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Unusual synths... past and present


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E-MU Audity. Think of it as the ultimate 16 voice SSM Prophet on steroids plus digital sequencers. 2 were built, samplers rendered it redundant.

 

Came with a control console and 6' rack which contained the voice cards.

 

$60,000 projected price in the late 70s.

 

E-mu_Audity.jpg

 

Actually only one was built. It resides in Cantos and is currently not functional.

 

16 voice Prophet? More than that... think fully programmable 16 voice Oberheim poly-SEM with extensive architecture.

 

I was browsing my back issues of Polyphony (predecessor to Electronic Musician) and found the product announcement for the Audity.

 

It wasn't just 16 voice... it was fully multitimbral. Each voice could have its own patch.

 

That's 16 sets of demultiplexed S&H circuits per voicecard. That's a LOT of circuitry and explains why the cabinet was so deep and why they listed for 69,000 moolas.

 

The voice architecture was ahead of its time too... two VCFs highpass in serial with lowpass, extensive voice modulation.

I remember when that was announced in Polyphony. It was a pretty glitzy product announcement IIRC. I always assumed that it was actually in full production - albeit completely beyond my resources.

Whenever you find yourself on the side of the majority, it is time to pause and reflect.

-Mark Twain

 

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The original Korg Oasys:

 

korgoasys1995.l.jpg

 

Kurzweil 150 - looks like you could maybe call in an air strike, or do simple math with this baby.

http://3.bp.blogspot.com/_FMBJEkaC8Lw/SHXMPB9_LVI/AAAAAAAAWEI/M3kwqsONEtE/s400/K150_front.jpg

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Kurzweil 150 - looks like you could maybe call in an air strike, or do simple math with this baby.

http://3.bp.blogspot.com/_FMBJEkaC8Lw/SHXMPB9_LVI/AAAAAAAAWEI/M3kwqsONEtE/s400/K150_front.jpg

 

There was a used K150 in a store a couple of years ago. It sounded too sterile and there are no modern apps to manipulate its sound engine. Tweaking additive synthesis from the front panel keypad and no rotational edit control? No thanks!

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The original Fairlight:

 

 

http://johntopley.com/images/posts/2009/12/21/fairlight_hydrofoil.jpg

 

 

The Fairlight Qasar:

 

 

http://egrefin.free.fr/images/Fairlight/Qasar/Qasar2-1.jpg

 

 

The Fairlight CMI:

 

 

Fairlight-SeriesIII-631x388.jpg

 

 

 

 

 

When an eel hits your eye like a big pizza pie, that's a Moray.
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He shoots....he scores...

 

http://www.synthmuseum.com/kin/prism01.jpg

 

 

I played that instrument at a NAMM show way back when. What a cool looking beast.

 

By all means... tell us more about it.

When an eel hits your eye like a big pizza pie, that's a Moray.
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Buchla Synthesizer - Digital One . . .

 

http://digone.com/wp-content/uploads/2013/09/Clear_Synth_685.jpg

I never fully understood why Buchla eschewed the conventional keyboard. It always seemed like a great way to shoot yourself in the foot and limit broader market appeal.

Whenever you find yourself on the side of the majority, it is time to pause and reflect.

-Mark Twain

 

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Buchla Synthesizer - Digital One . . .

 

http://digone.com/wp-content/uploads/2013/09/Clear_Synth_685.jpg

I never fully understood why Buchla eschewed the conventional keyboard. It always seemed like a great way to shoot yourself in the foot and limit broader market appeal.

 

I disagree. There is no broader market appeal, with or without a conventional keyboard. Buchla synths are the niche of the niche, the boutique of the boutique.

 

(As opposed to Roland's "Nou-tique" :rolleyes:)

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He shoots....he scores...

 

http://www.synthmuseum.com/kin/prism01.jpg

 

http://www.synthmuseum.com/kin/prism01a.jpg

 

Duall keybeds.. Preferably 76 keys... Weighted piano action in the lower, synth/organ action on the top one.. I still think thats what makes a perfect workstation/stagebeast.

Korg Kronos 88, Yamaha Tyros5 (76), Integra 7, macbook pro/mainstage
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I never fully understood why Buchla eschewed the conventional keyboard. It always seemed like a great way to shoot yourself in the foot and limit broader market appeal.

 

The first Buchlas were commissioned by avant-garde composers like Morton Subotnik who were looking to free themselves from tonal constraints, and I think it just stuck.

 

[video:youtube]

 

The first synthesizer I ever saw was a Buchla in the mid 1960s. I was a music student at the University of Washington, and a 100 Series was featured in a concert of new music on campus.

 

The same concert premiered a piece for solo trombone and garden hose. The guy had a garden hose attached to the slide of a trombone, and he swung it wildly above his head while moving the slide.

 

It was a time of great experimentation. Synths stuck around. Attaching garden hoses to trombones didn't.

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E-MU Audity. Think of it as the ultimate 16 voice SSM Prophet on steroids plus digital sequencers. 2 were built, samplers rendered it redundant.

 

Came with a control console and 6' rack which contained the voice cards.

 

$60,000 projected price in the late 70s.

 

E-mu_Audity.jpg

 

Actually only one was built. It resides in Cantos and is currently not functional.

 

16 voice Prophet? More than that... think fully programmable 16 voice Oberheim poly-SEM with extensive architecture.

 

I was browsing my back issues of Polyphony (predecessor to Electronic Musician) and found the product announcement for the Audity.

 

It wasn't just 16 voice... it was fully multitimbral. Each voice could have its own patch.

 

That's 16 sets of demultiplexed S&H circuits per voicecard. That's a LOT of circuitry and explains why the cabinet was so deep and why they listed for 69,000 moolas.

 

The voice architecture was ahead of its time too... two VCFs highpass in serial with lowpass, extensive voice modulation.

 

Could've sworn I saw a pic of Frank Zappa with that synth way back when.

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