Welke synthesizer zou je nog willen.

[Yoozer]

V-Synth.

ATC-X.

 

[JohnDoe21]

Korg Polysix en MoNo/PoLy

 

[Hooihuis]

Sinds ik een aantal demos van de Little Phatty eens goed bekeken heb, ben ik daarvan best onder de indruk eigenlijk. Dusssss......

De LP staat er inmiddels...erg fijne synth hoor

Misschien ooit in de toekomst nog een DSI MEK er naast, maar dan moet ik eerst eens wat verkopen

 

[Xquizit]

Alesis A6 Andromeda

Moog Voyager Old School

 

[SpaceAgent202]

ik wil een klein monstertje maar weet nog niet welke

 

[Slipperman]

ik blijf er maar bij...
Ned Synclavier, Arp Quadra, een CP80 en een steinway grand piano.

 

[Septic]

De John Bowen S≈L∆RiS uiteraard, het summun van de muziektechnology en blauwdruk voor wat de toekomst ons gaat brengen. Alles wordt overbodig hiermee hehe.

Ik heb er een besteld en heb nu echt besloten geen synths meer te kopen nog, behalve dan mijn Motif ES omzetten in een XS dan....

 

[Guest]

S≈L∆RiS uiteraard. Alles wordt overbodig hiermee hehe.

wat wil je voor je pek hebben?

 

[Der_Mantie]

De John Bowen S≈L∆RiS
Ik heb er een besteld en heb nu echt besloten geen synths meer te kopen nog, behalve dan mijn Motif ES omzetten in een XS dan....

Is dat dan de versie met een joystick? of komt deze later uit in mei?

op sonic state staat een interview en zegt john dat er een versie komt met joystick

Ik heb het filmpje gezien, lijkt me een leuke synth maar om nou te zeggen dat deze al het andere overbodig maakt hihi.

 

[snitch]

Ach zoveel, maar toch wel héél graag een Yamaha CS-80 of een Oberheim OB-X.

 

[j.baars]

deze wil ik wel, past goed bij mijn andere blauwe spulletjes.


is helaas nooit op de markt gekomen, maar als iemand toevalling een schema en de sotfware heeft rondslingeren, dan hou ik mij aanbevolen.

groeten, happy dreams,
jeroen

 

[Septic]

1750 voor de PEK (zonder veren helaas)

 

[Septic]

Is dat dan de versie met een joystick? of komt deze later uit in mei?

op sonic state staat een interview en zegt john dat er een versie komt met joystick

Ik heb het filmpje gezien, lijkt me een leuke synth maar om nou te zeggen dat deze al het andere overbodig maakt hihi.

Ja idd met een joystick, die foto is er een van een prototype.
Omdat er ook Prophet VS golfvormen inzetten kan je met die joystick een Prophet VS nadoen , lachen he
Dat overbodig maken was een klein grapje mijnerzijds.

 

[R-ond]

de Jupiter 8 denk ik.

en verder de Picokorg (c) *

*(copyrighted by Phochos)[/QUOTE

haha pico korg
ik zou wels de chroma willen proberen
een multie poly analoge bak helaas wat weinig knobbies
maar sound wise erg ok ...schynt

http://www.rhodeschroma.com/?id=gallery

eerst maars een polaris scoren ,..= lastig maar is familie
en is een nakomeling van de rhodes groep




Chroma. Programming depth far beyond anything you've ever experienced on a performance instrument. Control that puts every subtle dynamic expression right at your fingertips. Responsiveness that brings you back into the warm world of human-controlled music.

Chroma is a 16-channel, completely programmable polyphonic synthesizer with computer interface and dynamic keyboard. But the similarity to other synthesizers ends here. Because Chroma puts back the dimension of feel that was lost when synthesized music was born.

Was it multitimbral?

The Chroma had 16 discrete synthesizer channels, complete analog synthesizers. There were two VCOs, a cool multimode VCF, a VCA, and software-created envelope generators. There were 64 sample-and-holds that controlled all of those channels, and they were real-time updated and driven directly off the central computer.

The heart of the Chroma was an Intel 80186. We were a beta site for Intel. We helped Intel debug the 186, which preceded the now-famous 286. We were ahead of the PC, which had an 8086. If you flip up the Chroma's front panel, on the right side you will see an 80186, a stack of RAM, and various other silicon glue: It's a CPU card. Take that card out, put in a SCSI controller and a hard disk drive, and you've got a desktop PC. It was a full-fledged programmable computer in a very proper sense. Paul DeRocco, the chief hardware architect, designed this system and wrote all the Chroma's assembly code. Paul selected the 186 because it had a very good I/O [input/output] structure that allowed a lot of simultaneous data to come in on a lot of data lines. The 80186 was designed as a peripheral controller, whereas the 80286, 386, 486, and so on are really designed more for desktop PC usage. But it's the same family and same instruction set.
Was it a new experience for you to incorporate a microprocessor in a synthesizer?

Not really. The predecessor product, the Quadra, was fakey, but it was among our first microprocessor-based instruments. It used the 8048, which was a single-chip microprocessor that scanned all the keys, scanned all the front panel controls, and set up all the patches. The Quadra was basically an old ARP Omni with a two-note synthesizer layered on top of it.
How many Chromas were made?

My guess is about 3,000. We built the first 50 in Massachusetts, until we could prove that everything was in good shape. Then we set up a production line in the Gulbransen organ factory, which was also a CBS company at the time, and had just all kinds of quality control problems.

Working with CBS wasn't easy. Their Gulbransen plant was in the middle of a cornfield in the middle of nowhere. "They know all about building stuff," CBS told me. "Okay," I said to myself. "I'm not sure how I feel about this, but they're the new bosses." So we tried to train the Gulbransen people to build synthesizers. These were people who had built home organs for 15 or 20 years, and that's all they knew.

The Chroma was a 16-channel instrument. It had eight dual-channel voice cards that plugged into a motherboard for easy servicing. The first thing the Gulbransen people did as a cost-cutting measure was to start processing the channel cards in a new way. They had just started using this water-soluble flux in their production line. The boards were soldered and put through a water-soluble solution. The process saved a lot of money and it was better than doing the old method of flux removal. But the process was still experimental at the time.

Anyway, they ran about 300 or 400 channel boards through this process, and we immediately started hearing about problems in the field from customers -- often major-name customers -- whose instruments would simply never stay in tune. It took us the longest while to figure out what was going on, and we finally figured out that it had to be the flux-removal process. But the manager of the plant told me, "No, it can't be. You don't know anything about manufacturing, you're just a nerdy engineer. We know about this stuff, you don't."

Finally Robert Hartford, who did all the detective work, took the boards up to a testing lab in New Hampshire and proved that each of the circuit boards had been contaminated through this process such that whenever the humidity rose, the oscillators would go sour. CBS ended up eating probably about $40,000 to $50,000 worth of channel cards, because there was no way to salvage them. They had to ditch the entire production line and move the whole thing to Fullerton, California, where they built tube amps and Fender Rhodes pianos.

 

[R-ond]

V-Synth.

ATC-X.

atc lijkt me ook heel tof aleen byna geen 2nd hands markt voor
terijl de se1x wordtje mee dood gegooid soms 800 eu

 

[Yoonchi]

The Chroma was a 16-channel instrument. It had eight dual-channel voice cards that plugged into a motherboard for easy servicing. The first thing the Gulbransen people did as a cost-cutting measure was to start processing the channel cards in a new way. They had just started using this water-soluble flux in their production line. The boards were soldered and put through a water-soluble solution. The process saved a lot of money and it was better than doing the old method of flux removal. But the process was still experimental at the time.

Anyway, they ran about 300 or 400 channel boards through this process, and we immediately started hearing about problems in the field from customers -- often major-name customers -- whose instruments would simply never stay in tune. It took us the longest while to figure out what was going on, and we finally figured out that it had to be the flux-removal process. But the manager of the plant told me, "No, it can't be. You don't know anything about manufacturing, you're just a nerdy engineer. We know about this stuff, you don't."

Finally Robert Hartford, who did all the detective work, took the boards up to a testing lab in New Hampshire and proved that each of the circuit boards had been contaminated through this process such that whenever the humidity rose, the oscillators would go sour. CBS ended up eating probably about $40,000 to $50,000 worth of channel cards, because there was no way to salvage them. They had to ditch the entire production line and move the whole thing to Fullerton, California, where they built tube amps and Fender Rhodes pianos.

Interessante anekdote. Zo zullen er meer zijn die Moog, Oberheim en Sequential CIrcuits om zeep hebben geholpen. Slechte management beslissingen om een produkt voor de marketing man makkelijker te maken.

On topic: Ik heb dit nooit in gedachte gehad, maar er komt een goede monosynth bij. Of een wordt een SE-1x, een SC Pro One of een Arp Oddesey.

 

[anoniempje]

andromeda
nordlead 2
mono/poly
oberheim xpander
tb-303
waldorf q phoenix
evolver of prophet 8
juno 60
arp 2600
OSCar

 

[teluur]

De John Bowen S≈L∆RiS uiteraard, het summun van de muziektechnology en blauwdruk voor wat de toekomst ons gaat brengen. Alles wordt overbodig hiermee....

Deze ziet er erg vet (en mooi) uit, maar begrijp ik goed dat het (maar) een monotimbrale VA-synth is(?)

 

[OJS]

Ik wil wel een Kurzweil K3000. Wordt al jaren genoemd als de opvolger van de K2600. Het zal nog wel een tijdje duren maar ik ben op voorhand alvast benieuwd.

 

[Septic]

nee hoor 4 parts multitimbraal, is alleen niet zeker of dat bij initial release is of 3 maanden later. Aldus de bouwer