Your favorite lead synth?

[ITGITC]

 

OK, Dan just came upon a Moog Voyager that's as sweet as it can be. KLONK!

 

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? KLONK!

 

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:

 

[video:youtube]F02mBkBoMQw

 

By the way, can anyone identify all the keyboards and effects Joe is using in this video. I count six. 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? An ARP? (See the Birdland video around 4:46.)

 

What else can you identify?

 

[video:youtube]AuAMSE_xck4

 

 

[video:youtube]i8q6sR6yZCE

[Dana.]

Nord Lead. Duh.

[mate stubb]

Well, that grand shaped thing that sounds like a piano under the 4 Voice - is a Yamaha electric grand....

[mate stubb]

And my all time favorite lead synth (analogue) - is the Chroma. Yeah, I know it's a poly.

 

My fave soft lead synth is IMPOscar.

[The Real MC]

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.

 

If cost wasn't much of an issue, and you wanted to buy a lead synth today, would it be the Moog?

 

Guitar players should have a strat, tele, and Les Paul. Sax players should have a tenor and alto saxophone. Keyboard players should have a one 24dB/oct lowpass synth and one 12dB/oct multimode synth.

 

On which tunes would you use it?

 

Anywhere I can, but only where applicable.

 

By the way, can anyone identify all the keyboards and effects Joe is using in this video. I count six. But it's dark and I could be missing some.

 

This is his rig from that era. There's a larger pic on the net but I can't find it.

 

http://charlottesvillearts.org/wp-content/uploads/2012/02/9-C-29-J.Zawinul.jpg

 

What's the top board?

 

He's got the Moog in the middle with the control panel on his left.

 

Those are both ARP 3620 controllers for his two ARP 2600s.

 

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.

 

Rhodes through Oberheim Ring Modulator (Tom's first musical product) through Mutron BiPhase

 

He's got the Oberheim (four-voice?) on the right.

 

Eight voice actually, two separate cabinets on top of the piano

 

What's under the Oberheim?

 

Grand piano

 

What's to the right of the Oberheim? An ARP?

 

ARP Odyssey

[Tusker]

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?

 

Yes. 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. Really. ) 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.

[CEB]

Memorymoog.

 

I like ARP stuff and the SCI Pro One.

 

Right now I want one of these.

 

[video:youtube]

 

[video:youtube]

[ITGITC]

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.

 

Rhodes through Oberheim Ring Modulator (Tom's first musical product) through Mutron BiPhase

 

OMG! 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.

[The Real MC]

OMG! 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"

[The Real MC]

Ah here's the bigger pic

 

http://revive-music.com/wp-content/uploads/9-C-29-J.Zawinul.jpg

 

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.

[RABid]

And my all time favorite lead synth (analogue) - is the Chroma. Yeah, I know it's a poly.

 

My fave soft lead synth is IMPOscar.

 

This for me. IMPOscar has a nice mix of sound and features. Just enough, without overloading you with option and it sounds really good.

 

The Chroma, I'm still waiting for someone to release a software version with the same patching possibilities. It may have had the best set of original patches for playing lead of any synth, ever.

[orangefunk]

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?

 

 

[Daniel Heslop]

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.

[Stokely]

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.

[Theo Verelst]

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:

 

[video:youtube]

 

[video:youtube]

 

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...

 

T.

 

[johnchop]

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)?

 

[video:youtube]AxWtUlpaorw

[MikeT156]

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.

 

 

Mike T.

[Dave Bryce]

http://i5.photobucket.com/albums/y172/davebryce/Mini.jpg

 

 

dB

[Doerfler]

http://i5.photobucket.com/albums/y172/davebryce/Mini.jpg

 

 

dB

 

WOW!

[Brettymike]

The best lead I've ever heard in years , is Kurzweil's new "Thessia" , that Dave W. helped cook up last year.

 

Gorgeous , Sexy , and Powerful , found in here >

 

Brett

[Al Coda]

http://i5.photobucket.com/albums/y172/davebryce/Mini.jpg

 

 

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.

 

A.C.

 

 

 

[hurricane hugo]

This lil' beast:

 

[video:youtube]

[timwat]

[video:youtube]

[Michael W]

This one.

 

http://www.fototime.com/795AF2EA9E1D5F4/medium800.jpg

[marino]

My favorite sounds for leads: A Moog modular or "R.A." MiniMoog D. 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):

Ex.1

 

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:

Ex.2

 

From the same song as above, a synth solo from the AN1x:

Ex.3

 

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:

Ex.4

 

Nowadays, my DSI MEK is my main "melodic" instrument. Here's an excerpt, sitting with a group of my students:

Ex.5

 

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:

Ex.6

 

The same song, played live more recently, with the MEK doing lead duties:

Ex.7

 

 

[Shamanczarek]

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.

[MAJUSCULE]

http://i5.photobucket.com/albums/y172/davebryce/Mini.jpg

 

 

dB

 

That's totally ridiculous.

 

I have a good time with my Mopho, but I'd love to try an Oberheim. Ken's Model D/Voyager combo was also pretty damn stellar.

[Brettymike]

My favorite sounds for leads: A Moog modular or "R.A." MiniMoog D. 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):

Ex.1

 

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:

Ex.2

 

From the same song as above, a synth solo from the AN1x:

Ex.3

 

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:

Ex.4

 

Nowadays, my DSI MEK is my main "melodic" instrument. Here's an excerpt, sitting with a group of my students:

Ex.5

 

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:

Ex.6

 

The same song, played live more recently, with the MEK doing lead duties:

Ex.7

 

 

Very nice sounds and playing in here Marino. Wonderful lead runs.

No metronome required for you .

 

Brett

[Losendoskeys]

http://i342.photobucket.com/albums/o430/alanjpearson/psp3sm-1_zps2c4e7fe4.jpg

[Markyboard]

My favorite lead synth is anyone Carlo happens to be playing.