The vco tracks for one and a half octave. Only one good octave is needed for the digital keyboard circuit.
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I gave up there. Eric van Baaren. -Oorspronkelijk bericht- Van: Peter Forrest mailto: Verzonden: dinsdag 10 april 2007 11:43 Aan: Onderwerp: AH arp pro soloist interfacing I think the ARP Pro Soloist is one of the nicest-sounding and most expressive monosynths ever, despite its being a preset instrument.
Has anyone had success interfacing one to CV/gate and/or MIDI? On 4/10/07, Peter Forrest wrote: I think the ARP Pro Soloist is one of the nicest-sounding and most expressive monosynths ever, despite its being a preset instrument. Has anyone had success interfacing one to CV/gate and/or MIDI? Peter F There was an article in Keyboard or EM/Polyphony with some Pro Soloist hacks. This would have been more than twenty years ago, so it would definitely take some dedicated searching. Still, I remember it because at the time I was in a band with a guy who had a Pro Soloist (and he refused to let me tinker his prize synth.
I also wondered if it would be possible to create a 'user preset' extension card where the presets could be replaced with pots, or even trimmers (allowing you to create a few user presets and replace the factory patches). Of course, scaring up the schematics will be a good step in the right direction. You might also look at Don Tillman's site in the ARP Patents section to find some Pro Soloist details.
One drawback of a simple MIDI - Relay interface is that you loose the cool pressure sensing keyboard. That's the best thing about the PS. A releated synth was the Moog Minitmoog, a preset synth with a pressure sensing keyboard. One big difference (well, the only difference, actually) was the fact that the Minit had a second VCO. Probably made a big difference in the sound, although I've never heard or seen one in action.
Tim (rarely seen or heard in action) Servo - 'Imagination is more important than knowledge.' - Albert Einstein. The Pro Soloist is a weird beast.
From what I understand, it uses a high-freq voltage-controlled relaxation oscillator that operates over a one octave range inside of a phase-locked loop and gets divided down to cover the various octaves. The sawtooth wave is made up of sub-ocatve waves added with various weightings to make a stair-stepped approximation.
The pulse-width modded sound (fuzz guitar, as used in Genesis' 'Cinema Show' and others) has zippers in the ADSR-controlled variable pulse-width because of this stair-stepping. This along with the fixed op-amp filter banks give the Pro Soloist its unique sound. I started a Yahoo Group on the Arp Pro Soloist a while back so that people could share ideas and tech tips on this beast.
If anyone is interested, the address is: I also have a link to the Pro Soloist repair manual at: www.poconothermionics.com/arp.html Dave - Original Message - From: 'Florian Anwander' To: 'Paul Perry' Cc: 'Analogue Heaven' Sent: Tuesday, April 10, 2007 10:03 AM Subject: Re: AH arp pro soloist interfacing. Hi Paul I don't know what the keyboard is doing, but even if (in the worst case) there is a non-linear resistor string that the keys tap off from, you could use reed relays to short around the key contacts. I'm tempted to try this only to hear the relays clickering in the groove of the noteon/notoff events of some cute sequencing;-) Florian PS: Doepfer offers a Relay board for theirs MTC64. - Internal Virus Database is out-of-date.
Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 268.18.24/741 - Release Date: 3/31/2007 8:54 PM. On 4/10/07, Peter Forrest wrote: I think the ARP Pro Soloist is one of the nicest-sounding and most expressive monosynths ever, despite its being a preset instrument.
Has anyone had success interfacing one to CV/gate and/or MIDI? Peter F There was an article in Keyboard or EM/Polyphony with some Pro Soloist hacks. This would have been more than twenty years ago, so it would definitely take some dedicated searching. Still, I remember it because at the time I was in a band with a guy who had a Pro Soloist (and he refused to let me tinker his prize synth. I also wondered if it would be possible to create a 'user preset' extension card where the presets could be replaced with pots, or even trimmers (allowing you to create a few user presets and replace the factory patches). Of course, scaring up the schematics will be a good step in the right direction. You might also look at Don Tillman's site in the ARP Patents section to find some Pro Soloist details.
One drawback of a simple MIDI - Relay interface is that you loose the cool pressure sensing keyboard. That's the best thing about the PS. A releated synth was the Moog Minitmoog, a preset synth with a pressure sensing keyboard.
One big difference (well, the only differenceactually) was the fact that the Minit had a second VCO. Probably made a big difference in the sound, although I've never heard or seen one in action. Tim (rarely seen or heard in action) Servo - 'Imagination is more important than knowledge.'
- Albert Einstein. Actually I think with a PIC or something similar, you could easily interface the keyboard scanner, voice toggle switches, and the octave and effect switches. The PS is really a primitive digitally-controlled analog synth. You could even have custom presets in memory, just like the Pro Soloist has. It has a ROM chip for the voices, but the code is spelled out in the manual. Dave - Original Message - From: 'Peter Forrest' To: 'Tim Parkhurst' Cc: Sent: Tuesday, April 10, 2007 11:29 AM Subject: Re: AH arp pro soloist interfacing.
It looks pretty clear that an interface is practically impossible. The Satellite was also an answer to the Pro Soloist, I think. The Minitmoog has a major problem with its pressure sensor - I think I'll ask the list about that with a new heading:o) Peter F - Original Message - From: 'Tim Parkhurst' To: 'Peter Forrest' Cc: Sent: Tuesday, April 10, 2007 3:44 PM Subject: Re: AH arp pro soloist interfacing On 4/10/07, Peter Forrest wrote: I think the ARP Pro Soloist is one of the nicest-sounding and most expressive monosynths ever, despite its being a preset instrument.
Has anyone had success interfacing one to CV/gate and/or MIDI? Peter F There was an article in Keyboard or EM/Polyphony with some Pro Soloist hacks. This would have been more than twenty years ago, so it would definitely take some dedicated searching. Still, I remember it because at the time I was in a band with a guy who had a Pro Soloist (and he refused to let me tinker his prize synth.
I also wondered if it would be possible to create a 'user preset' extension card where the presets could be replaced with pots, or even trimmers (allowing you to create a few user presets and replace the factory patches). Of course, scaring up the schematics will be a good step in the right direction. You might also look at Don Tillman's site in the ARP Patents section to find some Pro Soloist details. One drawback of a simple MIDI - Relay interface is that you loose the cool pressure sensing keyboard. That's the best thing about the PS. A releated synth was the Moog Minitmoog, a preset synth with a pressure sensing keyboard.
One big difference (well, the only differenceactually) was the fact that the Minit had a second VCO. Probably made a big difference in the sound, although I've never heard or seen one in action. Tim (rarely seen or heard in action) Servo - 'Imagination is more important than knowledge.' - Albert Einstein - Internal Virus Database is out-of-date. Checked by AVG Free Edition.
Version: 7.5.446 / Virus Database: 268.18.24/741 - Release Date: 3/31/2007 8:54 PM. The ARP Pro Soloist keyboard has a 6 bit output; 4 bits chose one of 12 pitches, and the remaining 2 bits control the octave. The voice selector card for both the Pro Soloist and the Pro-DGX output a 5 bit code that selects one of the 31 presets, or 'Off'.
Finally, there is an op-amp that buffers a voltage proportional to the output of the aftertouch sensor, and subbing a CV for this output will work even if the resistive strip is dried out and dead. Thus, your MIDI to CV converter should generate a 6 bit code for note-on/off, a 5 bit code for program change, and a CV for aftertouch, and the only thing on the ARP you'll have to touch to play it are the aftertouch destination routings, the vibrato/repeat rate knob, and the portamento on/off switch. David Hillel Wilson Curator, New England Synthesizer Museum [email protected] (mailto:) www.synthmuseum.com/nesm. See what's free.
Actually I think with a PIC or something similar, you could easily interface the keyboard scanner, voice toggle switches, and the octave and effect switches. The PS is really a primitive digitally-controlled analog synth. You could even have custom presets in memory, just like the Pro Soloist has. It has a ROM chip for the voices, but the code is spelled out in the manual. Dave - Original Message - From: 'Peter Forrest' To: 'Tim Parkhurst' Cc: Sent: Tuesday, April 10, 2007 11:29 AM Subject: Re: AH arp pro soloist interfacing It looks pretty clear that an interface is practically impossible.
The Satellite was also an answer to the Pro Soloist, I think. The Minitmoog has a major problem with its pressure sensor - I think I'll ask the list about that with a new heading:o) Peter F - Original Message - From: 'Tim Parkhurst' To: 'Peter Forrest' Cc: Sent: Tuesday, April 10, 2007 3:44 PM Subject: Re: AH arp pro soloist interfacing On 4/10/07, Peter Forrest wrote: I think the ARP Pro Soloist is one of the nicest-sounding and most expressive monosynths ever, despite its being a preset instrument. Has anyone had success interfacing one to CV/gate and/or MIDI? Peter F There was an article in Keyboard or EM/Polyphony with some Pro Soloist hacks. This would have been more than twenty years ago, so it would definitely take some dedicated searching. Still, I remember it because at the time I was in a band with a guy who had a Pro Soloist (and he refused to let me tinker his prize synth. I also wondered if it would be possible to create a 'user preset' extension card where the presets could be replaced with pots, or even trimmers (allowing you to create a few user presets and replace the factory patches).
Of course, scaring up the schematics will be a good step in the right direction. You might also look at Don Tillman's site in the ARP Patents section to find some Pro Soloist details. One drawback of a simple MIDI - Relay interface is that you loose the cool pressure sensing keyboard. That's the best thing about the PS.
A releated synth was the Moog Minitmoog, a preset synth with a pressure sensing keyboard. One big difference (well, the only differenceactually) was the fact that the Minit had a second VCO. Probably made a big difference in the sound, although I've never heard or seen one in action. Tim (rarely seen or heard in action) Servo - 'Imagination is more important than knowledge.' - Albert Einstein - Internal Virus Database is out-of-date. Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 268.18.24/741 - Release Date: 3/31/2007 8:54 PM.
The ARP Pro Soloist keyboard has a 6 bit output; 4 bits chose one of 12 pitches, and the remaining 2 bits control the octave. The voice selector card for both the Pro Soloist and the Pro-DGX output a 5 bit code that selects one of the 31 presets, or 'Off'. Finally, there is an op-amp that buffers a voltage proportional to the output of the aftertouch sensor, and subbing a CV for this output will work even if the resistive strip is dried out and dead. Thus, your MIDI to CV converter should generate a 6 bit code for note-on/off, a 5 bit code for program change, and a CV for aftertouch, and the only thing on the ARP you'll have to touch to play it are the aftertouch destination routings, the vibrato/repeat rate knob, and the portamento on/off switch.
David Hillel Wilson CuratorNew England Synthesizer Museum [email protected] (mailto:) www.synthmuseum.com/nesm. See what's free at. Just some quick tidbits. Firstly I picked up a pro/dgx service manual from Mark Glinsky some time back.
It's quite interesting and charts out what it's doing with the binary The other thing that might be a dead end or might not in terms of opening up the sound to more programability, maybe there's some potential good mods already being more or less spelled out in the Arp Explorer schematics. I've never seen them or even an explorer in real life.
I was just guessing it probably has the same engine or at least a good deal in common but obviously more user parameters. Pity the explorer skips the aftertouch. The ARP Pro Soloist keyboard has a 6 bit output; 4 bits chose one of 12 pitches, and the remaining 2 bits control the octave.
The voice selector card for both the Pro Soloist and the Pro-DGX output a 5 bit code that selects one of the 31 presets, or 'Off'. Finally, there is an op-amp that buffers a voltage proportional to the output of the aftertouch sensor, and subbing a CV for this output will work even if the resistive strip is dried out and dead. Thus, your MIDI to CV converter should generate a 6 bit code for note-on/off, a 5 bit code for program change, and a CV for aftertouch, and the only thing on the ARP you'll have to touch to play it are the aftertouch destination routings, the vibrato/repeat rate knob, and the portamento on/off switch. David Hillel Wilson CuratorNew England Synthesizer Museum [email protected] (mailto:) www.synthmuseum.com/nesm So with a fairly simple scanning keyboard, it sounds like ARP could have knocked out a polyphonic ProSoloist without too much effort.
So close, and yet, so far. Tim (or 'so close, and yet, so near' if you listen to Firesign Theater) Servo - 'Imagination is more important than knowledge.' - Albert Einstein.
So with a fairly simple scanning keyboard, it sounds like ARP could have knocked out a polyphonic ProSoloist without too much effort. So close, and yet, so far. Well a simple scanning keyboard was probably a 5 or six figure proposition when the soloist first came out, but still they could have done something akin to the OB-SX some years later. I guess Arp had it in their mind to build a poly that also was a guitar synth. So they had to use VCOs to do that, right? It would have made more sense to use their pro soloist/dgx technology if they wanted a poly that was more reliable than the Centaur they prototyped.
Still, when you get into that kind of money you don't really want to be limited to presets.
OK, Dan just came upon a Moog Voyager that's as sweet as it can be. There are so many excellent recordings that exhibit why the Moog is at the top of the list with regards to lead synths. But I am wondering, is it your #1?
If cost wasn't much of an issue, and you wanted to buy a lead synth today, would it be the Moog? Oh, and one more thing. On which tunes would you use it? I think I'd have to pull out the Zawinul catalog. I'd start with this: By the way, can anyone identify all the keyboards and effects Joe is using in this video.
But it's dark and I could be missing some. What's the top board? He's got the Moog in the middle with the control panel on his left. On the bottom, it sounds like a Rhodes being played through a Leslie or a chorus box. But from the wide shots, it looks like a grand piano shape. He's got the Oberheim (four-voice?) on the right. What's under the Oberheim?
What's to the right of the Oberheim? (See the Birdland video around 4:46.) What else can you identify?
There are so many excellent recordings that exhibit why the Moog is at the top of the list with regards to lead synths. But I am wondering, is it your #1? I use a moog voyager or minimoog for leads but it is not my '#1'. The Oberheim SEM is also a very effective lead voice. One can get timbres that the other cannot.
One uses a 24dB/oct lowpass filter, the other a 12dB/oct multimode filter. Both have different control laws for modulation, IE one had linear response the other has log response - this matters when routing EG-VCF to pitch of one VCO for brass voices. They don't have to be Moog and Oberheim. Zawinul's 2600s have a 24dB/oct lowpass filter. Not a moog ladder filter, but still an effective compliment to the Oberheim. But I am wondering, is it your #1? If cost wasn't much of an issue, and you wanted to buy a lead synth today, would it be the Moog?
I have a slim phatty and am very happy with it as a gigging tool in a number of applications. The filter is very musical and blends very well with acoustic, electric and electronic instruments. If Oberheim had a reasonably priced polysynth with individual midi control of separate voices, that would be the ideal polysynth for me.
The sweetness of the filter (in both cases) is important. Everything else is up to the player. On which tunes would you use it? I do use the Slim Phatty for the square wave lead on 'A remark you made', as a matter of fact.
(I think Papa Jo is using one of his Arp 2600s for that here.) One of my bands has been doing a lot of Cobham/ Jan Hammer / George Duke tunes, and the Moog gets used a lot for those types of jazz/rock leads. I also use it as a filter for sounds from digital sources.
(1 pole filter fully open. Still adds a musical warmth without cutting off the highs when it's static.
Even a piano sounds good. ) When you turn up the resonance and use the filter CV with a pedal you can do wahs (primarily for clav, but also some realistic polymoog emulations).
If I had roadies I would add to the filter topology (combine Moog with Obie multi-mode in series to create CS80 type resonances), and possibly add some more efx. (I use a single Moog 104M as a delay/chorus.) It's a matter of convenience.
If I build racks I give up some casual gigs that I enjoy going to. So this is a very simple way to enjoy a very large palette.
#2543179 - 11/12/13 08:37 AM Re: Your favorite lead synth? 10k Club Registered: 06/03/09 Posts: 12972. And how are you privy to this valuable information? So, I'm guessing the ring modulator is static (no LFO modulating that). And it's the Mutron BiPhase that's giving us the Leslie/chorus sound.
That's so cool. There's a lot of Rhodes discussion on ep-forum.com and Zawinul's rhodes sound is a popular topic. The ring modulator gives the Rhodes some metallic edge. The BiPhase makes it swim. I've played with a BiPhase and it's definitely all over 'A Remark You Made' #2543196 - 11/12/13 09:15 AM Re: Your favorite lead synth? MP Hall of Fame Member Registered: 05/17/05 Posts: 5177 Loc: Secluded Tranquil NY Wine Coun.
Ah here's the bigger pic There's also a 2nd BiPhase, Echoplex, dual Oberheim sequencer, ARP sequencer, and SCI 700 programmer (to the left of the 3620s). The SCI 700 programmer was a standalone programmer for analog synths before programmable synths came out, Zawinul used it on his 2600.
They could only provide three CVs for VCO pitch and had a pair of programmable EGs. The 700 was later expanded to become the crucial element for the 100% programmable Prophet-5.
#2543200 - 11/12/13 09:24 AM Re: Your favorite lead synth? 10k Club Registered: 11/01/01 Posts: 12522.
I have a 1972 Minimoog and Arp ProSoloist (mine is dated 1975 inside). I don't think those boards can really be beat for what they do. But I also kinda dig some of the sounds I programmed in my Oberheim Matrix 12 for lead playing too. Different flavour but still cool. Modern boards.
I did quite like the Moog SubPhatty when I tried it. I also programmed my PolyEvolver to sound like my fav ARP Prosoloist sounds and got damn close. Weirdly enough, I tried to do the same with my old Voyager (now sold) but could never get close to my ARP and Minimoog.
Not entirely sure why. It just did not play in the same way. Perhaps the slew rate mod might improve things? #2543219 - 11/12/13 09:58 AM Re: Your favorite lead synth?
Gold Member Registered: 10/06/12 Posts: 574 Loc: BC Canada. If I could buy anything for a lead synth, it would be a Moog. Ideally a model D (with reasonably stable oscillators.) but I'd be ok with a little phatty even, or if a version of the sub phatty comes out with a 3 octave keyboard. However I currently use a korg mono/poly, and I am very happy with it. I've had it since they were first released. I used to have two but let my wife sell one on ebay a few years ago.something I cannot express in words how deeply I regret. Edited by Shutoku ( 11/12/13 10:00 AM).
Back in the day (the late 80s) when I would actually attempt a synth lead or two, I had a great patch on my Roland JX-10.E5 maybe? I used the stock patch and it sounded great.
I also owned a Kawai K-something, and it had a really nice smooth mono lead (too smooth for some stuff). My favorite synth lead growing up was far and away Styx's oberheim one. For soft synths, I found a great patch on Zebra and Imposcar II has some really nice patches. #2543249 - 11/12/13 11:37 AM Re: Your favorite lead synth? MP Hall of Fame Member Registered: 02/27/10 Posts: 4013. I had my self-built synth-stuff, which could do solo things, and I prefered DX-lead sounds when that was already slightly not cool anymore.
Also, a good analog brass is nice for soloing, I don't know which one I'd prefer. At the time I wanted a Pro-One: I'd now like a SY-999 wint a strong coupling with Prophet-12 with a lot of extra input/output connectors, and at least one Lexicon PCM-96surr to go with that for nice solo sounds. That doesn't exist yet and, unfortunately, even if there's be a 'Foreign Instruments' Yamaha approved SI-9999 or something in software, I wouldn't have much faith in it. A realistic exiting synth that, with a lot of deep programming, and possibly with the help of extensive external Mixing effects, can do solo synth sounds while being digital is the PC3, bust i don't think many people have good examples of that. #2543252 - 11/12/13 11:49 AM Re: Your favorite lead synth? MP Hall of Fame Member Registered: 10/29/09 Posts: 2210 Loc: Georgia, US. Always loved the Korg M3-61 for leads, especially with the RADIAS board.
Moog LPs natch, despite the keyboard action. In software land, Zebra and Diva have some pretty face-melting presets, and while that's all fine and good, much depends on the controller. I've heard some amazingly expressive things coming out of FM synths. Does anyone know if Jens is using a DX here (starting at:44)? #2543329 - 11/12/13 03:15 PM Re: Your favorite lead synth? MP Hall of Fame Member Registered: 06/27/04 Posts: 7989 Loc: Central PA, USA. I have a 1972 Minimoog and Arp ProSoloist (mine is dated 1975 inside).
I don't think those boards can really be beat for what they do. But I also kinda dig some of the sounds I programmed in my Oberheim Matrix 12 for lead playing too.
Different flavour but still cool. Modern boards.
I did quite like the Moog SubPhatty when I tried it. I also programmed my PolyEvolver to sound like my fav ARP Prosoloist sounds and got damn close. Weirdly enough, I tried to do the same with my old Voyager (now sold) but could never get close to my ARP and Minimoog. Not entirely sure why. It just did not play in the same way. Perhaps the slew rate mod might improve things? Hey Neil: You make some excellent comparisons of instruments.
I owned an early Mini Moog but it wouldn't stay in tune when moved, and was worse being transported during NE USA cold winters we use to get back in the dark ages. I went through several 'lead' synths in the early days, (Arp & Moog) I ended up selling my second Mini Moog (which stayed in tune better than the earlier edition) and bought a Moog Source. The Source had patch memory storage capability which was great for gigs. I found it almost impossible to change sounds on a mini moog between songs while working in a small band where my other KB's were necessary for a full sound (Piano, Rhodes, and organ sounds). Somewhere in that period I bought the Arp Odyssey pictured with my name on the left, which I still own. The Moog Source got the call because of the patch storage the others did not have. Also, interesting observation on the Moog Voyager.
I know a great KB player/friend of mine that had one along with a Kurzweil for B&B sounds, both of which he used for gigs. He told me he was 'disappointed' with the Voyager. It just didn't seem to have a robust sound like his old Mini Moog years ago.
Thanks for reminiscing some of our favorite boards of old. DB MY Minimoog D is MY favourite monophonic lead synth! My Oberheim Xpander is my favourite polyphonic lead synth. I´ve found ways to re-program some of these sounds into my KURZ PC361. It´s not exactly the same but works in live scenario.
Never owned ARP (Rhodes) synths but played a borrowed white ARP Odyssey a lot in the past. Today, I get all ARP magic from Sonic Core XITE-1 and SCOPE 5.1 (ARP Odyssey, MOOG Minimoog D, SCI Prophet 5 and Pro One as also Roland Juno 6 included). Because I have a direct comparison to the real Minimoog D,- 'the real deal' has some, but not much advantages. In case of the Minimoog that´s the 'loopback' trick. In software, feedback of synth output into 'audio input' sounds significantly different,- all other patches sound extremely close if not the same. But,- I´m using that loopback trick always, just only switching 'Audio In' on/off when I want more filter 'resonance',- so, the real deal is better for me and there are the haptics too. #2543345 - 11/12/13 03:51 PM Re: Your favorite lead synth?
MP Hall of Fame Member Registered: 10/01/08 Posts: 2802. My favorite sounds for leads: A Moog modular or 'R.A.' Or, from what I heard on the demos, a Macbeth Micromac D. However, I don't have none of these in my rig. But also, especially for leads, I like to have many programmable parameters to fine-tune the sound to the song and really tailor it for my playing. This comes from a K2600 with a moderate dose of breath control (wait until 50 sec.
Or so, when the electric piano 'morphs' into a synth): This is from a heavily breath-controlled XP80 playing a sample of a Mizmar (from the 'World' JV card), with a small dose of Yamaha VL-1 layered over: From the same song as above, a synth solo from the AN1x: Believe it or not, my main solo voice onstage has been for many years the Wavestation. Here's an example of a Minimoog-like part, after the powerful vocal chorus of Francesco Di Giacomo: Nowadays, my DSI MEK is my main 'melodic' instrument. Here's an excerpt, sitting with a group of my students: Of course, my main instrument is piano. And when I'm able to play both piano and lead synth, I'm happy! Here, it's XP80 and Wavestation layered: The same song, played live more recently, with the MEK doing lead duties: #2543413 - 11/12/13 08:46 PM Re: Your favorite lead synth? Gold Member Registered: 08/21/13 Posts: 563 Loc: NJ. I have a Sequential Pro-One and (original) Korg MS-20.
The Pro-One is the much better sounding lead Synth of the two. What I actually use on stage though is a Roland Jupiter 6.
One of the few PolySynths that can be instantly switched to a true single-voice Solo Mode rather than the Unison Mode (which it also does) found on every other Poly. In addition it is capable of an extremely wide Pitch Bend range typically found only on certain vintage Roland Synths. The five octave key range is a big plus (in case I ever need to do the 'Lucky Man' solo) over the usual 37-key MonoSynths.
My favorite sounds for leads: A Moog modular or 'R.A.' Or, from what I heard on the demos, a Macbeth Micromac D. However, I don't have none of these in my rig. But also, especially for leads, I like to have many programmable parameters to fine-tune the sound to the song and really tailor it for my playing.
This comes from a K2600 with a moderate dose of breath control (wait until 50 sec. Or so, when the electric piano 'morphs' into a synth): This is from a heavily breath-controlled XP80 playing a sample of a Mizmar (from the 'World' JV card), with a small dose of Yamaha VL-1 layered over: From the same song as above, a synth solo from the AN1x: Believe it or not, my main solo voice onstage has been for many years the Wavestation. Here's an example of a Minimoog-like part, after the powerful vocal chorus of Francesco Di Giacomo: Nowadays, my DSI MEK is my main 'melodic' instrument.
Here's an excerpt, sitting with a group of my students: Of course, my main instrument is piano. And when I'm able to play both piano and lead synth, I'm happy! Here, it's XP80 and Wavestation layered: The same song, played live more recently, with the MEK doing lead duties: Very nice sounds and playing in here Marino. Wonderful lead runs. No metronome required for you.
Brett Edited by Brettymike ( 11/13/13 12:28 AM) #2543440 - 11/13/13 02:14 AM Re: Your favorite lead synth? Platinum Member Registered: 12/28/12 Posts: 1324 Loc: West Sussex, UK. Many favorites.ie for different flavors Mini D - No comments (except that I control it via a Kenton Pro Solo MkII to be able to pitch bend and to have VCA and/or VCF controlled by velocity) Kurzweil K2xx - Some very expressive sounds MKS-80 - Love that it has true mono mode (as JP6). Great aggressive CEM sounds! (Mine is a Rev 4) Studio Electronics ATC-Xi Quad - My favorite among the favorites at the moment. Great programmability and really ballsy/aggressive sounds with Crossmod, filter FM and ringmod etc. Almost all parameters can be controlled by vel, AT or various Midi CC´s.
Responds really well with breathcontroller due to its 16-bit midi resolution. Really cool to control it from a Kurz PC3 with its great midi masterfunctions. There you can ie have a main zone and some 'silent' zones which only sends midi CC´s which in turn means that I can make one fader, wheel, or AT/BC etc control 1 or several parameters of the ATC simultaneously if I want to. Will order a Ribbon controller for the PC3 soon for even more expression! Theo and Mike - again, thanks for your comments. However - 'moderate insanity'? For some moderate insanity in lead playing, try this: Hats off,- your stuff is what I heard 1st today and is top notch.
B.t.w.,- my favourite lead synth was and is my Moog Minimoog D or my Oberheim Xpander, depending on the textures needed. I also like(d) layering Oberheim Xpander and DX7mkII or use the DX7mkII alone,- FM, when programmed right, is very effective and especially w/ the unbeatable fast triggering action of the DX7. Like You, I also find some textures from Wavestation SR very useful for leads. Actually, I discovered my Kurz PC361 for expressive leads too and I´m still investigating VAST technology even I own the synth now for about 2 years. Edited by Al Coda ( 11/14/13 07:08 AM) Edit Reason: typo #2543722 - 11/14/13 05:53 AM Re: Your favorite lead synth?
MP Hall of Fame Member Registered: 08/02/00 Posts: 7130 Loc: New England. I think part of the question about favorites is a question of lineup. If you are playing with acoustic instruments, then some sample/modeling/additive/fm instruments have fine control of the overtone series and the timbral subtleties are appreciated. If it's electric, then you might give up subtlety for tone and projection. (Not that FM through a stompbox wouldn't scare the heck out of a guitarist. ) #2543730 - 11/14/13 06:19 AM Re: Your favorite lead synth? MP Hall of Fame Member Registered: 08/02/00 Posts: 7130 Loc: New England.
Does anyone know if Jens is using a DX here (starting at:44)? Jens has variously used a DX7 through a Morley stompbox, a Korg Polysix and a JV1080 (controlled by the aforementioned DX7) from time to time. I believe Heavy Machinery was 100% JV1080 though I cannot be sure which interview I heard that on.
I am pretty certain different cabs and stompboxes (including the Morley) were used as well. He's a great player with a distinctive style. #2543735 - 11/14/13 06:50 AM Re: Your favorite lead synth? Platinum Member Registered: 12/28/12 Posts: 1324 Loc: West Sussex, UK. Z1 had a great ARP ish sound. He re is a track where I jammed over an Aebersold record with a sound I programmed many years back (maybe 10 years ago now).
I think the backing tune is from one of the David Baker volumes. The one from the mid 70s. Sold the Z1 earlier this year as I was making a big move across the country (sold about 7 keyboards!) but it was a great synth. #2543950 - 11/14/13 02:36 PM Re: Your favorite lead synth?
MP Hall of Fame Member Registered: 06/27/04 Posts: 7989 Loc: Central PA, USA. I remember being blown away at how incredible Tony Banks' playing.and. lead synth sound was in a concert film called 'Genesis In Concert' (1977 according to the IMDB) that I saw on VH-1 Classic several years back. I read that Banks played an ARP Pro Soloist, which had (per the Vintage Synth Explorer site), '. Aftertouch sensitivity for volume, brilliance, vibrato, wow, and even bend effects'. I think member Losendoskeys mentioned this synth. #2544067 - 11/15/13 01:35 AM Re: Your favorite lead synth?
Platinum Member Registered: 12/28/12 Posts: 1324 Loc: West Sussex, UK. I remember being blown away at how incredible Tony Banks' playing.and. lead synth sound was in a concert film called 'Genesis In Concert' (1977 according to the IMDB) that I saw on VH-1 Classic several years back. I read that Banks played an ARP Pro Soloist, which had (per the Vintage Synth Explorer site), '.
Aftertouch sensitivity for volume, brilliance, vibrato, wow, and even bend effects'. I think member Losendoskeys mentioned this synth. It's pictured a couple of posts above ^^^^ and the Rack + version from Joachim Verghese a bit higher up Not bad for a 'preset' synth from the early 70's.
Edited by Losendoskeys ( 11/15/13 01:39 AM).
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