I found these links on another forum.....awesome
http://www.sonicstate.com/news/shownews.cfm?newsid=4284
http://www.sonicstate.com/news/shownews.cfm?newsid=4345
http://www.sonicstate.com/news/shownews.cfm?newsid=4399
http://www.sonicstate.com/news/shownews.cfm?newsid=4500
http://www.sonicstate.com/news/shownews.cfm?newsid=4586
http://www.sonicstate.com/news/shownews.cfm?newsid=465
20 greatest synths of all time...
I tend to believe this person was trying to run 4 Governor, or something.
He obviously hasn't spent much time on Oberheims as the Matrix 12 / XPander combo makes the OB8 sound thin, even if it was A / B 'd through a Pignose amplifier !
I totally agree on the Prophet V, DX7, and the 2600. But the EMU Proteus ? @$#%!^&^@( ??? Please, that's a PCM sack of shit. Hey 500 presets !! Yeah, 500 weak ones. Yeah but 40 ZPlane filters that sound like EQ's, not filters. It's outputs ooze dairy products. I love the taste of American cheese on a burger, but it is a far cry from France, or even Wisconsin. Sheeezuss.
His conclusions are obviously drawn from sales figures, or his experiences visiting music stores, which rarely had demos of the FAT BASTARDS. Look @ Hanz Zimmers racks and you'll notice the Oberheim OBM-x w/ 12 voices. It came stock w/ 2, and each additional pair of voices was 600 USD, i.e., 300 USD per voice. It was T.Oberheims design, w/ Don Buchla adding a Moog style filter and extra routing options. Where is the Moog Series 100 Modular? And please, I bought a CS-80 and it was the biggest dissapoinment in my life. 6800 USD back in late '70's. I paid on it for 3 years to HFC, as my bank wouldn't spot me more than 5 large.
When he plays JB's Solaris, he probably would say,...well it sounds O.K., but where's the factory brass patch.
I wish the Gods from that era would descend upon him w/ their FAT BASTARDS, and show him what he obviously missed while he was breast feeding !!
Nope, I'm, quite sure he has a Chihuahua as his hunting DAWg.
He obviously hasn't spent much time on Oberheims as the Matrix 12 / XPander combo makes the OB8 sound thin, even if it was A / B 'd through a Pignose amplifier !
I totally agree on the Prophet V, DX7, and the 2600. But the EMU Proteus ? @$#%!^&^@( ??? Please, that's a PCM sack of shit. Hey 500 presets !! Yeah, 500 weak ones. Yeah but 40 ZPlane filters that sound like EQ's, not filters. It's outputs ooze dairy products. I love the taste of American cheese on a burger, but it is a far cry from France, or even Wisconsin. Sheeezuss.
His conclusions are obviously drawn from sales figures, or his experiences visiting music stores, which rarely had demos of the FAT BASTARDS. Look @ Hanz Zimmers racks and you'll notice the Oberheim OBM-x w/ 12 voices. It came stock w/ 2, and each additional pair of voices was 600 USD, i.e., 300 USD per voice. It was T.Oberheims design, w/ Don Buchla adding a Moog style filter and extra routing options. Where is the Moog Series 100 Modular? And please, I bought a CS-80 and it was the biggest dissapoinment in my life. 6800 USD back in late '70's. I paid on it for 3 years to HFC, as my bank wouldn't spot me more than 5 large.
When he plays JB's Solaris, he probably would say,...well it sounds O.K., but where's the factory brass patch.
I wish the Gods from that era would descend upon him w/ their FAT BASTARDS, and show him what he obviously missed while he was breast feeding !!
Nope, I'm, quite sure he has a Chihuahua as his hunting DAWg.
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hubird
you're right if you ask me.
So much possible these days, at so much quality level.
the TB 303 was d*mn popular in electronic music, I bought one 2ndh. for 100,- EU, long before dance music evolved, and sold it for 400,- EU, years after dance got usual (and I knew the price was cheap)
It's hard to bring an order in the classic synths, it heavily depends on your musical preferences and personal history.
The 303 won't appeal to all synth lovers, ELP lovers won't care that much about the kwerqi 303 sound, and dance lovers don't like the huge synth layers so much.
Yet, it's remarkable that it was the most primitive synth ever which caused that revolution in making and experiencing music.
An ultimately simple machine that brought back -tho not on it's own- the ultimate dance factor, that was and is remarkable.
I tend to give historical impact the most important role regarding the order one can give to classic synths.
I then would say, number one is the Mellotron, tho not a synth but I don't care
Before any synths got used in pop songs (I guess), there was Nights in white satin, aaaaahhaaaaaa
Suddenly you didn't have to sound like a rock-band when being a rock-band...
After that, it took untill about 1987 (UK, 1989 Holland) before something really happened
At least that was my experience, as after ten minutes on a small dance party I was sold
So, quicksilver messenger service TB 303 is my number two, as it's the mother of (electronic) inventions, to stay in tune .
If you also count in the revolutionary impact Rebirth and Reason had in making music and the accessability of it, it's hardly possible to give that #1 position to another synth, tho I don't mind really
I once bought me a 303 clone, soldered together with the original components etc., no sequencer tho, just sound-generating. in a perspex casing.
Worked perfect.
Untill I A-B'd the original with the copy, using the same pattern, the 303 internal, and for the clone the native sequencer...
There was a tremendous difference in groove, believe it or not.
The note's sound was actually perfectly identical, but the internal sequencer made the difference.
I then learnt something
So much possible these days, at so much quality level.
the TB 303 was d*mn popular in electronic music, I bought one 2ndh. for 100,- EU, long before dance music evolved, and sold it for 400,- EU, years after dance got usual (and I knew the price was cheap)
It's hard to bring an order in the classic synths, it heavily depends on your musical preferences and personal history.
The 303 won't appeal to all synth lovers, ELP lovers won't care that much about the kwerqi 303 sound, and dance lovers don't like the huge synth layers so much.
Yet, it's remarkable that it was the most primitive synth ever which caused that revolution in making and experiencing music.
An ultimately simple machine that brought back -tho not on it's own- the ultimate dance factor, that was and is remarkable.
I tend to give historical impact the most important role regarding the order one can give to classic synths.
I then would say, number one is the Mellotron, tho not a synth but I don't care
Before any synths got used in pop songs (I guess), there was Nights in white satin, aaaaahhaaaaaa
Suddenly you didn't have to sound like a rock-band when being a rock-band...
After that, it took untill about 1987 (UK, 1989 Holland) before something really happened
At least that was my experience, as after ten minutes on a small dance party I was sold
So, quicksilver messenger service TB 303 is my number two, as it's the mother of (electronic) inventions, to stay in tune .
If you also count in the revolutionary impact Rebirth and Reason had in making music and the accessability of it, it's hardly possible to give that #1 position to another synth, tho I don't mind really
I once bought me a 303 clone, soldered together with the original components etc., no sequencer tho, just sound-generating. in a perspex casing.
Worked perfect.
Untill I A-B'd the original with the copy, using the same pattern, the 303 internal, and for the clone the native sequencer...
There was a tremendous difference in groove, believe it or not.
The note's sound was actually perfectly identical, but the internal sequencer made the difference.
I then learnt something
lol.... I think there was actually something on the site that the synths were voted on ( I have no idea by how many people or what their musical tastes)...but I guess some of the purpose of lists like this is to spark debates, which then generates a larger audiencetend to believe this person was trying to run 4 Governor, or something.
I've never used a real tb303, but I've heard it said before that the trick was in the sequencer, I've started to learn in my own music that groove can add more to the sound, than the sound itself, if that makes any sense....there's probably a better way to put itThere was a tremendous difference in groove, believe it or not.
The note's sound was actually perfectly identical, but the internal sequencer made the difference.
I then learnt something
lol.... I think there was actually something on the site that the synths were voted on ( I have no idea by how many people or what their musical tastes)...but I guess some of the purpose of lists like this is to spark debates, which then generates a larger audiencetend to believe this person was trying to run 4 Governor, or something.
I've never used a real tb303, but I've heard it said before that the trick was in the sequencer, I've started to learn in my own music that groove can add more to the sound, than the sound itself, if that makes any sense....there's probably a better way to put itThere was a tremendous difference in groove, believe it or not.
The note's sound was actually perfectly identical, but the internal sequencer made the difference.
I then learnt something
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Liquid Len
- Posts: 652
- Joined: Tue Dec 09, 2003 4:00 pm
- Location: Home By The Sea
Nope,....it's members are obviously are unworthy of battle.
I haven't seen Josef Zawinul play live for 20 years now. I am happy you have the chance of a lifetime to see first hand such a master perform. I would fly to Vienna to see that. That's how impressive of a live performer he is. I always think of Mozart, and Zawinul as true masters of Vienna.
I was doing my second recording in Miami @ Criteria w/ Mothers Finest, when Jaco and Josef had the " A " booth. I was in a successful band, but felt like a musical whore after hearing their tracks. Then they starting touring ( Weather Report ) Birdland was the first track off of the Heavy Weather Album. I was just starting to regain my ego that was destroyed as we opened for every big act out back then. But these public beatings I endured forced me to practice intensely, as I was determined that next years tour dates would be less embarrassing for me. I still thank God for those experiences I had as a young teen playing with all of those veterans. I wish I could convey the importance of continuos live performance to all of my Brothas' here. Jamming is great, but true improvements stem from live shows that never seem to stop. I never thought that I would be performing professionally live for 36 years now. I can't stop though, as it is all I know, with the exception of course of chugging vast quantities of Jaegermeister. It took away the pain of my humiliation back then, and I can't stop doing that either.
Let us do a thread of what we think are the greatest 20 synths of all time. Staring with the 60's, and the Beach Boys using a Theramin on Good Vibrations.
I think that was where another idol of mine got the phrase in his song 3rd Stone From The Sun,..............................................................................................So Unto You I Shall Split The Earth,...And You'll Never Hear Surf Music Again.
Jimi Hendrix Experience
I haven't seen Josef Zawinul play live for 20 years now. I am happy you have the chance of a lifetime to see first hand such a master perform. I would fly to Vienna to see that. That's how impressive of a live performer he is. I always think of Mozart, and Zawinul as true masters of Vienna.
I was doing my second recording in Miami @ Criteria w/ Mothers Finest, when Jaco and Josef had the " A " booth. I was in a successful band, but felt like a musical whore after hearing their tracks. Then they starting touring ( Weather Report ) Birdland was the first track off of the Heavy Weather Album. I was just starting to regain my ego that was destroyed as we opened for every big act out back then. But these public beatings I endured forced me to practice intensely, as I was determined that next years tour dates would be less embarrassing for me. I still thank God for those experiences I had as a young teen playing with all of those veterans. I wish I could convey the importance of continuos live performance to all of my Brothas' here. Jamming is great, but true improvements stem from live shows that never seem to stop. I never thought that I would be performing professionally live for 36 years now. I can't stop though, as it is all I know, with the exception of course of chugging vast quantities of Jaegermeister. It took away the pain of my humiliation back then, and I can't stop doing that either.
Let us do a thread of what we think are the greatest 20 synths of all time. Staring with the 60's, and the Beach Boys using a Theramin on Good Vibrations.
I think that was where another idol of mine got the phrase in his song 3rd Stone From The Sun,..............................................................................................So Unto You I Shall Split The Earth,...And You'll Never Hear Surf Music Again.
Jimi Hendrix Experience
When I worked in the 'big studio' I used a proteus all the time..
It was such an easy way to compose....we had a huge rack full of synths, all being driven by cubase on an atari. But when songwriting instead of patching in a million units, it was much easier to just use the presets on the proteus, with the s1000 for loops etc.
When the track was finished, I could then spend time finding the perfect sounds using the other unitsI (loved the D-550 btw). Before sending them to the to the main desk and onto tape.
I think the proteus is there for that reason.
Tho #1 is gonna be the moog, and we all know it. And I agree that the 303 will be #2.
My personal fave..... I dont know..... the stylophone...maybe ..... or the theramin (I love the old sci-fi movie sounds) .......I also love the Hammond organ..tho that aint a synth, I just wanted to mention it
I did enjoy the JD-800 and the D-550(D-50 in a rack).. so I guess they are my #1s.... but then what do I know.... Im a guitarist, that dabbles with these technobeasts.....
It was such an easy way to compose....we had a huge rack full of synths, all being driven by cubase on an atari. But when songwriting instead of patching in a million units, it was much easier to just use the presets on the proteus, with the s1000 for loops etc.
When the track was finished, I could then spend time finding the perfect sounds using the other unitsI (loved the D-550 btw). Before sending them to the to the main desk and onto tape.
I think the proteus is there for that reason.
Tho #1 is gonna be the moog, and we all know it. And I agree that the 303 will be #2.
My personal fave..... I dont know..... the stylophone...maybe ..... or the theramin (I love the old sci-fi movie sounds) .......I also love the Hammond organ..tho that aint a synth, I just wanted to mention it
I did enjoy the JD-800 and the D-550(D-50 in a rack).. so I guess they are my #1s.... but then what do I know.... Im a guitarist, that dabbles with these technobeasts.....
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mike.kennedy
- Posts: 39
- Joined: Fri Apr 08, 2005 4:00 pm
- Location: Monmouth, Wales
- Contact:
Indeed,
And I'll provide the picture. The year I graduated from high school, this one ( synthi 100 ) was set up at a local music store. I knew that the Who, and Pink Floyd had used Electronic Music Studio synths in their '72 tours which I was fortumate enough to see. They were ahead of the times in style, and performance features, i.e. the peg style was so convenient, and believe me at a gig back then for a keyboard guy to try and patch up the ARP2600, was a real nightmare. But after hearing Riding The Storm by REO Speedwagon, I had to have one regardless of the gymnastics needed when switching patch cords.
I second the EMS series that started back in '69, when the births of all things we emulate started.
And I'll provide the picture. The year I graduated from high school, this one ( synthi 100 ) was set up at a local music store. I knew that the Who, and Pink Floyd had used Electronic Music Studio synths in their '72 tours which I was fortumate enough to see. They were ahead of the times in style, and performance features, i.e. the peg style was so convenient, and believe me at a gig back then for a keyboard guy to try and patch up the ARP2600, was a real nightmare. But after hearing Riding The Storm by REO Speedwagon, I had to have one regardless of the gymnastics needed when switching patch cords.
I second the EMS series that started back in '69, when the births of all things we emulate started.
I would like to acknowledge the excellent quality and build of the only company that still builds polyphonic analog beasts. Studio Electronics. I have used their SE series synths for quite a while now, and believe that their new Code synth will remain the king of FAT in the world of analog.
The addition of sinewave generators on each voice has to sound incredible. I will let you know, as my M780 buddy has the Omega, and is now buying this one. That DIRTY BASTARD. I shall punish him w/ Solaris this fall.
The addition of sinewave generators on each voice has to sound incredible. I will let you know, as my M780 buddy has the Omega, and is now buying this one. That DIRTY BASTARD. I shall punish him w/ Solaris this fall.
for me even though it may not be the Best synth ever created is the Octave Kitten. My reason is fairly simple, I could afford it in London years ago and the sound blew my mind away. To put it simply, it got me into synths and I've always had a soft spot and with good reason I think, this synth was great fun.
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mike.kennedy
- Posts: 39
- Joined: Fri Apr 08, 2005 4:00 pm
- Location: Monmouth, Wales
- Contact:
Thanks for the EMS pics Jimmy.
I was lucky enough to get a place on the postgrad Diploma in Electronic Sound course at UC Cardiff back in 1978 where they had a Synthi 100 and a few other EMSs (VCS3s and Synthi A - the synth in a suitcase).
As I'm not a keyboard player, these were great instruments because you didn't need a keyboard to get a sound out of them - in fact the VCS3 defaulted to no keyboard. In spite of this the VCS3 (as it was portable - Synthi 100 definitely not) was used by a number of Brit bands in the late 60s / early 70s - notably Pink Floyd, Hawkwind, Led Zep and Roxy Music. At the time I was most disappointed to find that the (affordable) Jap synths had no patchboard!
Anyway, I was fortunate to have regular access to these systems for nearly a year and can vouch for their sonic qualities and useability. One of the guys in the department had (convincingly) reproduced "Knights in White Satin" - complete with guitar fret noses - entirely using multitracked Synthi 100. I wonder what has happened to that recording - and all the EMS kit that was owned by UCC!
VST emulation of the Synthi A is available here: http://www.emsrehberg.de/SYNTHI__s/SYNT ... lugin.html - although it's a little expensive at 350 euros! No idea what it's like as I haven't tried the demo yet.
Cheers,
Mike
I was lucky enough to get a place on the postgrad Diploma in Electronic Sound course at UC Cardiff back in 1978 where they had a Synthi 100 and a few other EMSs (VCS3s and Synthi A - the synth in a suitcase).
As I'm not a keyboard player, these were great instruments because you didn't need a keyboard to get a sound out of them - in fact the VCS3 defaulted to no keyboard. In spite of this the VCS3 (as it was portable - Synthi 100 definitely not) was used by a number of Brit bands in the late 60s / early 70s - notably Pink Floyd, Hawkwind, Led Zep and Roxy Music. At the time I was most disappointed to find that the (affordable) Jap synths had no patchboard!
Anyway, I was fortunate to have regular access to these systems for nearly a year and can vouch for their sonic qualities and useability. One of the guys in the department had (convincingly) reproduced "Knights in White Satin" - complete with guitar fret noses - entirely using multitracked Synthi 100. I wonder what has happened to that recording - and all the EMS kit that was owned by UCC!
VST emulation of the Synthi A is available here: http://www.emsrehberg.de/SYNTHI__s/SYNT ... lugin.html - although it's a little expensive at 350 euros! No idea what it's like as I haven't tried the demo yet.
Cheers,
Mike