|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| - Kurzweil K2000 v3.18 | An hi-tech sampler, furnished by digital I\O, optical in, analog 1\4"in. Complete, with 40 megs of RAM, an internal 540 megs Quantum SCSI hd and with his full set of footswitches, is a very powerful and extremely reliable machine. Working w\ it in complete confidence, allows you to create limitless natures of sound, above all his huge range of possibilities in editing ram\rom samples, the acclaimed "V.A.S.T." architecture, literally allows to experiment with thousands of different ways to work with (a kind of 31 algorithms!). Excellent as a master MIDI controller and stable enough in a SCSI chain, the only feature which might be commented as "to be improved" is the outputs section, which, in the keyboard version of the K-2000, offers four independent outputs; not ever enough given the deep possibilities of the K2000 as a sampler and as a synthesizer. | Robert Miles (presets) |
| - Roland Juno 106 | Funny,always useful, extremely ease to use,with a real potent MIDI implementation if you consider it's been out in 1984, it represents that range of stuff not indeed defined like "amazing", "killer" or "unbeatable", but if contained in a normal stuff kit, really helps in many different situa- tions. It offers warm bass sounds, trance lead lines, filtered carpets and modulated effects. Not bad, if you think that it just has a single DCO with his sub\double and if you note that his range of power in modulations and envelopes is strictly limited. Anyhow, with his famous chorus effect and with a good sequencer, really may let you create cool sounds and hours of fun. And - what a pity - it doesn't features the fine Roland-style arpeggiator, which is instead present in the JUNO 6\60... | |
| - Roland TB303 | What else could we say about it ? The recent shameful example of stupid hyperinflation is undergone, explain as well what we can expect for the next future:always less TBs around, maybe always higher prices and a massive tendence to produce TB clones in a vaste gamut of choice (modules, boxes, soft-synths). But, aesthetically and because of its hipnotic sound, the original one still continues to be the better example of a gummy, lully bassline maker. Our is SN°175200. | Hardfloor |
| - Korg Prophecy | We've never thought that the analog simulation made by modern digital synths at the end sounds as well as the magazines try to make us trust; but we bought it because, in a very cheaply way, it offers you a lot of features and some very interesting sounds. Its soul is a little bit "metallic", or so we think, perfect in a "PPG-oriented" sound area. But it looks great, is very light, it has a good memories implementation and its little knobs are useful in a live-act situation. We use it for basses and leads and, we hope, for a lot of other things, right we'll train with its complex edit mode! (F*cking small display!) |
Prodigy Orbital Orb |
| - Moog Memorymoog Plus | We're deep fans of this synth. Every sounds it comes from it sounds terrific. And opposed to the public thought, it's well reliable (a lot more than the first serie). It's perfect for all you want to use it for. Its six genuine Moog filters sound great in every context you put it on, and, being gifted with 18 oscillators, gives you a high-class sounding 6 voices polyphony. Its problem is its poor MIDI implementation, shameful for a 1984 top level synth, which send note on\off and PC messages only; and, operating only in omni mode, you've to use a MIDI filter box to channalize it and to remove the MIDI clock messages, which, if received, literally goes its system crash, loosing all your stored programs. But it may be upgraded with a typic Kenton MIDI retrofit, xpensive but unbeatable to keep this monster highly operative. Wonderful in its clear wooden case, with a beloved Minimoog-style design, it is probabily the greatest analog polyphonic synth ever made, and for us, represent one of the most satisfactory investment in our set-up. S/N 2712. | Aphex Twin Orb |
| - EVS1 | A very cheap FM-synthesis rack synth. Some sounds are useful for jungle sub-bass. | |
| - Alesis DM5 | 500 drum sounds are there, sampled at 18 Khz. With 12 nice triggers on his back. | |
| - Wurlitzer EP200 | An electric piano of the 7Os, w\ great basses to sample and with its cool vibes in jazzy chords. Better than a Fender-Rhodes because of its psychedelic sound, we use it for sampled and effected chords and single notes that give a pleasant atmosphere where used. S/N 81066. | |
| - Mellotron M400S | We use it seldom, because of the strong personality of its sound. Sure, its strings or choirs tapes make our mixes sound deep. But it's too delicate to take on the clubs for the live acts, and sampling it is not so easy as it may seems. A great machine to collect, anyhow. SN not present. | King Crimson, Genesis, Tangerine Dream... |
| - Farfisa compact duo | A combo organ, double keyboard made in the far 1966. We own it because we're fans of the 1967-1969 Pink Floyd, and a large part of their liquid textures are made by this organ. You can create personal carpets with it, using its Flute or Brilliant Oboe sounds. Unbeatable through a delay, it may be used to sample chords or melodies to use in an ambient-music situation, giving to the mix a particular and evocative thickness, weird and morbid. S/N 164230. | Pink Floyd |
| - Arp Axxe (first version) | This single VCO synth, like his big brother "Odyssey", speaks the Arp family language:nasal sound, fine portamento and a thin but present voice. Good for evocative lines and small but interesting effects, it represent a cheap alternative to create a genuine analog atmosphere, w\out be bleed by the typical current vintage quotations. Built inside its nice wooden case, with the usual Arp complete set of interfaces in its back. SN 23110447 | |
| - Arp Odissey MkIII | The equivalent of three Axxes circa, plus a largest set of modulations, a digital ring modulator, balanced output, more reliable than its little brother. Obviously a deeper sound, made in a metal case with the late black\orange face of the Arp family and featuring the not ever useful Proportional Pitch Control to perform the pitch bender and the LFO modulation. Effected, it sound really seducer, capable of soundshades, far filtersweeps and wrapping textures. Really good the filter, which makes the harmonics sound liquid, especially if driven by its portamento. S/N 28210301 | |
| - Korg Wavestation | Digital synth, often used on soundtracks, still sounds good. Nice the onboard effects, editing is clear and intuitive. |
Ozric Tentacles Eat Static |
| - Yamaha TRB-JP | Electric bass. 6 strings of pleasure. |
John Patitucci Faso/EELST |
| - Digitech Studio Quad | It costs nothing and offer 4 independent INs/OUTs. Quality reverb and choruses. Great midi implementation. 2 Internal LFO used to control every parameters. | |
| - Kenton Pro Solo 2 | IOHO, state-of-art in MIDI-to-CV converter. We use it w\ the Odyssey, w\ the Axxe and with the TB303, it also clocks our Memorymoog arpeggiator. Like all the other Kenton issues, is one of the most well-done investment. | |
| - Mackie CR1604 | Mackie are cheap and sounds f*cking good. NO noise. Very handy, reliable and made-to-last. It doesn't mean you have to fill it with a pint of bitter, anyway. |
Last update: 15th September 1997