Musikmesse 2013 - A Classic Synthesizer re-worked for the 21st Century with 70’s thinking. The new Novation Bass Station II is an analogue mono-synth based on the classic original Novation BassStation. The Bass Station II features 25 full sized ‘synth-action’ keyboard with aftertouch, two filters, two oscillators and a sub-oscillator, patch save capability, and analog effects, a step-sequencer, arpeggiator, onboard modulation, and MIDI and USB.
The Bass Station II layout and controls are very much in keeping with the original, and feel solid. The case is a more muted gray, and not as loud as some recent Novation outings. The cooler features on the Bass Station II: LFO slew, hard oscillator sync, and velocity mapping are very nice, indeed. And this does qualify as “analog,” with an analog signal path and analog filters, even with a switchable diode filter modeled on the 303 for what Novation describes as “acid” and “squelchy” sounds. And you get lots of hands-on controls for the synth, a welcome feature.
The new Bass Station II is improved, expanded, and more connected. This is yet another entry from OSCar and Wasp creator Chris Huggett, who contributed to some legendary synth designs and has continued to work with Novation.
Dave Smith Prophet 12 Synthesizer features a 61-key 12-voice polyphonic synthesizer keyboard with four oscillators capable of generating classic and complex waveforms, a sub-oscillator, resonant analog low-pass and high-pass filters, analog VCAs Per Voice, Effects, Arpeggiator, Tune feedback path, a quad multi-mode delay all per voice and bi-timbral operation add to the character of the Prophet 12.
At twelve voices, the Prophet 12 boasts the greatest polyphony of any instrument designed by Dave Smith. To command all this sonic firepower, you get enough real-time controls to pilot a space shuttle. The Dave Smith Prophet 12 has a knob per function interface which means the user does not have to dive through windows to access parameters. The Prophet 12’s new Character section adds a variety of wave shaping and sound sculpting options, like Drive, Hack, Decimation, Girth, and Air. The LFOs, delay, and arpeggiator can all be synced, either to the internal clock or an external MIDI clock. Two programmable position- and pressure-sensitive touch sliders taken from the Dave Smith Tempest take the performance controls beyond the standard pitch and mod wheels. All pots act as controllers meaning the control possibilities are endless. A dual stereo analog distortion circuit was added at the end of the signal path to enable the user to drive the signal if desired.
The Prophets 12 looks amazing and sounds just as amazing. This synth has an analog filter with digital oscillators, so that makes it a hybrid synth.
The new Korg KingKORG is a 61-key analog modeling synthesizer with Tube Preamp, Vintage Effects, Vocoder, Arpeggiator, CV Control, Oscillators, Filters, and Modulation Controls.
The KingKORG unique feature is the new XMT (eXpanded Modelling Technology) modelling sound engine that simplifies the overall operation of the synth whilst still being able to produce a wide variety of incredible sounding tones. The KingKORG provides pre-set algorithms that contain combinations of familiar oscillator sounds such as sawtooth, square and noise as well as numerous PCM/DWGS algorithms to sculpt unique and personal sounds.
The KingKORG also features a vocoder section with an on-board microphone input, to get those Daft Punk robot voice sounds as well as the creative freedom to use a voice as the basis for new tonal creations. The KingKORG also has Formant Shift to modify the character as well as Formant Hold which freezes a vowel sound to be played back across the keys.
Additionally, Korg has also included powerful and diverse modelling filters based on classic synthesizers from the ‘70s and ‘80s that allow unique sound shaping, as well as a faithful recreation of Korg’s own MS-20 analogue synthesizer. Being analogue modelled, the filters closely mimic behaviour such as self-oscillation and distortion for aggressive leads and basses.
Perhaps, one of the more striking features is the intuitive new panel layout that makes the KingKORG easy to use, with a dedicated display for the oscillator clearly showing the current algorithm. There is also a function for selecting sounds by type such as ANALOG or PCM, and plenty of knobs spaciously laid out that give immediate hands on control of the most important parameters, making production and performance a more tactile experience.
Take to the stage with the performance-designed Korg KingKORG analog modeling synth. Created for live use, this synth delivers easy-to-use controls, amazing tones, and is light weight. The Korg KingKORG synth has all the tools you need to gig like a pro.
2013 NAMM Show: Introducing the Moog Sub Phatty Analog Synthesizer. The latest member of Phatty Family is the Grittiest Moog Synth Ever. Additionally, the new two-oscillator analog synthesizer will be Moog’s most affordable keyboard synth. The soul and hands-on, real-time sound design functionality of vintage Moog instruments with a completely new - and stunningly aggressive - sound design machine. Fitted with 25 full-size synth action keys, LFO, and legendary Moog ladder filter, 16 presets with panel mode, and a 31 knob front panel, Moog’s classic control design plugs you straight into the analog heart of this powerful new instrument.
The Sub Phatty is the first analog synth to feature Moog’s transformative new Multidrive section. Built into the filter section, the Multidrive circuit drives (or enthusiastically overdrives, depending on how you set it) the filter, for rich and powerful effects. The good news is that with the Sub Phatty, the variable, pre/post-filter Multidrive lets you dial up everything from gnarly, classic grit to sizzling modern distortion. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities.
The Legendary Ladder Filter onboard - The Sub Phatty’s ladder lets you dial in your optimal filter cutoff frequency and tweak the resonance to create classic fat ‘n’ punchy Moog sounds. Want to modulate your filter resonance? The Moog Sub Phatty’s onboard LFO lets you modulate without having to commandeer one of your sound generating oscillators (as on vintage Minimoogs). Get creative with key-synched filter sweeps and more, for delectable, swirlicious sounds that will enhance your productions with authentic Moog analog goodness.
The Moog Sub Phatty sports control voltage and keyboard gate inputs that allow you to connect your new Moog with your vintage or any other gear that has CV/gate connectivity. The Sub Phatty sports Filter CV, Pitch CV, and Volume CV, as well as Keyboard Gate connections, putting you firmly in the control seat. And of course, you get MIDI DIN In and Out, as well as MIDI over USB for communication with your DAW.
If you are looking for an affordable, compact Moog mono synth, the Moog Sub Phatty - Go for it!
Casio teamed up with aNYthing, a lifestyle brand located in New York City, to create a limited edition XW-P1 synthesizer. Since it’s released in October this year, the Casio XW-P1GD rendered in gold color, by any standards it is a bold colour choice but, Does the capability of the synth match its shiny personality?
What is in it’s name? The somewhat wordy tag line for the XW-P1 - ‘Hybrid Processing Sound Source’ - is certainly worthy of some further explanation. Put simply, the XW-P1 is capable of producing sounds in a range of different ways, namely as a ‘PCM’ synth with a generous onboard library of ’stock’ sounds, as a Drawbar Organ, as a Solo Synth and as a player of Casio’s own ‘Hex Layers’, of which more shortly.
The Casio XW-P1 offers a range of features which push it firmly towards the ‘workstation’ territory, hinted at by the busy back panel, which offers Microphone Input - with gain dial, stereo Audio Ins, Instrument Inputs, a USB port, SD card slot alongside stereo audio outs and MIDI ports. The 20 Preset Drum kits are put to good use within the onboard sequencer - as with other contemporary workstations, the Performance Presets have been tailored to ensure that a stylistically-relevant drum groove will be triggered for each program.
The PCM sounds are solid enough, offering sounds under dedicated Piano, Strings/Brass, Guitar/Bass, Synth and Various buttons to access the relevant categories. You can edit a sound you like with control over extended parameters available from the LCD menu of which four can be controlled from the K1-4 Assignable Knobs in the top-left hand corner. There are 400 PCM preset sounds onboard, with space for 100 User programs of your making. The Drawbar Organ option offers 50 presets with a further 50 spaces for your own variations. Above the Pitch Bend and Modulation wheels, you’ll find 8 ‘Drawbar sliders’, as well as additional controls for Organ parameters including Rotary speed. The sliders make careful creation of modelled organ sounds really fun and intuitive.
In addition, the XW-P1’s most unique sonic category, the Hex Layer. This is a single tone with six independently adjustable components. Each component layer features its own filter, pitch data - for transposition offsets, envelope data, key splits, velocity range and effects mix, with balances between each part assigned to the sliders. The first six of these control the levels of each layer, the seventh acting as a ‘Total’ control for the six combined. Finally, the 8th and ‘Master’ sliders control Effects parameters.
About Solo synth secrets - A Solo Synth patch can actually feature six separate sound sources or ‘Blocks’, namely two ‘virtual analogue’ Oscillators - Blocks 1 and 2, two sampled PCM ones - Blocks 3 and 4, an external signal -Block 5 routed in from the back panel inputs and a Noise generator -Block 6.
Pros - Solo synth mode is versatile and infinite in its sonic potential. Without doubt this is a competitively-priced, feature-packed instrument. Casio XWP1 61 Key Performance Synthesizer vast features would definitely rewards your sonic experiments.