The S-612 was one of Akai's first professional rack-mount samplers, released back in 1985. Some of its features included 12-bit sampling from 4 to 32kHz with loop and truncate functions, an overdub function and mic or line input jacks. Internal memory is only 128KB which gives a maximum of 8 seconds sampling time at the lowest sampling rate available. An optional disk drive that features the quick disk (QD) 2.8 inch format is needed for permanent storage of samples. Only one sample is stored to each side of the disk.

You won't be able to do much with the S-612 these days. However it bears some classic traits that may still be of interest. It features classic high and low pass filtering and an LFO for modulating and giving your sample an animated edge. It's also fairly simple and straight forward to operate, responds to external triggering and is still very well suited to any MIDI studio applications. It's definitely a limited sampler, but it makes a cheap back-up instrument that may come in handy for lo-fi sounds or triggered effects.

-Vintage Synth Explorer

The JX-3P is a pretty good synth, best known for a good string sound. It came about at the same time as the Juno series but represents a shift towards digital circuitry, push-buttons and (for the JX-3P) simplified programming. Compared with a Juno, the JX-3P sounds inferior however it is analogue and capable of decent synth sounds for cheap. You will need the PG-200 programmer if you want real control of it. It's a six voice polyphonic with two DCO's per voice which means analogue oscillators and sounds with digital stability and control. The typical assortment of filter, envelope, LFO and oscillator sections are here with easy and straight-forward programming.

Surprisingly, the JX-3P is MIDI equipped, in fact it was Roland's first MIDI synth but was very limited to basic note on/off information only. Synths like the Juno 106 have far better MIDI implementation and sounds. Although the JX-3P may not be as nice or professional as a Juno, it makes a great entry level Vintage synth capable of creating some useful classic analogue sounds. The JX-3P also came in a rack-mount version called the MKS-30.

-Vintage Synth Explorer

Yet another FM synthesizer from Yamaha, this one comes in a compact, multitimbral, 1-unit rack mount module and is basically a key-less version of the DX-11. It has far more professional features than its relative, the FB-01. The TX81Z features great FM type synth sounds similar also to the DX-21 and DX-27. It's still not as good as the classic DX-7, but it's an inexpensive source of those sounds with lots of programmability. Eight voice polyphony, 128 preset sounds, 32 user and lots of functions hidden behind 11 push buttons.

The TX81Z features a new ability to use waveforms other than just a sine wave. There are eight voices that can be split, layered and detuned. Also onboard are pseudo-effects including delay and reverb. These features can be stored as performance set-ups. The effects are simply envelope and re-triggering effects. The TX81Z works great as a sound-module for any live or studio production. It's got a wider range of sounds than the DX-7, may not be quite as warm or 'classic' sounding, but at its low price and with the excellent MIDI implementation it makes a great alternative or backup synth for percussive, punchy FM synth sounds.

-Vintage Synth Explorer

Take Korg's first digitally controlled analogue synth hybrid (DW-6000) two steps higher and you get the more popular DW-8000. Sound is digitally generated from the DWGS (Digital Waveform Generator System) and has been doubled from 8 sampled digital waveforms to 16 simple analogue to complex digital waveforms. The DW-8000 has 8 voice polyphony in two modes, or one monophonic mode with all eight voices stacked. The analogue VCF resonant filter and VCA both have independent ADBSSR envelopes. Parameters can be altered in real time via a single programmable slider. There are 64 presets that can be reprogrammed by the user.

When the DW-8000 succeeded the DW-6000, it expanded it to 8 notes polyphony, 16 sampled waveforms, a velocity sensitive keyboard with programmable aftertouch, auto-bend, a simple arpeggiator and a digital delay unit. The Digital Delay was an astonishing goody for the time, offering up to 512ms delay, phasing, flanging, chorusing and other time effects. Both the Arpeggiator, Auto-Bend and Digital Delay make this synth an inspiring and great sounding machine to use for great 303 basslines, techno and house bass and synth sounds and more! The EX-8000 is a rackmount version of the DW-8000. Several 3rd-party developers offered expansion boards for the DW-8000 providing up to 1024 presets, layered sounds, keyboard splits and Sample+Hold for the LFO.

-Vintage Synth Explorer

Take Korg's first digitally controlled analogue synth hybrid (DW-6000) two steps higher and you get the more popular DW-8000. Sound is digitally generated from the DWGS (Digital Waveform Generator System) and has been doubled from 8 sampled digital waveforms to 16 simple analogue to complex digital waveforms. The DW-8000 has 8 voice polyphony in two modes, or one monophonic mode with all eight voices stacked. The analogue VCF resonant filter and VCA both have independent ADBSSR envelopes. Parameters can be altered in real time via a single programmable slider. There are 64 presets that can be reprogrammed by the user.

When the DW-8000 succeeded the DW-6000, it expanded it to 8 notes polyphony, 16 sampled waveforms, a velocity sensitive keyboard with programmable aftertouch, auto-bend, a simple arpeggiator and a digital delay unit. The Digital Delay was an astonishing goody for the time, offering up to 512ms delay, phasing, flanging, chorusing and other time effects. Both the Arpeggiator, Auto-Bend and Digital Delay make this synth an inspiring and great sounding machine to use for great 303 basslines, techno and house bass and synth sounds and more! The EX-8000 is a rackmount version of the DW-8000. Several 3rd-party developers offered expansion boards for the DW-8000 providing up to 1024 presets, layered sounds, keyboard splits and Sample+Hold for the LFO.

-Vintage Synth Explorer

The K4 from Kawai can be thought of as a warm and fuzzy digital synthesizer. A sample-based digital synth, its sounds are those typically weird industrial type sounds that can still be useful in lo-fi, big-beat and trip hop music styles. The sounds are 16-bit preset PCM samples of acoustic instruments. However, unlike its predecessor the K1, the K4 adds a welcomed digital filter section. This truly makes the K4 more flexible, fun and useful for today's filter tweaking music effects!

The K4r is the eight output rackmount version which has all the same features except for the effects processor. Both feature 8-part multitimbrality which is great for stacking, splitting and layering sounds. The K4 will give you strange, new and unique sounds with plenty of flexibility and analog-style sound shaping and control at an affordable price.

-Vintage Synth Explorer

British synth makers Novation take their now classic BassStation Rack to the next level. The A-Station is polyphonic, adding 8 voices of polyphony to their 1-unit rack-mount synth. Unlike the original BassStation and Super BassStation which were real analog synths, the A-Station gets its voice architecture from the SuperNova synths, which use analog sound modelling. The A-Station has the layout and shape of the famous Bass Stations, but its guts are basically a slimmed down SuperNova.

It has 25 knobs for real-time control, and all knobs transmit MIDI controller messages. The A-Station has three oscillators which provide sawtooth, triangle, sine and pulse width modulation. There's even a simple FM synth engine which can be dialed in for sharpening the sound. Oscillators may be set to Unison or Sync'd operation and a Noise source is also included in the waveform engine. There is a nice lowpass resonant filter with switchable 12 or 24dB/oct slopes and ADSR controls. A second ADSR envelope is available for the oscillators, as well as two LFOs with sample-and-hold and MIDI sync.

On-board effects include reverb and delay. Their send levels can be controlled by the Mod wheel which is a nice effect. A 12-band vocoder is also on-board for processing external mono sounds such as drum loops or vocals. The A-Station's pads sound great when vocoded with external sounds. External sounds can also be used as an oscillator, run through the filters, envelopes, etc. with much better results than were possible on the original Bass Station. There's even a built-in Arpeggiator whose speed synchronization and sweep range can be stored with the program for instant recall. Unfortunately, some of the older Bass Station's problems still have not been addressed in the A-Station. Namely, the lack of a power switch, a puny 2-digit LCD screen, and it's still not multitimbral. But for clean analog sounding synth bass, punchy leads, pads, filter sweeps and more - the A-Station is certainly a great piece of kit to have around

-Vintage Synth Explorer

With its hundreds of Voices and Performances and comprehensive editing capabilities, the MU90R sports a complete range of instruments and sound-shaping features which make it suitable for literally any music situation. Additionally, six digital multi-effects blocks provide practically unlimited sonic enhancement through multiple Reverb, Chorus, Variation, Insertion 1 and 2, and Multi-type EQ effects. Two A/D Inputs permit direct connection of an external audio source for increased utility, while two assignable Individual outputs provide additional flexibility in an expanded system. A convenient TO HOST connector also makes the MU90R powerful as a stand-alone tone generator for multimedia and other computer-related applications.

-Synthony Music

The SH-32 is a 4-part multitimbral desktop synth module using new Wave Acceleration Synthesis to deliver up to 32 voices of fat synth waves and entirely new waveforms. The raw waveforms are sampled rather than mathematically generated and are actually multi-sampled across the octave ranges. There's also a full complement of knobs and sliders, analog-style 808 and 909 drums, DSP effects and a killer programmable arpeggiator - all at a reasonably cheap price.

The SH-32 is more like an affordable follow up to Roland's JP-8000 and  analog modeling synthesizers than the real SH-series synths of the seventies/eighties. But that doesn't mean it can't sound like an SH-101, for example. The SH-32 has awesome, aggressive filters, however audible stepping can be heard when slowly twisting the cutoff knob, but not so when modulated with the envelope or LFO. It has many more variations of each classic wave than older SH synths, offering 67 types of waveforms. Everything from thick bass sounds to entirely new sounds not possible on traditional synthesizers can be coaxed out of the SH-32.

Every parameter is available on the front panel via knobs and sliders. There are no hidden menus, although the mass clutter of controls and information printed on the face of the SH-32 is a bit overwhelming, but look closer and it does seem as logically laid out and organized as possible.

Whilst you can certainly hook this baby up to your MIDI keyboard or sequencer and go to town with its great sounds, the SH-32 is perfectly happy running stand-alone making it perfect for DJs, live musicians, and just plain having fun. It has no sequencer but does have an amazing Arpeggiator with programmable or tap tempo settings. There are 64 arpeggiations and 64 drum rhythm patterns and they can be fully programmed by the user. It even has a chord memory feature making it great for techno and trance style arpeggiations. Superb built in effects will sweeten up the sounds immensely as well, with 35 insert fx and 10 types of reverb and delay. The SH32 is a unique combination of virtual analogue synthesis, excellent rhythm sounds, rhythm styles, an arpeggiator, and other 'groove' facilities - with an affordable price and compact size.

The Roland JV-1010 Synth Module may look like a weakling, but it kicks sand in the face of a lot of synths twice its size! This half-rackspace killer has the full sound set of the professional JV-1080 and 2080 modules (at slightly reduced quality). With 640 preset and 128 user patches, that's a lot of phat sounds in a skinny package. Plus, all 255 sounds from the Session wave expansion board are included. Pristine stereo grand pianos, acoustic guitars, Juno, Jupiter, TB-303, 18 rhythm sets and tons more - the kinds of sounds that inspire and do justice to your musical ideas, whether recorded or live on-stage.

And if you want to add more muscle, the JV-1010 has an expansion slot for any JV80 Series board (Asian, Orchestral, Hip Hop, Techno, Bass & Drums, Vocal, Country, World, etc.). In total, you can get over a thousand patches out of the box and over 1,200 when expanded - all in a 64-voice polyphonic, 16-part multitimbral unit with dedicated Reverb, Chorus and Multi-effects. Sounds are easy to find, too. JV-1010 Patches are grouped into categories (Piano, Key/Organ, Guitar/Bass, etc.) and banks can be selected with a simple Category/Bank Select knob. The innovative Phrase Preview function plays back the selected tone in a short musical phrase.

Roland has also added some valuable extras: Sound shaping and editing can be accomplished via bundled CD-ROM, which includes sound editing software for Mac and PC, used in conjunction with the JV-1010's rear-panel computer serial-interface. The computer interface and the 1010's General MIDI compatability make this an excellent sound module for use with your computer.

Though these sounds are professional all the way, you don't need to be a pro to recognize the JV-1010 as an extreme value. You don't need to be a pro to use it either. If you have a keyboard with a MIDI out and a cable, you're good to go. You'll never be held back by a lack of good sounds again

The NanoBass is a tiny total Bass module for instant access to just about every Bass sound you can think of! This 1/3-rack sized module (5.5 inches wide) has 256 preset Bass sounds. There are 16 categories, each with 16 different programs in that category. Categories include: Acoustic Bass, Fretless Bass, 3 Electric Bass and 3 Synth Bass types, Funk, Acid, House, Rap, Industrial, Layered, Drone, and Effected Basses. None of the sounds are programmable, but with 64 voice polyphony and 16 MIDI channels, the NanoBass is designed to give you hands-on Bass for your MIDI music production system, live or in the studio.

Despite it's small size and low price, it's got high-quality 16-bit 48kHz linear samples based on the popular QuadraSynth synth engine for supreme-quality sonic performance with no voice robbing. Most of it's Bass sounds rock, many with exciting resonant filter sweeps and other cool modulation sounds built into the samples. The sounds cover every musical style. Each program also features built-in Alesis effects that can be controlled from the Effect knob.

The NanoSynth is probably the 'fattest' little Nano-anything in the world! Unlike Alesis's other Nano-modules which offer 256 preset sounds, the NanoSynth doubles that to 512 and adds another 128 of user-programmable patches - a first for the Nano-modules. It also added stereo audio inputs and a built-in serial RS232 jack for direct Mac or PC connections, and full 16-part multitimbral operation.

As it's name suggest's, the NanoSynth is a compact MIDI module designed to give you ready-made 'Synth' sounds that should cover just about every musical style! From the front panel you can call up only the 128 User programs and the 128 General MIDI presets. The other 384 unique NanoSynth presets can only be called up via MIDI or serial link. External MIDI Editor/Librarian software must be used to edit the Presets and create User patches.

The sounds in the NanoSynth are pretty darn good too. They are based on the same synthesis engine as the QS synths. There are even built-in effects, also based on those found in the QS synths. With 64 voices and 16-part multi-timbrality, this tiny box (for less than $200) can do it all - drums, synths, guitars, pianos, organs, strings, pads, leads, etc. It makes a nice 'grab-bag' of sounds but wasn't designed to satisfy those looking to create their own wildly unique or complex synth sounds and textures.

The Korg 03R/W is a 32 voice synthesizer that uses Korg's famed AI2 digital synthesis. It holds 229 programs (129 of which are GM in ROM) and 100 combinations which use the 255 preset multisounds (multi-sampled PCM waveforms). The Multi Digital Effects processor provides up to 4 simultaneous effects. The unit has two card slots, PCM Data & PROG Data, is 16 part multi-timbral and has 32 note polyphony

The RT-323's best feature perhaps is being able to create my own drumkits. I also own the RT-123 and the most annoying thing ever is not being able to have a splash cymbal in place of a crappy hand clap. I like being able to save my data on smart media cards too. Battery operation also eliminated many problems of finding an electrical outlet to plug in at when i go to friends houses to jam with them. Anyone looking to purchase an inexpensive (although for what it is, it should be more) drum machine packed with features, this RT-323 would be the one.

With the breakthrough of the Zoom drum machine sound quality at the price it is, never again does someone have to spend 1000 dollars for excellent sound. The reverb is well done even though it isn't programmable. I give this a 9 only due to the fact that you don't have more control over reverb.

Come on, being a percussionist, I have been begging Alesis to put out new percussion products. At first glance, and a quick glance at that, this Performance Pad looks good and has a great price point, but think about it. Only 2 outs, or 1 stereo out, no mention of a midi input to access the drum machine and other setting. No midi thru either? According to some internet sources, the sounds are from the old Alesis SR-16. This unit is at least a decade old if not older and it doesn’t contain 24 bit samples. If converted, these samples would have a lot of zeros added and not necessarily be true 24 bit. 233 sounds are ok, but 1000 sounds are better. Is that LCD display backlit? That would come in handy when playing in a dark pit. The sound stacking is cool, and the sequencer seems to have enough notes, I guess, but Alesis seems to be hiding a lot of information about this unit. I think the old Alesis D4 and DM pro were the best things that ever happened to electronic percussion. They even forced Roland to improve their electronic percussion. But since then, Alesis has produced nothing worth mentioning in the percussion area. I love Alesis, especially the HD 24, the S4 sound module, the Masterlink, and yes my old D4, but if they are going to introduce new percussion products, they gotta have 21st century things like, hmmmm, how about a usb interface, midi thru and input, multiple stereo outs, memory backup slot, true 24 bit samples including new sounds, a way to update sounds and expand capabilities, and even self powered via usb. Some of this instrument is still in question, thanks to very limited PR photos and no specs at this point. What is in question? How about the number of tracks in the sequencer, samples other than percussion sounds, orchestral percussion samples like timpani, chimes, good sounding keyboards like marimba, rosewood xylophone, Deagan orchestra bells, wuhan gongs and snare drum rolls. Quantizing ability, editing ability, effects, and a ton of other things are all in question. Some of this might be in the unit, but I haven’t read it anywhere, even Alesis’ website. Again I love Alesis, but I hope they get on the ball and makes a Performance Pad Pro sooner than later

The compact XR10 contains 65 of the most impressive collection of 16 bit digital drum sounds you'll ever hear. And the XR10 combines thesesounds in up to 450 different preset patterns you canchoose from that will match any style of music. Youcan even create sounds with your own personal signature using the extensive editing parameters including sweep, reverse decay, and more. The decay parameter is adjustable from 0-1.5 sec in 31 steps allowing precise tailoring while other
parameters such as Hold and Sweep let you select the desired sustain power and thepitch sweep. And Reverse opens a whole new set of sounds.

Programs you create can be stored in any of the 32 user programmable memory locations. In addition, there are the 450 different preset rhythm patterns and 99 user pattern memories And you can store up to 20 songs with 99 parts each. The XR10 also gives you the powerful ability to create effect send mixes which will greatly help free up mixing channels on your recording studio board.

The CE-2 was the first compact pedal chorus from Boss. The CE-1 was released 1976 and contained the exact same circuit as the Roland Jazz Chorus JC-120 Amp. The CE-2 builds on the legacy of the CE-1 but isn't identical. The middle region is boosted in the CE-2 compared to the CE-1. According to the design engineers this may be because the CE-1 had a lower input impedance.

Roland says that they stopped marketing the CE-2 November 1982. The pedal was however still produced and sold at least out 1990. The label changed from black to green 1984. The CE-2 was produced in Japan up until 1988 when production moved to Taiwan.

The Boss RDD-20 delay - Part of the classic Boss Micro-rack series which graced a huge amount of home studio's back in the 1980's.
The RDD-20 employs a 12-bit PCM system plus analog logarithm compression for high quality compatible with a 16-bit system. Continously variable delay time between 0.75 to 400ms with flat frequency response up to 15kHz. Also equipped with Delay Tone control.

The Boss Micro range quickly became a firm favourite in the UK as a range of cheap but decent quality units perfect in both price and SIZE for the home studio enthusiast & smaller commercial studios.
Units could be bought individualy, and a 'master rack' could be purchased to house and power a whole set.
Individual units took a wall wart supply for their DC power, the optional 'rack' could have a distribution power unit to power the whole lot (RPW-7 Power unit).
I think you could also get an optionable pressed steel 19" rack bay to house 2 Units at a time in a convetional 19" studio rack.
The Mini-rack itself was a small plastic unit which had dinky but pointless 'grab-handles' moulded into the front sides. ... still.... it looked nice, the units worked well for their price, and lets face it, for the quickly expanding budget studio field they were perfect, and if you had a whole range the mini-rack had a small footprint being half-rack size so it could be easily placed on desktops etc & took up little room in what for many was bedroom studio use

On the whole, the effects are delivered to a high standard, though I wasn't convinced by some of the reverbs after high-frequency damping had been applied, as they tended to sound a touch 'zonky' [for those of you as yet unfamilar with this time-honoured piece of recording jargon, it can be translated into standard English as 'metallic and boomy' -- Helpful Editorial Assistant] -- but leave them nice and bright and they sound fine. The chorus, flange and delay effects deliver pretty much what you'd expect, though the respectable technical spec means that they are quieter and brighter than you would anticipate from what is unarguably a budget unit. Of course, the pitch-shifter suffers from the usual budget problems of sounding out of tune or warbly when used for anything other than mild detuning effects, but it's still usable if mixed well beneath the original signal.

If there is a problem, it is to do with operation and not with sound quality; unless you keep the manual close at hand, it's not always obvious which parameters are being changed by the two Edit knobs. When I first tried the unit, I thought that only one knob was having any effect on some reverb presets, but in practice, it's actually varying reverb diffusion, and unless you listen to something in isolation, you really can't tell what's changing.

If, like me, you like to play many different styles, the ME-50 can provide many different sounds and without buying many different boxes. The tone is completely editable in every way and so there is no real need to extraneous boxes.

I compared this unit, before I bought it, to many DigiTech, Boss and Zoom units and this is the only device I could plug into and get good sounds from straight away. It's very easy to use which is why I chose it over any other Multi-effects unit.

Within hours I had the memory system sussed out and had the bass, clean and Overdrive sounds from Seven Nation Army stored and was playing the song over, and over, and over, and...

That all said, there are a few problems with the ME-50. The Reverb is a little lacking and I feel the unit would benefit from a 2-digit display to more clearly show, for example, what note you are playing when using the tuner. Also, the lack of an included power supply seems a little cheeky as this purchase made my wallet look like it had been on slim-fast.

However, although it has it's shortcomings, the Boss ME-50 is definately the most comprehensive, yet uncomplicated Multi-effects unit I have ever used.

© Dave Wateridge