Vintage Synths

[Martin Red]

http://www.vintagesynth.org/moog/voyager_sig_w.jpg Minimoog Voyager

http://www.vintagesynth.com/


http://www.vintagesynth.org/roland/images/jx10.jpg ROLAND Super JX-10

http://www.vintagesynth.org/roland/images/vp330.jpg ROLAND VP-330 Vocoder Plus


http://www.vintagesynth.org/roland/images/tb303.jpg

http://www.vintagesynth.org/korg/ms10.jpg KORG MS-10

http://www.vintagesynth.org/korg/trident2.jpg KORG Trident MKII

http://www.vintagesynth.org/yamaha/dx7ii.jpg YAMAHA DX7


source = http://www.vintagesynth.com/

Interested to know what people who dabble or produce used to use back in the 70's/80's

[ March 25, 2003, 10:01 AM: Message edited by: Martin Red ]

[GROOVE VICTIM]

That's the second generation of the DX7, you need to find a picture of the first line.

Where's the Prophet 5, Oberheim Expander, Oberheim OB-8, Synclavier, Roland D-50, Fairlight 2000.

Bring it back kid!!!

[GROOVE VICTIM]

The original DX7 http://www.vintagesynth.org/yamaha/dx_7.jpg

The OB-8 from Oberheim. I used to play Van Halen's Jump all the time on this synth when I was in Jr High.
http://www.vintagesynth.org/oberheim/ob8.jpg

This damn thing went fot $40,000 http://www.vintagesynth.org/misc/fairlight_cmi.jpg

Peace

[Martin Red]

Prophet 5 - http://www.vintagesynth.org/sci/prophet5.jpg

One of the first fully programmable polyphonic analog synths, the Prophet 5 is the most classic synthesizer of the eighties! It is capable of a delightful analog sound unique to Sequential's Prophet series in which the P5 was King! The P5 lacked MIDI (a feature that came later on the P5 spin-off, the Prophet 600). But it is still loved even today for its great string sounds, analog effects, and punchy analog basses.
_________________________________________________


OBERHEIM OB-8
http://www.vintagesynth.org/oberheim/ob8.jpg
The OB-8 was the last of the OB series and is a very warm and rich sounding eight voice polyphonic synthesizer with a classic Oberheim tone. Each individual voice can be de-tuned for a very thick (or weird) sound! Syncable VCOs and a nice 8-note arpeggiator make the OB-8 a cool analog synth. It was released without MIDI originally, but later models were released with 9-channel MIDI implementation. Dedicated knobs, sliders and a traditional layout making programming a snap and very hands-on. Totally programmable and very powerful analog sounds and style.
________________________________________________

graemlins/thumbsup.gif

[JMJ]

I still have my Roland Juno 106. You can't beat ANALOG!!!! .......JMJ graemlins/thumbsup.gif

[ March 25, 2003, 10:23 AM: Message edited by: JMJ ]

[Martin Red]

Originally posted by GROOVE VICTIM:
The original DX7 http://www.vintagesynth.org/yamaha/dx_7.jpg
"One of the most popular digital synths ever is the DX7, which is an FM synthesizer. FM is a form of synthesis known as Frequency Modulation. It certainly is not analog and it is difficult to program but can result in some excellent sounds! Percussive and metallic but thick as analog at times, the DX-7 is known for generating unique sounds still popular today. It is used by the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Greg Phillanganes, Stabbing Westward and Herbie Hancock. Pretty impressive for just a partial listing! "

graemlins/grinyes.gif

[eric justin]

My Vintage synths :D
http://www.vintagesynth.org/roland/images/sh09.jpg
http://www.ericseven.com/images/mysynths/korg_dw-8000.jpg
http://code404.com/synths/images/korg_poly800.ad.jpg
http://www.vintagesynth.org/sci/pr600.jpg
Actually the prophet is a loaner.

[GROOVE VICTIM]

I remember watching videos of Chick Corea with his black Yamaha KX-5. http://www.vintagesynth.org/yamaha/kx5.gif

Back in 1987 I asked my mother to get me a Yamaha SHS-10 for my Birthday.
http://www.sonicstate.com/synth/images/shs10.gif

[GROOVE VICTIM]

The Emulator II

DAMNNNNN!!!!!!!!!

http://www.vintagesynth.org/emu/emu_emulator2.jpg

[SHEIK YERBOUTI]

Originally posted by JMJ:
I still have my Roland Juno 106. You can't beat ANALOG!!!! .......JMJ graemlins/thumbsup.gif In all honesty, I'm curious to see what the future holds for 'real' ol' skool synths.

Has anyone seen the new line of plug-ins coming down the pike?

Gimme a second an I'll post some links.

Here we go:

The Arp Oddessey...
http://www.gmediamusic.com/GForce/oddity/oddity.html

Moog Modular V...
http://www.arturia.com/en/modular/comingsoon.html

Korg is also coming out with the legacy collection of plug-ins.

"Also planned for release in the first batch of the Legacy Collection are the Korg PolySix - the 80s six voice polysynth and the Korg Wavestation"

Kinda cool, dontcha think?

[ March 25, 2003, 10:49 AM: Message edited by: toomuchtv ]

[GROOVE VICTIM]

They'll more than likely come in the form of Synth Modules and Sound Font Packages.

With my copy of Cake Walk that came with my Sound Blaster Live MP3, the sound fonts came from Roland and Yamaha Synths. They all sucked but some were useful.

[ March 25, 2003, 10:39 AM: Message edited by: GROOVE VICTIM ]

[JMJ]

Originally posted by GROOVE VICTIM:
The Emulator II

DAMNNNNN!!!!!!!!!

http://www.vintagesynth.org/emu/emu_emulator2.jpg Kind funny that you mention the E II. I've still got an Emax laying around here, along with the Roland Juno 106, Casio CZ 101 (very much slept on), two Yamaha FB 01 sound modules, a Roland TR 808, Roland TR 909, Kawai R-100, Roland TR 727, Sequential Circuits TOM, and although not vintage, a Roland SP 808 GrooveSampler. Although some of this stuff is obsolete, I refuse to get rid of them......JMJ :D

[GROOVE VICTIM]

Yeah the Casio CZ-1 and CZ-101 were the Big Dawgs in the Casio Like along with the FZ-1 Sampler.

[JMJ]

Originally posted by eric justin:
My Vintage synths :D
http://www.vintagesynth.org/roland/images/sh09.jpg
http://www.ericseven.com/images/mysynths/korg_dw-8000.jpg
http://code404.com/synths/images/korg_poly800.ad.jpg
http://www.vintagesynth.org/sci/pr600.jpg
Actually the prophet is a loaner. Steve Hurley used the Poly 800 on a lot of his early productions, including Music Is The Key and I Can't Turn Around........JMJ

[SHEIK YERBOUTI]

Originally posted by JMJ:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
The Emulator II

DAMNNNNN!!!!!!!!!

http://www.vintagesynth.org/emu/emu_emulator2.jpg Kind funny that you mention the E II. I've still got an Emax laying around here, along with the Roland Juno 106, Casio CZ 101 (very much slept on), two Yamaha FB 01 sound modules, a Roland TR 808, Roland TR 909, Kawai R-100, Roland TR 727, Sequential Circuits TOM, and although not vintage, a Roland SP 808 GrooveSampler. Although some of this stuff is obsolete, I refuse to get rid of them......JMJ :D </font>[/QUOTE]I actually got a cz-1000 for $75 not too long ago. That's a cz-101 with full size keys. I've also got an Oberheim 1000.

[matthew]

Originally posted by GROOVE VICTIM:
They'll more than likely come in the form of Synth Modules and Sound Font Packages.

With my copy of Cake Walk that came with my Sound Blaster Live MP3, the sound fonts came from Roland and Yamaha Synths. They all sucked but some were useful. not synth modules or soundfonts, rather vst instruments: standalone computer programmes that plug in to a sequencer that supports the vsti protocol. native instruments make some of the best - check pro-53, their prophet, or FM7, their DX7.

btw groove, i have the mighty clouds of joy lp with that 'like a child' track on order, hoping its the same one that waletr gibbons played. I'll let you know

M

[eric justin]

The Poly 800 is ioften overlooked cause it's cheep. I love mine, I modded it a few mounths back. It now has knobs for cutoff and resonance.
I heard that they were popular in the early day's of Detroit techno.

[Jolyon]

http://users.rcn.com/mghall/moog/minimoog.jpg

[SHEIK YERBOUTI]

Originally posted by matthew:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
They'll more than likely come in the form of Synth Modules and Sound Font Packages.

With my copy of Cake Walk that came with my Sound Blaster Live MP3, the sound fonts came from Roland and Yamaha Synths. They all sucked but some were useful. not synth modules or soundfonts, rather vst instruments: standalone computer programmes that plug in to a sequencer that supports the vsti protocol. native instruments make some of the best - check pro-53, their prophet, or FM7, their DX7.

btw groove, i have the mighty clouds of joy lp with that 'like a child' track on order, hoping its the same one that waletr gibbons played. I'll let you know

M </font>[/QUOTE]The new wave of plug-ins don't just emulate the sound of an instrument, they duplicate the circuitry used to make the instrument in the first place.

[Fletch]

Originally posted by Martin Red:
Prophet 5 - http://www.vintagesynth.org/sci/prophet5.jpg

_________________________________________________


OBERHEIM OB-8
http://www.vintagesynth.org/oberheim/ob8.jpg

________________________________________________

That's the Richard Tee/Paul Griffin S--t!!!! Peace.

[Fletch]

Originally posted by GROOVE VICTIM:
I remember watching videos of Chick Corea with his black Yamaha KX-5. http://www.vintagesynth.org/yamaha/kx5.gif

Back in 1987 I asked my mother to get me a Yamaha SHS-10 for my Birthday.
http://www.sonicstate.com/synth/images/shs10.gif I remember Chick on the cover of either Downbeat Magazine. with the KX-5.

Also, that's the Jimmy Jam/Terry Lewis "Control" s--t!!!! Peace.

[GROOVE VICTIM]

Downbeat Magazine.


Ahhhh the memories!!!!!!!!!!!!!

My mother was very supportive of my music when I was in school.

[O'love]

my beloved roland juno6:

http://www.expansions.nl/filez/lj_six_10/DSC00014small.JPG

http://www.expansions.nl/filez/lj_six_10/DSC00016small.JPG

and furthermore 2 analogue synths i have in my rack that should not be forgotten: the Oberheim Matrix1000 and the Waldorf Pulse (not exactly vintage but a classic in his/her own right)

Olaf

[Fletch]

Any Roland JV-90s around? I saw a cat in New Orleans play a JV-90, and I thought it was a real horn section coming out of that thing. Peace.

[Fletch]

Originally posted by einnod23:
</font><blockquote>quote:</font><hr />Originally posted by Martin Red:
Prophet 5 - http://www.vintagesynth.org/sci/prophet5.jpg

_________________________________________________


OBERHEIM OB-8
http://www.vintagesynth.org/oberheim/ob8.jpg

________________________________________________

That's the Richard Tee/Paul Griffin S--t!!!! Peace. </font>[/QUOTE]I have a tape of Grover Washington, Jr, live in concert in 1981, with Richard Tee and Paul Griffin. Richard Tee, I believe, is playing a Fender Rhodes and a Yamaha (don't know the model. Gotta look back at the tape). Paul Griffin is playing the Oberheim Prophet 5. My goodness, that's some mello sounding s--t!!!! If anyone has that videotape, check it out!

Grover, Richard and Paul RIP. Peace.

[djmarbll]

Bob Moog actually just brought out a new line of Moog keyboards. I saw them at Guitar Center last week. They resemble the Minimoog and the Memorymoog. They sound great and are fully programmable like the originals. Anybody got a Chroma-Polaris, Oberheim, Juno 106 (JMJ), or a Fender Rhodes Seventy-Three for sale?

[SHEIK YERBOUTI]

I didn't know GC had them! I'm gonna have to take a trip out there! I know Bob Moog only very recently reaquired the rights to release products under the Moog name. He was doing business as Big Briar for a time.

[Ron la Rock]

Originally posted by Martin Red:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
The original DX7 http://www.vintagesynth.org/yamaha/dx_7.jpg
"One of the most popular digital synths ever is the DX7, which is an FM synthesizer. FM is a form of synthesis known as Frequency Modulation. It certainly is not analog and it is difficult to program but can result in some excellent sounds! Percussive and metallic but thick as analog at times, the DX-7 is known for generating unique sounds still popular today. It is used by the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Greg Phillanganes, Stabbing Westward and Herbie Hancock. Pretty impressive for just a partial listing! "

graemlins/grinyes.gif </font>[/QUOTE]I'm loving this sh*t graemlins/1luvu.gif

I might also add JImmy Jam * Terry Lewis
peace 2 the G*dz

its so wierd now they call this shit electronica
like its something new?

[Ron la Rock]

Originally posted by GROOVE VICTIM:
I remember watching videos of Chick Corea with his black Yamaha KX-5. http://www.vintagesynth.org/yamaha/kx5.gif

Back in 1987 I asked my mother to get me a Yamaha SHS-10 for my Birthday.
http://www.sonicstate.com/synth/images/shs10.gif I still want 1 saw green velvet rock 1 note on one last yr at the DMF

ahhhhh I can't take it
yall hurtin me feel like a horny kid again
graemlins/spanka.gif

havin flash backs of curl activator graemlins/rofl.gif

[JMJ]

Originally posted by djmarbll:
Bob Moog actually just brought out a new line of Moog keyboards. I saw them at Guitar Center last week. They resemble the Minimoog and the Memorymoog. They sound great and are fully programmable like the originals. Anybody got a Chroma-Polaris, Oberheim, Juno 106 (JMJ), or a Fender Rhodes Seventy-Three for sale? Not selling mine.......JMJ :D

[Ron la Rock]

Originally posted by Jolyon:
http://users.rcn.com/mghall/moog/minimoog.jpg DAMM I think I'll pullin the Gorge Duke & Stanley clark records out today

will you guyz stop this graemlins/1luvu.gif graemlins/spanka.gif graemlins/nono.gif

[eric justin]

Originally posted by toomuchtv:
I didn't know GC had them! I'm gonna have to take a trip out there! I know Bob Moog only very recently reaquired the rights to release products under the Moog name. He was doing business as Big Briar for a time. Our GT don't got em', but they can order one for you if you got the cash
AR15firing.gif guitar center

[Ron la Rock]

Originally posted by djmarbll:
Bob Moog actually just brought out a new line of Moog keyboards. I saw them at Guitar Center last week. They resemble the Minimoog and the Memorymoog. They sound great and are fully programmable like the originals. Anybody got a Chroma-Polaris, Oberheim, Juno 106 (JMJ), or a Fender Rhodes Seventy-Three for sale? gotta check those out
oh well more shit 2 my wish list!

[Walter M. Jones]

This is my ARP Odyssey: http://www.vintagesynth.org/arp/whiteodyssey.jpg The "Whiteface" had the Moog filters. The two generations after that one didn't.


I also have one of these ARP's as well: http://www.vintagesynth.org/arp/string.jpg

Plus some other vintage gear.

Peace.

[eric justin]

While were talkin' about gear, anybody got a MIDI to CV converter there lookin to get rid of?

[suenomartino]

Originally posted by GROOVE VICTIM:
the Casio CZ-1 and CZ-101 were the Big Dawgscan you say "green velvet"?

[suenomartino]

Originally posted by suenomartino:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
the Casio CZ-1 and CZ-101 were the Big Dawgscan you say "green velvet"? </font>[/QUOTE]not forgetting the yamaha dx-100 either..

[SHEIK YERBOUTI]

Originally posted by suenomartino:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
the Casio CZ-1 and CZ-101 were the Big Dawgscan you say "green velvet"? </font>[/QUOTE]I always wondered what kinda kit he used...

[alex zen]

moved to drum machine thread

[ March 25, 2003, 05:33 PM: Message edited by: alex zen ]

[Walter M. Jones]

Originally posted by suenomartino:
</font><blockquote>quote:</font><hr />Originally posted by GROOVE VICTIM:
the Casio CZ-1 and CZ-101 were the Big Dawgscan you say "green velvet"? </font>[/QUOTE]Yep,you can tell he is switching preset sounds by buttons on "Portamento Tracks". I recently bought a Juno alpha 2 and it has buttons but some great Detroit sounds and a "Chord Memory" button that makes all chords into thirds. Peace.

[suenomartino]

the alpha juno 2 is a classic synth.. check the default patches "mentasm" and "machines" that joey beltram got famous for using.. this keyboard reminds me a lot of the old robert hood/hardwax (early 90's detroit label) sound.

I had a "home" version of this keyboard, along with the home version of the juno 106 (called a roland HS-60).. only difference to the original versions were that these had built in speakers, a book stand and labels on the keys so you could learn how to play piano.. smokin.gif

[Raven Fox]

Yo... nice topic.
MOOG is back

http://www.moogmusic.com/images/moognav_01.gif (http://www.moogmusic.com)

Check this site out for some knowledge

OBSOLETE ELECTRONIC MUSIC (http://www.obsolete.com/120_years/)

VINTAGE SYNTH EXPLORER (http://www.vintagesynth.org)

I still have some stuff in my mom's attic that I should dig out. I think I still have my Casio CZ 101 and my Favorite Toy Casio SK-1 Sampler - revolutionary back then for like $50. at Toys R Us

http://www.vintagesynth.org/casio/sk1.jpg

[ March 26, 2003, 07:03 PM: Message edited by: Raven Fox ]

[Ron la Rock]

bumpin this back up simply cause sh*t like this should be gettin the 7-8 pages

remeber the 80s when most of us were hungry 2 make music
shit just makes me wonder about a whole
generation of things and
how
did we get so bogged
down with just the sample thing
(nothig against sampling or that gear niether)
just a thought
?

[Fletch]

In New York, there's a spot that has all of this vintage equipment. Two Lines Music is on Broadway and Franklin, just a few blocks from Canal Street. Nice Fender Rhodes stuff. Peace.

[Martin Red]

http://www.isaotomita.net/tomita/images/photo/tomi01.jpg
Tomita was famed for using truckloads of technology, proudly listed on the back of the recordings from the start. As one of the few musicians capable of operating (let alone affording) the large modular synthesisers, manufactured by the American 'Moog' and Japanese 'Roland' companies, his productions represent a mastery of the technology that only a handful of others can equal. Part of that skill was down to necessity, as electronic music systems in the early '70's were in general almost entirely open-ended, with no facility for storage of sound programs, or a universal system of synchronisation. This meant that every setting and switch on the instruments had to be manually adjusted for each new sound, and the best memory system for recalling those settings was by using paper and pencil. Original Moog modulars made no sound at all unless the different modules were connected to one another with patch leads. This made music making a very time-consuming and tedious process, a situation made worse by the limited number of tracks able to be recorded on the tape recorders of the day.

This is in contrast to today, where a majority of instruments have a large number of microprocessor memories for instant recall of a favoured setting (or 'patch'), and a theoretically unlimited number of parts can be recorded on your desktop computer.
http://www.isaotomita.net/tomita/images/technology/moog_logo.jpg
Tomita's first Moog synthesiser was a non-stock instrument, as in 1972 when he acquired his, some systems were put together according to the customer's particular requirements. However, Tomita's instrument was based on the Moog 'C' systems, roughly equivalent to the production IIIP http://www.isaotomita.net/tomita/images/technology/moog_iiip.jpg
To thicken the plot a bit, the 'C' stood for 'Cabinet', with the instrument built into nice walnut cases, and the 'P' was for 'Portable', being the same electronics in more road-worthy Tolex covered flight cases. The "pick 'n' mix" approach could never have been particularly lucrative for the manufacturer, and later Moog systems were sold as entire systems.


His other main tool at this time was the Mellotron 400
http://www.isaotomita.net/tomita/images/technology/mellotron_400.jpg
a keyboard instrument for playing back recordings of real sounds. Each key was attached to a length of magnetic tape, which was run over a tape playback head when a key was struck. It was a unique instrument, now superceded by its digital antecedent, the sampler.


http://www.isaotomita.net/tomita/images/photo/tomi02.jpg
Tomita in 1973, with the 3P-type Moog modular.

With the success of the first album, 'Snowflakes Are Dancing', in 1974, the quantity and range of equipment began to expand. By the time of Firebird , the Moog had been substantially upgraded, and other instruments had been introduced to augment the Tomita sound arsenal.

Component Equipment Used by Tomita for This Album

Moog Synthesizer Quantity
914 Extended Range Fixed Filter Bank
125Hz - 5KHz, 12-Band Highpass/Lowpass Filter 2
904-A Voltage-Controlled Lowpass Filter
24dB per Octave Classic Moog Lowpass Filter 3
904-B Voltage-Controlled Highpass Filter
24dB per Octave Highpass Filter 2
904-C Filter Coupler 1
901 Voltage-Controlled Oscillator
Used as a VCO or an LFO (Low Frequency Oscillator) as on the Minimoog 1
921 Voltage-Controlled Oscillator
0.01Hz - 40kHz Frequency Range 1
901-A Oscillator Controller
1 Volt per Octave 3
921-A Oscillator Driver
1 Volt per Octave 2
901-B Oscillator
The Basis of the Moog Sound 9
921-B Oscillator
Newer and More Stable than 901-B 6
903-A Random Signal Generator
White/Pink Noise Generator for Wind/Rain/Sea Effects 3
911 Envelope Generator
2ms - 10s Attack, Decay, Sustain and Release Configuration 12
911-A Dual Trigger Delay
2ms - 10s 2 Channel Delay Unit 2
902 Voltage-Controlled Amplifier
Linear/Exponential Amplifier with 2 Inputs, 2 Outputs, 3 Control Voltages 5
912 Envelope Follower 2
984 Four-Channel Mixer 1
960 Sequential Controller
8 Steps by 3 Rows Sequencer with Fully Variable Voltages 3
961 Interface
CV/Trigger to Moog S-Trig Convertor for 960 Sequencer 2
962 Sequential Switch
Configures 960 Sequencer 4
950 Keyboard Controller
49-Note Monophonic Keyboard 2
950-B Scale Programmer 1
956 Ribbon Controller
Alternative to the Keyboard 1
6401 Bode Ring Modulator
Combines 2 Inputs, and Outputs the Sum and Difference,
Classically Used for Metallic Sounds, Such as Bells,
Designed by Harald Bode 1
1630 Bode Frequency Shifter 1
959 X-Y Controller
Joystick Controller for Mixing 2 Signals 2
905 Reverberation Unit
Spring-Type Reverberation 1
Mixer Quantity
Quad/Eight Compumix (24 Ch.) 1
Sony MX-710 (8 Ch.) 2
Sony MX-16 (8 Ch.) 3
Sony MX-12 (6 Ch.) 2
Accessory Quantity
AKG BX20E Echo Unit 1
Binson Echorec "2" 2
A HREF="../images/technology/roland_re-201.jpg"&gt;Roland Space Echo RE-201 1
Eventide Clockworks "Instant Phaser" 1
Maestro Phase Shifter 1
Roland Phase Shifter 2
Fender "Dimention IV" 1
Maestro Sound System for Woodwinds 1
Maestro Rhythm 'n' Sound for Guitar 1
Fender Electronic Piano
Probably a Rhodes Suitcase Model 1
Hohner Clavinet C 1
Sitar (Made in India) with Barcus-Berry
Contact Microphone 1
Mellotron
Not Listed in Equipment Used 1
Tape Recorder Tape Speed
Ampex MM-1100 16 Tracks 76 cm/s
Ampex AG-440 4 Tracks (1/2") 38 cm/s
Sony TC-9040 4 Tracks (1/4") 38 cm/s
TEAC A-3340S 4 Tracks (1/4") 38 cm/s
TEAC 7030GSL 2 Tracks 38 cm/s
__________________________________________________ _


This level of growth continued throughout these earlier albums, and by the time of The Planets , the first Roland gear was used. This is perhaps Tomita's most 'broad' album sonically, and the increase in number of tape recording tracks was clearly the result of the productions becoming more complex.
Component Equipment Used by Tomita for This Album

Moog Synthesizer Quantity
914 Extended Range Fixed Filter Bank
125Hz - 5KHz, 12-Band Highpass/Lowpass Filter 2
904-A Voltage-Controlled Lowpass Filter
24dB per Octave Classic Moog Lowpass Filter 3
904-B Voltage-Controlled Highpass Filter
24dB per Octave Highpass Filter 2
904-C Filter Coupler 1
901 Voltage-Controlled Oscillator
Used as a VCO or an LFO (Low Frequency Oscillator) as on the Minimoog 1
921 Voltage-Controlled Oscillator
0.01Hz - 40kHz Frequency Range 1
901-A Oscillator Controller
1 Volt per Octave 3
921-A Oscillator Driver
1 Volt per Octave 2
901-B Oscillator
The Basis of the Moog Sound 9
921-B Oscillator
Newer and More Stable than 901-B 6
903-A Random Signal Generator
White/Pink Noise Generator for Wind/Rain/Sea Effects 3
911 Envelope Generator
2ms - 10s Attack, Decay, Sustain and Release Configuration 12
911-A Dual Trigger Delay
2ms - 10s 2 Channel Delay Unit 2
902 Voltage-Controlled Amplifier
Linear/Exponential Amplifier with 2 Inputs, 2 Outputs, 3 Control Voltages 9
912 Envelope Follower 2
984 Four-Channel Mixer 1
960 Sequential Controller
8 Steps by 3 Rows Sequencer with Fully Variable Voltages 3
961-CP Interface
CV/Trigger to Moog S-Trig Convertor for 960 Sequencer 2
962 Sequential Switch
Configures 960 Sequencer 4
950 Keyboard Controller
49-Note Monophonic Keyboard 2
950-B Scale Programmer 1
956 Ribbon Controller
Alternative to the Keyboard 1
6401 Bode Ring Modulator
Combines 2 Inputs, and Outputs the Sum and Difference,
Classically Used for Metallic Sounds, Such as Bells,
Designed by Harald Bode 1
1630 Bode Frequency Shifter 1
959 X-Y Controller
Joystick Controller for Mixing 2 Signals 2
905 Reverberation Unit
Spring-Type Reverberation 1
Roland Synthesizer Quantity
714A Interface 1
704C Voltage-Controlled Amplifier 1
715A Multimode Filters 1
723A Analog Switch 1
720B 2 Ch. Phase Shifter 1
721A 2 Ch. Audio Delay
700-Series Modules Later Incorporated into Roland System 700 Modular 1
Mixer Quantity
Quad/Eight Compumix (24 Ch.) 1
Sony MX-710 (8 Ch.) 2
Sony MX-16 (8 Ch.) 3
Tape Recorder Tape Speed
Ampex MM-1100 16 Tracks 76 cm/s
Ampex AG-440 4 Tracks (1/2") 38 cm/s
TEAC 80-8 8 Tracks (1/2") 38 cm/s
TEAC A-3340S 4 Tracks (1/4") 38 cm/s
TEAC 7030GSL 2 Tracks 38 cm/s
Sony TC-9040 4 Tracks (1/4") 38 cm/s
Noise Reduction
dbx 187
TEAC DX-8
Accessory Quantity
AKG BX20E Echo Unit 1
Revac Echo Unit 1
Binson Echorec "2" 2
Roland Space Echo RE-201 1
Eventide Clockworks "Instant Phaser" 1
Maestro Phase Shifter 1
Roland Phase Shifter 2
Fender "Dimention IV" 1
Maestro Sound System for Woodwinds 1
Maestro Rhythm 'n' Sound for Guitar 1
Sony Transceiver CB-107
For Those Spacemen Sound Effects 2
Fender Electronic Piano
Probably a Rhodes Suitcase Model 1
Hohner Clavinet C 1
Sitar with Barcus-Berry Contact Microphone 1
Roland Strings RS-202 1
Mellotron (Chorus, Flute, Timpani) 1
Electronic Harp 1
Leslie Speaker Model 147
For 'Rotating' Sounds, Popular with Hammond Organs 1
Sankyo Orgel Rhythmica
Designed to Set the Music by Punch Card System 1
__________________________________________________ _

The first widely-available polyphonic synthesiser in the world was the Moog Polymoog
http://www.isaotomita.net/tomita/images/technology/moog_polymoog.jpg
it debuted on 1978's 'Kosmos'. Also acquired at this time was the full, massive Roland System 700
http://www.isaotomita.net/tomita/images/technology/roland_700.jpg
the Japanese take in modular systems (and thought to be better in some ways to Moogs, filter-wise anyway, although lacking in bottom-end), and the current Moog modular, the Moog System 55 http://www.isaotomita.net/tomita/images/technology/moog_55.jpg


more info @ http://www.isaotomita.net/tomita/technology.html

[ March 27, 2003, 05:14 AM: Message edited by: Martin Red ]

[Martin Red]

http://www.league-online.com/future8.jpg

Human league

Debut album recorded within three weeks at the Workshop Studio in Sheffield during July 1979.
Although the band were initially disappointed by the results, the album remains a landmark in British pop history. Dark analogue overdubs & echoing vocals combine to make this a groundbreaking release in every respect. Reproduction contains atmospheric melodies built around pioneering synth sounds and the albums stature has grown amongst music critics in recent years.
The album sleeve featuring a 'dancefloor' of naked babies was the subject of controversy at the time of release and one of the babies used was the son of Noddy Holder (lead singer of Slade).


Choice Tracks:
Blind Youth
Empire State Human,
Circus of Death


THE Q REVIEW

Although Dare made them famous, the first album from the Martyn Ware/Ian Craig Marsh incarnation of The Human League (brilliantly, they used to be called The Future) is the best example of their skill at mixing eccentric obscurity with blatant populism. A wash of pure electronics, Reproduction is the flipside of Gary Numan's straight-laced futurist image - the future for The Human League consists of the Hawaii Five-O-styled drama of Circus Of Death and people turning into buildings (Empire State Human).

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http://www.league-online.com/empire.jpg

http://www.league-online.com/men.jpg

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This is Phil talking…
'I want to tell you, what I found to be true'…and after nearly 20 years of fronting The Human League, Phil Oakey has found out a lot: about technology; about success; about failure; and now about success again. Andy Jones learns a lot too…
(Pics: Jude Edginton)


Analogue sounds are great. In this E-driven world of smiley faces, the sounds produced by a sweeping synth filter are enough to rush any self-respecting club goer into a world of manic delight, Four-on-the-floor beats from drum machines released over a decade ago are still pounding from the PA rigs within these under-watered and over-crowded happy places.
Analogue is in, digital is out.
But for some reason, the analogue thrill did not start with swallowing a pill back in 1987 with a thousand other funksters in a field in the middle of nowhere. It took root back in the 70s when Roxy Music and David Bowie were the nearest you could get to innovative, and electronic instruments were alien gadgets used by a bunch of clever German blokes or half hour solos artists from pomp rock.
Then a new breed of British artist picked up the crumbs from punk and plugged them into the mains, to inspire a completely new sound that would breed an altogether new era in music; an era that everybody from the techno acts of Detroit, the house acts of Frankfurt and the warp acts from Sheffield owe at least a passing nod of gratitude to.
But, while the Foxx-driven force of Ultravox and the Numan-angst of Tubeway Army made the transition to the synth over a respectable time period, there was only one UK band that immersed itself, from conception, entirely in electronics for 'pop'. Enter The Human League. These four lads could give Kraftwerk a run for their money in the IQ stakes. Grabbing the synth by its knobs, they created two of the starkest, yet emotional, futuristic masterpieces ever recorded - Reproduction and Travelogue.
And so, in that confused world of late the late 70s, the forces of image and melody became the antidote to punk. The guitar was suddenly yesterday's spit-ridden corpse, lying under a sheen of disparate chords and mohicans. The synth was the new law and the crass haircutted, frilly-shirted pretty boys of New Romanticism were the sheriffs.
And The Human League were ready.
It would be easy to say that the rest is history. The Human League had, by late 1981, lost two members to Heaven 17 and gained Joanne Catherall and Susanne Sulley who are still in the line-up today. After faltering slightly with the single Boys And Girls, success arrived in the shape of the mega-selling album Dare which firmly established the band as the side-parting of synth pop. They were massive - hit followed hit, and their success seemed assured. But towards the end of the 80s, a combination of changing musical fashion and the re-emergence of indie sent The Human League out into a wilderness where even thir record company seemed ashamed of them.
Today, you could say that the synth revival has saved them. You could say that the underground dance culture is now paying its respects. You could say that 30-something journalists, responsible for much of the band's initial criticism, are now harking back to their youth. Whatever the reason, The Human League are back, charting at no.6 in 95 with the Octopus album (on East West) and four top 40 singles: Tell Me When (no.6); One Man In My Heart (no.13); Filling Up With Heaven (no.36); and Stay With Me Tonight (no.40). And this re-found success has come by use of the technology the band started out with all those years ago.

In the Beginning…

So why the synthesizer back in 1978?
"The fact was," Phil Oakey remembers, "that we (the original line-up of Phil, Philip Adrian Wright, Martyn Ware and Ian Craig Marsh) really liked what pop had turned into with David Bowie - suddenly there were new sounds. I lived my life for Bowie and Roxy Music for four or five years - I don't think I could have got through my adolescence without them, but they were using traditional instruments because that's all there was. We were interested in innovation. Suddenly, there was the synthesizer and we were knocked out. Hearing Walter Carlois' soundtrack to A Clockwork Orange totally launced us in to it."
This early interest led Ohil to his first experiences in programming synths - more through necessity than choice…
"I had to learn it otherwise I'd be useless," he explains. "I went mad on it - did things like take DX7 books on tour. I can program DX7s and most people can't."
But despite the fact The Human League were one of a small minority of bands experimenting with electronics, they weren't aware that they would be that influential.
"All we knew was that it was fantastic and that we liked it. Occasionally I get requests to hear those tapes and it still amazes me to hear what (Ian and Martyn) were doing.
"They could have made those tapes in 1977/8 for listening to as the dawn of the synthesizer sound in 1996 and they are exactly the same atmospherically as what we have now."


While we're on the subject, considering the current crop of dance pioneers, have The Human League ever felt left behind?
"Not really because we don't think anyone has ever used the stuff in a more up-to-date way than we did," challenges Oakey. "They've got nice tunes and they've got nice sounds, but then, so had we years before. It's only when someone takes it further that you fell left behind. I still think that we work harder on our synths than any of the people in dance. They've got that brave attitide and they bang it down in five minutes and that's brilliant,"


So if The Human League's early work is so similar to much of today's sound, what about revisiting it with the intention or re-working it for the 90s audience?
"I've got a compilation in mind of what we did before Dare, using stuff on Virgin and putting it on a good value CD. I had an idea to get a certain amount of remixing done with good packaging. Some of the originals did not have mastertapes. I've always wanted to (remix tracks) but that sort of went wrong with the Greatest Hits we have just done on Virgin Records. It cost a lot and although it was very good, it didn't really take off."
"People have got a love of the way things were. That wouldn't apply to the pre-Dare stuff. On Dare, it was much more chordy which makes it harder to remix. I would love to do it, but the people at Virgin probably aren't going to rush into it although they are very nice now - it's like the company is coming to life again."


But if those tracks were to be revisited, then surely this would mean consulting the members of the band that left before the world-wide success of Dare? Surprisingly though, Phil does not see this as a problem…
"Ian has still got some bits of gear in our studio. He's been in a lot. I've not seen Martyn as he sticks in London. He was amazing at what he did. The way he played the keyboard without any training was great. Ian is also a great programmer, our inticate programmer in the old days."


So, two eras of electronic music could be merged to produce stark new recordings. By this stage, you get the impression that Phil is much more interested in rough and experimental doodlings than the synth pop for which he and the rest of the team are now famous for. Why not producxe some then? He is, after all, only a stones throw away from Warp Records in Sheffield, home of Autechre. B12 et al.
"We don't have a choice of what we do," Phil reveals with some exasperation. "We do what is expected of us and it fills up the time. If you heard our demo tapes (for Octopus), they sound a lot like LFO or something. We have to layer it up and we have the chords and we have to turn it into a pop song. The bit that I really enjoy is making daft sounds from synthesizers."


It is a shame then that commercial concerns are standing in the way of artistic freedom…
"Who does what they want to do? You do what you want to do for a couple of years in your life if you are lucky."


But surely Phil Oakey, now the comeback king of synths, is in a better position than most to use his time in a way that he wants?
"No I'm not. I've got a mortgage and I can see the money running out all the time."

Wrestling with technology

Over the years, The Human League have appeared to have had an on-off relationship with technology. For Dare they embraced it but then the aspects of playing and working as a band came to the fore while the electronics got pushed into third place.
"It was just that you lose your guts as you get older," reveals Phil. "You know everyone turns into a Tory. For three LPs we said, 'We are going to do it with synths, we are not even going to put a bass frum on', despite the fact that thousands of people stood in front of us and said, 'You can't have a dance record without a bass drum'. We said, "We are not going to, we are going to make our own or fail', and it didn't matter because we had no money anyway.
"But eventually you start giving a bit of respect to the people you work with which is a bit of a mistake. You make a compromise because you work with fantastic musicians and let them do what they want after a while."
So does Phil regret any aspects of the ensuing low period in the 80s?
"No, I don't regret anything. I didn't enjoy it but I don't regret it. In Christmas 1984 we really had no future left - it could easily have been all over - and in Christmas 1995 were at least there in the game. We had a really hard time but I think that's what happens to people when they succeed beyond their expectations, especially when you are succeeding in an area that you have always thought of as being a bit silly."

And Now

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http://www.league-online.com/futuremusic.html