the Fruity Loops workflow in its simplest form. So get to it – start a new project make a tune, convert it to mp3 and bounce around the room to your sweet new tune!Yeah well ok you might not fully understand Fruity Loops just yet but play around you will fill in the gaps for yourself

for yourself

HOW TO OPEN A VST PLUGIN IN FRUITY LOOPS STUDIO

If your still wondering how to open a vst plugin in FL Studio then you don’t know what your missing out on! VST’s are one of the most widely used plugins in music production software and are a must have to expand your music creating abilities.

Over time your collection of 3rd party VST plugins will grow large, so its good practice to store them outside of the FL Studio installation directory so that they are independent of the FL Studio installation.

Create your own directory where you will save ALL your 3rd party plugins outside of the FL Studio install folder, e.g. C:\VST
Set C:\VST as the VST search directory. Open up Fruity Loops and select File Settings from the Options Menu. Near the bottom of the window there is a section named VST plugins extra search folder. Set this to C:\VST or whatever the folder you created for your VST plugins was called.
Create sub-directories for FX and Instruments (be organized, as later you will have no idea what is an instrument or FX plugin among your .DLLs).

Install VST Instruments/Synths/Generators (VSTi)

Refresh the plugin list. Click: Channels > Add one > More > Refresh (button at the bottom of the list) > Fast scan. The plugin you have installed should appear in the plugin list in red. If this does not happen, check to make sure you have installed the VST correctly.
Place a checkmark before the plugin name if you want it listed in your favorites and close the window.
Now the plugin is installed and can be used as a standard FL Studio instrument.To add an instance of the plugin to the current project, open the Channels menu, select Add One and in the submenu that appears select the name of the plugin. An instance of the plugin will appear in the Step Sequencer window.
Install VST effects

Install the Effects plugins (.DLLs etc) into a directory such as C:\VST or whatever you like. (If installation uses an installer, override the default install directory and point it to your VST directory.)
Refresh the FX plugin list – In the Mixer window, click down arrow for any of the plugin slots (external effects banks), click the Select item. In the submenu that appears, select More…. You will see a window listing all effect plugins available in FL Studio. At the bottom of the window, click the Refresh button and select Fast Scan. The plugin you have installed should appear in the plugin list in red color. If this does not happen, please make sure you have followed the previous steps properly.
Place a checkmark before the plugin name if you want it listed in your favorites and close the window.
Now the plugin is installed and can be used as a standard FL Studio effect. To add an instance of the plugin to the current project, open the Mixer FX slot, select Add One and in the submenu that appears select the name of the plugin. An instance of the plugin appears in the Mixer window.

HOW TO MAKE A BEAT

DAW TUTORIALS

2013-05-17T05:59:00.001-07:00

FL STUDIO

DAWS

2013-05-17T05:40:00.001-07:00

HISTORY STYLES DAWS

DAW (Digital audio workstation) is an electronic system designed to record, edit, and mix digital audio. There are two main types of digital audio workstations, standalone and software based. Standalone systems look like a mixer with an LCD screen. They are great and have their uses, but here we are going to focus on software DAWs. Modern DAWs are software running on computers with audio interface hardware

A computer-based DAW has four basic components: a computer, a sound card , a digital audio editor software, and at least one input device for adding or modifying musical note data. This could be as simple as a mouse, and as sophisticated as a MIDI controller keyboard, or an automated fader board for mixing track volumes. The computer acts as a host for the sound card and software and provides processing power for audio editing. The sound card or external audio interface typically converts analog audio signals into digital form, and for playback converting digital to analog audio; it may also assist in further processing the audio. The software controls all related hardware components and provides a user interface to allow for recording, editing, and playback. Most computer-based DAWs have extensive MIDI recording, editing, and playback capabilities, and some even have minor video-related features.
Simple smartphone-based DAWs, called Mobile Audio Workstation (MAWs), are also available, used for example by journalists for recording and editing on location.

TOP 15 DAWS

APPLE GARAGEBAND

SONY CREATIVE SOFTWARE ACID

ACOUSTICA MIXCRAFT PRO STUDIO

MOTU DIGITAL PERFORMER

MUTOOLS MULAB

MAGIX SAMPLITUDE

CABEWALK SONAR

AVID PRO TOOLS

COCKOS REAPER

APPLE LOGIC PRO

REASON

STEINBERG CUBASE

PRESONUS STUDIO ONE

ABLETON LIVE

IMAGINE-LINE FL STUDIO

STYLES

2013-05-17T05:19:00.001-07:00

HISTORY STYLES DAWS

Ambient music is a musical genre in which sound is more important than notes. It is generally identifiable as being broadly atmospheric and environmental in nature. Ambient music evolved from early 20th century forms of semi-audible music, from the impressionism to Brian Eno's deliberate sub-audible approach. Later developments found the dreamy non-linear elements of ambient music applied to some forms of rhythmic music presented in chill-out rooms at raves and other dance events, but always with the primary feature that the music is intended to drift in and out of the listener's awareness while creating its effect on the listener's consciousness.

Breakbeat (sometimes breakbeats or breaks) is a term used to describe a collection of sub-genres of electronic music, usually characterized by the use of a non-straightened 4/4 drum pattern (as opposed to the steady beat of house or trance). These rhythms may be characterised by their intensive use of syncopation and polyrhythms.

Downtempo (or Downbeat) is a laid-back electronic music style similar to ambient music, but usually with a beat or groove unlike the beatless forms of Ambient music. The beat is sometimes made from loops that have a hypnotic feeling. Sometimes the beats are more complicated and more featured instead of being in the background, but even then they are usually less intense than other kinds of electronic music like Trance. Often the name chill out music is used to refer to songs demonstrative of the genre, but those names also refer to other styles of music, and downtempo encompasses a wider variety of styles than those terms alone would indicate. Another related genre is Trip hop, though Downtempo usually uses a slower tempo than Trip-hop.

Industrial music is a loose term for a number of different styles of experimental music, especially but not necessarily electronic music. The term was first used in the mid-1970s to describe the then-unique sound of Industrial Records artists. Since then, an extremely wide variety of labels and artists have since come to be called "Industrial." The first industrial artists experimented with varying degrees of noise, production techniques and what, at the time, were considered controversial topics. Their production was not only limited to musical output. It also included mail art, performance art, installation pieces and other art forms. Originally, the term solely referred to music created by Industrial Records and related artists. As time progressed, the term began to refer to artists either directly influenced by the original movement, artists using an "industrial" aesthetic such as imagery devised around mechanical objects and industry itself and, more distantly, artists who were only minimally, often not at all, influenced or inspired by Industrial Records and related artists. The broadening of the term's musical definition has led to an overwhelming number of sub-genres and lines of influence.

Techno is a form of electronic dance music (EDM) that emerged in Detroit, Michigan, USA during the mid to late 1980s. The first recorded use of the word techno, in reference to a genre of music, was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.

Oldskool jungle is the name given to a style of electronic music that incorporates influences from genres including breakbeat hardcore, techno, rare groove and reggae/dub/dancehall. There is significant debate as to whether Jungle is a separate genre from drum and bass as some use the terms interchangeably. Jungle and Drum and bass started to separate musically in the late 1990s. There is a fuzzy period there where it is harder to distinguish the difference between the two. There is much politics attached to labeling different tracks as a specific genre.

Trance is a style of electronic dance music developed in the 1990s. Trance music is generally characterized by a tempo of between approximately 128 and 160 BPM, melodic synthesizer phrases, and a musical form that builds up and down throughout a track.

Noise music is a term used to describe varieties of avant-garde music and sound art that may use elements such as cacophony, dissonance, atonality, noise, indeterminacy, and repetition in their realization. Noise music can feature distortion, various types of acoustically or electronically generated noise, randomly produced electronic signals, and non-traditional musical instruments. Noise music may also incorporate manipulated recordings, static, hiss and hum, feedback, live machine sounds, custom noise software, circuit bent instruments, and non-musical vocal elements that push noise towards the ecstatic. The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement, and later the Surrealist and Fluxus art movements, specifically the Fluxus artists Joe Jones, George Brecht; LaMonte Young and Takehisa Kosugi.

As you can see, there are many different ways which electronic music can be used and experimented with. As with many other forms of music, electronic music and its production is both an art and a science.

KORG

2013-05-16T06:15:00.001-07:00

Comparisons

2013-05-16T05:59:00.001-07:00

Microkorg MK1 VS. Microkorg XL

The XL is much better than the mk1. It has twice the polyphony, the vocoder is much better, microphone and keyboard are better. The Microkorg XL is based on the MMT engine which powers the Radias.
It's a newer engine than what powers the original MK and is more powerful in general and capable of a wider range of sounds. The display on the XL keyboard themselves are much more helpful than on the original MK.

SYNTHS DIRECTORY

2013-05-16T05:57:00.001-07:00

ALESIS

KORG
ROLAND
CASIO
YAMAHA
KAWAI
KURZWEIL
AKAI
MOOG
NORD

Alesis QS6

2013-05-15T16:13:00.002-07:00

ALESIS QS6

The QS6 is a powerful multitimbral synthesizer from the effects-box geniuses at Alesis. There's 64 voices of polyphony and 16 parts multitimbrality and tons of memory and expand-ability packed into to this big, blue, beautifully laid out performance synthesizer. Based on the original QuadraSynth series, The QS6 has 8 MegaBytes of samples and uses digital additive/subtractive sample playback synthesis to create high quality stereo grand pianos, organs, strings, drums/percussion, brass, woodwinds, new and classic synth textures, General MIDI, and rhythmic/sonic loops. Most of them sound pretty darn great too! However Alesis had not yet fully anticipated the dance craze and so this is not one of those "physical-modeling" synths that began appearing at the same time. And sadly, in addition to the north-bound Pitch/Mod wheels, there are only just two real-time assignable control sliders for live tweaking, which is not a lot at all.

As a master synth, the QS excels in it's price range, except for that tiny LCD display which makes navigating through the pages and pages of program settings pretty tedious. The QS6 implements the powerful QS Modulation Matrix, allowing users to assign virtually any controller source to any modulation parameter. There's an onboard multi-effects processor (based on the QuadraVerb 2) with four totally discrete effects busses that include reverb, delay, rotary speaker simulation, distortion, chorus and much more. With a direct Mac or PC hook-up, loading patches and editing via software is a snap! QS synths shipped with Alesis' Sound Bridge software for Mac/PC which lets you write AIFF and WAV samples, Standard MIDI Files and Program data to PCMCIA Flash or SRAM cards. It can play Standard MIDI file sequences from the expansion cards without the use of an external sequencer. For an all around versatile modern synthesizer that isn't focused just on dance or trance, be sure to consider the QS6.

More demanding players may want to check out the more professional QS7 (76 semi weighted keys), QS8(88 weighted keys with piano style hammer action) and QSR (rack-mount) versions. They also featured double the sample-ROM and many other upgrades! By 1999, all the Quadrasynths were being replaced by the QS6.1, 7.1 and 8.1 versions.

Alesis QuadraSynth

2013-05-15T16:09:00.002-07:00

Alesis QuadraSynth

The QuadraSynth was introduced in 1993 by Alesis, and it was their first major synthesizer. It's a 64-voice, 76-key digital synthesizer that also came in a rack-mountable version: the S4 Sound Module. It had a whopping 16 MB of sample ROM, and was the first synth to offer the ADAT Optical Digital interface. It also featured the same multi-effects processor as the QuadraVerb 2, drum kits based on the D4 drum module, 4 assignable control knobs, one PCMCIA card slot, 48kHz clock input, and 4 audio outputs.
The QuadraSynth is undoubtedly a powerful and flexible synthesizer capable of creating rich sounds - both acoustic and electronic. It uses digital additive/subtractive sample playback synthesis to create high quality stereo grand pianos, organs, strings, drums/percussion, brass, woodwinds, new and classic synth textures, and more.
Released in 1995/1996 came the new and improved QuadraSynth Plus synthesizer. The QuadraSynth Plus has more ROM (24MB expandable to 32), many more program patches (640) and mixes (500). The General MIDI library has been added, as well as an 8MB stereo Grand Piano sample (also found in the stream-lined QS7, QS8, QS6.1, QS7.1, QS8.1 and QSR models), and a PCMCIA expansion slot. For an all around versatile modern synthesizer that isn't focused just on dance or trance, be sure to consider the QuadraSynths.

ALESIS MICRON

2013-05-15T16:05:00.001-07:00

ALESIS MICRON

The micron is an eight-voice analog-modeling synthesizer. Despite its small size, you'll be impressed with the micron's big sound. Whether you use a synth to accompany you on stage or in the studio, and whether you prefer to work with the hundreds of preset Alesis sounds or create your own, the micron is the perfect companion. The micron also contains a powerful sequencing section with phrase, step, and drum sequencing, an arpeggiator, and stereo effects.

SYNTHESIS

The micron has two multi-mode filters, three envelope generators, and two LFOs: the full spectrum of synthesis components for shaping and creating sonorities and textures. For stage and studio-ready quality, the microne has 24-bit audio outputs and inputs via balanced connections.

Each of the micron’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor: Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole; Band Pass: ob 2-pole, al 6-pole, octave dual, band limit; High Pass: ob 2-pole, op 4-pole; three Vocal Formants, four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute.

Each of the micron’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync; and three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.

Videos

2013-05-15T11:14:00.002-07:00

SONIC STATE

KORG TV

KorgUSAVideos

SONUS BEAT TV

NORD KEYBOARDS

TUTORIALES

NFXBEATS

GEAR TUTORIALS

FL STUDIO TUTORIALS

PIANO DIRECTORY

2013-05-15T11:14:00.000-07:00

STUDIOLOGIC SL 990 PRO
FATAR/STUDIOLOGIC VMK 161 PLUS
STUDIOLOGIC NUMA COMPACT
KORG SP250

The Pre-Sampling

2012-04-17T11:07:00.003-07:00

The Pre-Sampling

In 1948 Pierre Schaeffer, an engineer at Radio France, began to compose sounds and noises recorded several subsequently processed. In this new art I call "Concrete Music" because, unlike abstract instrumental music based on sounds of reality. The music was not made with notes but with "sound objects" that came from recordings manipulated or not, and those who stood at the time of a new, cutting and splicing tape.
This distortion of reality to that music was a rather surreal air. One of his early works, for example, the "Etude aux Chemins de Fer" was based on train sounds. A classic of the genre is the "Symphonie pour un homme seul" (1949-50), performed on speech sounds, by Schaeffer and his student P. Henry. The plastic impact of these works was great, Maurice Bejart created choreography for many of them.

Pierre Henry, grown in literary style, his piece "Le well Tampere microphone" (1950-51) is another classic of the genre. Later use electronic sounds as well as the concrete, renamed electro-acoustic music. Achieved great virtuosity in the handling of audio material, in works like "Mass Times" which is also in the repertoire of Béjart. Henry's music is more sensitive than Schaeffer, preferring the sound manipulation intuitive theoretical formulation of it.

Theremin

2012-04-17T10:35:00.001-07:00

The theremin (theremin, theremin or Theremin), is one of the first electronic musical instruments. Invented in 1919 by Russian physicist Lev Sergeyevich Termen.
The classic design is a box with two antennas. Runs approaching and removing the hand from each of the antennas connected, without actually touching them. The antenna left (from the standpoint of a skilled performer) is horizontal and looped, and serves to control the volume: the more nearly the same is the left hand, the lower the volume.
The right antenna is usually straight and vertical, and serves to control the frequency: the closer the right of it, the sharper the sound produced.
The Theremin is an instrument that has been used extensively in film, especially in American pelicuals B series, fiction or horror, but it was the violinist Clara Rockmore who used a classical romantic repertoire and gave credibility to the theremin as an instrument for the first time soloist in orchestral environment.

Minimoog

2012-04-13T06:01:00.001-07:00

Minimoog

The Minimoog is a monophonic analog synthesizer, invented by Bill Hemsath and Robert Moog. It was released in 1970 by R.A. Moog Inc. (Moog Music after 1972), and production was stopped in 1981. It was re-designed by Robert Moogin 2002 and released as Minimoog Voyager.
The Minimoog was designed in response to the use of synthesizers in rock andpop music. Large modular synthesizers were expensive, cumbersome, and delicate, and not ideal for live performance; the Minimoog was designed to include the most important parts of a modular synthesizer in a compact package, without the need for patch cords. It later surpassed this original purpose, however, and became a distinctive and popular instrument in its own right. It remains in demand today, nearly four decades after its introduction, for its intuitive design and powerful bass and lead sounds.
The Minimoog is monophonic (only one note can be played at a time) and its three-oscillator design gave it its famous fat sound. Four prototypes were made over the years before a final design was decided upon to release as a commercial product. The Minimoog Model D adapted some of the circuitry (such as the filter section) from earlier modular instruments, but designed other circuitry (such as the oscillators and contour generators) from scratch. To produce a sound, the musician would first choose a sound shape to be generated from the VCO(s) and/or the type of Noise (White or Pink). The VCO provides a choice of several switchable waveforms:
triangle wave
Reverse sawtooth/ramp wave
Sawtooth/Triangle(only in oscillators 1 and 2/ sawtooth wave in oscillator three)
square wave
two different width pulse waves
The signals are routed through the Mixer to the VCF (Voltage Controlled Filter) where harmonic content can be modified and resonance added.
The filtered signal is then routed to the Voltage Controlled Amplifer (VCA), where its contour is shaped by a dedicated ADS (Attack, Decay/Release, Sustain) envelope generator. Part of the appeal of this instrument over the early modular Moogs was the fact that the Minimoog required no patch cables; its signal and control voltage path is hard-wired, or "normalled". While this imposed the signal flow limitation outlined above (VCO → VCF → VCA), there are ways to tweak the sound. For example, in reality, the Minimoog has six sound sources. Five of these sound sources pass to a mixer with independent level controls:
Three voltage-controlled oscillators (see above)
A noise generator
An external line input
And the VCF can itself be made to oscillate, thus providing the Minimoog's sixth sound source.
The voltage-controlled filter (VCF) and voltage-controlled amplifier (VCA) each have their own ADSD envelope generator (or Attack-Decay-Sustain-Decay). Musicians who are familiar with more modern synthesizers might expect the last letter to be R for "Release" (as in ADSR). However, on the Minimoog, the envelopes are ADSD as the Decay setting also sets the time for what's regularly known as Release. In other words, there are 3 knobs to control 4 sections of the sound (most modern synths have 4 knobs, one for each section) - a "shortcoming" that doesn't seem to diminish the Minimoog's popularity in any way. There is also a switch above the pitch and modulation wheels to engage the final decay stage as well as a switch for engaging the glide circuit.
The VCF is of transistor ladder type, a famous, even envied design patented by Moog (US 3,475,623). Rumors that Moog had to go to court over the patent seem to be nothing more; 'differences' with ARP at one point were settled amicably.
The output of the third oscillator and/or the noise generator can also be routed to the control voltage inputs of the filter and/or oscillators. The amount of pitch or filter modulation thus realized is controlled by the modulation wheel, which is the right one of the two plastic disks located to the left of the keyboard. In this way the third oscillator is frequently used as a low-frequency oscillator to control pitch (oscillator modulation) and/or harmonic content (filter cutoff frequency modulation).
The Minimoog can be controlled using its built-in, 44-note keyboard, which is equipped with modulation and pitch-bend wheels or by feeding in an external one-volt-per-octave pitch-control voltage and triggering the envelope generators with an inverted Switch trigger (S-Trigger in Moog terminology).
External pitch control does not pass through the glide circuit; nor is it presented to the VCF tracking switches - the external inputs were not designed for external keyboard control. The lowest note played on the keyboard determines the pitch, a condition that is referred to as low-note priority. The envelope generators do not retrigger unless all notes are lifted before the next note is played, an important characteristic which allows phrasing. The modulation and pitch-bending wheels were an innovation that many instrumentalists found to be extremely playable. The pitch-bend wheel is on the left of the modulation wheel. It is normally kept in the centered position. It is not spring-loaded; the player must return it to the centered position to play in tune. There is a delicate detent mechanism to help the player find the center position tactually. In sharp contrast to later synthesizers that also have pitch-bend wheels, there is no deadband near the center of the wheel's travel; the wheel produces minute changes in pitch no matter how slightly it is moved in either direction. The wheel can therefore be used to introduce slight vibrato or nuance, as well as accurate pitch changes. However, Moog later recommended adding a deadband mod and published this mod in their factory service notes. The detent mechanism can be adjusted somewhat in its strength.

KORG PS60

2012-04-13T05:53:00.000-07:00

Designed for the musician on stage, the Korg PS60 delivers premium sounds and professional effects in an easy to use synthesizer.
Offering dedicated controls, a large backlit display, and remarkable ease of use, the PS60 is a refreshing change.
The intuitive controls in real time, even the sounds themselves were created with the performer in mind, and are optimized for the challenges and the immediacy of playing live.
Lightweight, stylish and portable, the PS60 travels comfortably at home, at trial, or at center stage.
Six individual categories - Piano, E-Piano, organ, strings, brass, and synth - provide quick access to most defendants sounds, sounds almost essential for any band.
Technology inherited from KORG workstations EDS-i (Enhanced Definition Synthesis - integrated) offers 440 voice sounds impeccable.
The new and original front panel is presented for easy use.
Dedicated knobs and buttons are provided with functions that are commonly used frequently, allowing you to control performance and intuitive sound editing in real time.
The Easy Setup to specify the volume settings, many effects and octave for each sound.
Nine dedicated buttons provide immediate and precise control of the modulation effects, reverb / delay and equalization.
Semi-poised Keyboard 61-key Natural Touch - the first of its kind! USB and sound editing software free, provide a detailed control and instant access to all sound parameters.
The Plug-in Editor allows the PS60 PS60 act as a plug-in synthesizer in any sequencer (AU, VST or RTAS)

Virtual Synths online

2012-04-11T18:33:00.005-07:00

http://angryoctopus.co.nz

Alesis Ion

2012-04-11T18:25:00.002-07:00

Alesis Ion

The Ion Analog Modeling Synthesizer is one fat-sounding digital synth! Using Alesis' proprietary DSP Analog Modeling technology with a 500 MIPS processor (500 million instructions per second), every knob and button is tweakable in real-time giving you the feel and sound of a true analog oldie.

The Ion has 8-voice polyphony with 3 oscillators per voice, and is 4-part multi-timbral. It offers continuously variable wave shapes (sine waves can morph into square waves), plus osc-sync and FM synthesis. 16 filter types are included, along with two LFOs, Sample & Hold, and an Arpeggiator-all of which sync to MIDI clock. A powerful and intuitive modulation matrix is built in, as well as a 40-band vocoder that does not use up any polyphony. External stereo audio can be processed through the filters, effects, or the vocoder.

Though not a true analog like the Andromeda A6, the Ion is capable of creating a wide variety of sounds from warm thick analog pads all the way to gritty monophonic leads and basses, as well as some funky and realistic sound effects. The Ion also simulates the best of the classic analogs such as Oberheims, Roland Jupiters, Arps, Moogs, etc, largely due to its great filters - there is hardly any aliasing even on the highest tones. The Ion also comes equipped with not one but two modulation wheels, both assignable to mods in the mod matrix (LFOs only assignable to mod wheel 1). The Ion has an amazing range of tonal possibilities.

The chic design, layout, and large backlit screen make editing on the Ion a dream! The Modulation Matrix is easy to understand and can route any modulation parameter to almost every component of the Ion!! All parameter knobs (excluding master volume & menu knob) are 360 degree pots allowing you to twist all the day long! A 160x160 graphic display provides instant visual feedback as a parameter is edited. Along with having 512 patch settings (all user-rewritable), the Ion has 64 multi-timbral setups. All parameters including arpeggiator settings are stored with each preset.

The ION keyboard contains 49 velocity-sensitive keys, 4 analog outputs and 2 stereo analog inputs (all balanced and using 24-bit conversion), 4 individual insert effects, a stereo master multi-FX processor, and an internal universal power supply. Expression and sustain pedal ports as well as headphone jacks are also there. For those who want a versatile synth and can't afford the A6, this is the synth for you - arguably one of the best 'virtual-analog' synths for awesome, analogue-like sounds.

The Ion inspired a "Mini-Me" version of itself in the Micron. It's the exact same synth as the Ion, except housed in a small 3-octave keyboard with only a few real-time controls. It has a few new features such as pattern and phrase sequencers and more filter types & effects - designed for the "on the go" musician in an overall more affordable package.

Midi technology

2012-04-10T20:58:00.004-07:00

Birth of MIDI

Main article: MIDI.
In 1980, a group of musicians and producers agreed to standardize an interfacethrough which various instruments could communicate between themselves and thehost computer. The standard called MIDI (Musical Instrument Digital Interface). In August1983, the MIDI 1.0 specification was finalized.
The advent of MIDI technology enabled by the simple act of pressing a key, controlwheel, moving a foot or give an order on a micro computer could enable every device in the study remotely and synchronously, each device responding according to conditionspredetermined by the composer. instruments.
Miller Puckette developed software for processing signal graph 4X called Max, later to be incorporated into Macintosh (Dave Zicarelli extended it to Opcode) 13 for MIDIcontrol in real time, making algorithmic composition was available to any composer who have a minimum knowledge of computer programming.