“The legendary DX7 like few have ever heard it. Ive put my 22 years of experience with FM and the DX7 into this and my other demos to show what is really possiblle.
When you dont believe the myths and go into those parameters. I hope to inspire others to what is really possible with this sonic masterpiece. All my demos are 100% DX7 no software samples or drum machines.”
Spot the cat! Overall, the demo does have that unmistakable 1980s synth sound, which is a bit of a mixed experience for me. Some of those sounds in the intro, however, are awesome and remind us the potential of FM. I do have a TX802 module that never use and a 4-op TX81Z that I sometimes still use.
Here is another improvisation, or perhaps a meditation, on the analog modular synth. Enjoy!
This one used most of the modules in the system, including the Metasonix R53, both Make Noise modules, the Morphing Terrarium from Synthesis Technology, the Koma Electronic SVF-201 filter, the Polyvoks filter, and the Noisering from Malekko Heavy Technology, all mixed together via Pittsburgh Modular’s Mixer and Out. The Noisering was in many ways the foundational element for this meditation.
Please share your thoughts either in the comment section here or on SoundCloud.
Mandarina “assisting” with some modules – March is the hottest month in Costa Rica and my studio is on the second floor of a building with a metal roof so daytime temperatures render it unusable – so I’ve been bringing work home with me in order to work at night when the temp’s a little more bearable. Unfortunately, there’s usually a certain orange snag to that plan. The modules themselves are from a class I’m teaching called TicoTronics – teaching basic electronics and circuit design via open source synth schematics, modified to use only components common to Costa Rica. For more info – www.vauxflores.com
You can see an example of Travis Johns’ creations and here.
One of the most anticipated synthesizers of this year’s NAMM show is the Korg MS-20 Mini. And here it is:
This is basically a classic MS-20, including the analog circuitry, but in a modern replica of the case that is 86% of the original size. It also has MIDI and USB for external control. But of course it is really about the analog synthesis, and especially the filters. After getting my bearings on the device, I shut off the VCOs and set up both the hi-pass and low-pass filters to self-oscillate. This us the signature sound of the original instrument, and while it’s difficult to tune self-oscillating filters they did seem playable for arpeggios or lines.
The street price appears to by $599, although it is not shipping yet. Korg has been good at reintroducing its classic technologies at affordable prices. And it is certainly a lower price tag than the other covetable instruments I reviewed yesterday.