The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It came in 1983 and though it was in the same class as the Arp Odyssey and Minimoog mono-synths, its late arrival makes it one of the more advanced programmable mono-synths of its time! It's got a really cool sound, digitally controlled dual oscillators with analog filters, and plenty of programmability all packed into a quirky little plastic case with 37 keys. MIDI also appeared on later revisions as well.

Its sound starts out from its two DCO's. The synth is monophonic but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square-, variable-, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator.

Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function.

A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. When MIDI came on later models after 1984, you could easily synchronize your OSCar and other MIDI gear together and patches stored in memory could be dumped via MIDI to more permanent offline storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is usually hard to find and they usually need some work (they're almost 20 years old), but it's a favorite and classic little beast

It's small, it's cheap, and it's good! This is the pea-size version of the CZ-1000 with a mini-keyboard. The CZ-101 is a digital synth and although the programming is somewhat limited there are plenty of analogue-like traits and sounds to interest most anybody. It has a good 8-stage envelope design and uses Phase Distortion (PD) synthesis which gives it some pretty great sounds. The sounds are very similar to the Yamaha DX synthesizers, and they're much more affordable. PD is Casio's own take on digital synthesis from the mid-eighties and is found in all of their CZ series. You basically modify digital waveforms (sine waves) to create various sounds. It can create wild new sounds, notably percussive sounds. But it's not too easy to program if you don't know much about waveform theory and design.

Make no mistake, the CZ-101 is no toy although it can be considered very entry level. Three sets of 8-stage envelope sections are used to modulate your sounds extensively. The first is used to modify the DCO pitches over time. Another 8-stage envelope section in the DCW is used to modify the Phase Angle over time (like filtering). Finally the DCA amplifier also has an 8-stage envelope to modify the volume of sounds over time. For further tweaking the CZ-101 employs some surprisingly analogue effects. Four types of Vibrato make up a simple LFO-type section with triangle, square, ramp up or down waveforms as well as rate, depth and delay settings. Portamento adds that classic glide effect from one note to the next. Double up on the oscillators with 4-note polyphony. Built-in noise and ring modulation. It's also MIDI equipped with 4 monophonic multitimbral parts. However, with only 32 patches (16 preset, 16 user) storage is a bit slim.

The CZ-1000 is a full-size keyboard version of the CZ-101 for a slightly more practical edge. Later CZ-series models like the CZ-3000 and CZ-5000 used this new Phase Distortion synthesis in more professional instruments. But none are as small and portable as the CZ-101 is! It can even be strapped on like a guitar and run on battery power.

-Vintage Synth Explorer

This brand new beauty from Korg combines state of the art Analog Physical Modelling synth sounds with a very vintage Korg appearance. Yes, this sounds as good as it looks! Remember Korg's MS-series (the MS-10, MS-20 and MS-50)? That's right, the MS or MonoSynth series are some of Korg's most sought after analog synths. They were some of the only compact Patchable monosynths of their time, and had a great Korg sound too. While the MS2000 is somewhat "hard-wired", it offers just as much and more flexibility while maintaining a straight forward and hands-on approach towards old-fashioned editing via dedicated knobs, buttons and flashy lights. In place of actual patch cables and input jacks, the MS2000 features a cool "Virtual Patch" mode in which signal can be routed to various sections of the synth (ie: LFO, Filter or Keyboard Velocity) using the LCD display and paging through various screens.

The MS2000 actually comes up against the similar Roland JP-8000 and Novation SuperNova & Nova synths. Despite its amazing look, the MS2000 has some surprising limitations. It has only 4-voice polyphony so you won't be creating very lush or complex pads and sounds with it. In spite of this, its sound is clean, crisp and very flexible. It can easily conjure up beefy basslines, sub-basses, wonderful sweeping leads, pads and hits. Classic features include a 6 pattern arpeggiator, a very flexible LFO with sample and hold and even vintage wood side-panels and printed block diagrams and programming data on the face.

Programming seems just about as classic as its look. The two oscillators offer up to eight waveforms plus noise. A great self-oscillating filter section provides 12dB high and band pass filtering and switchable 12 or 24dB low pass filtering. A typical set of Envelopes modulate the filter and amplifier. Extensive modulation is provided by the two LFOs. A 16-band Vocoder section (a la VC-10) is also on-board and it does an excellent job! There are also on-board effects which include chorus, flange, phaser, delay, distortion and EQ. It also features a "Modulation Sequence" mode which is a 16-step pattern or sequence you create in either step- or real-time and any tweaking or editing can also be recorded into the pattern to add movement to it. The MS2000 is a very well designed and flexible synth with a look and functionality that not only honors but transcends its classic predecessors. 

Following up on the success of the popular Virus, Access unleashed an upgraded model in 1999, the Virus B. The original Virus A had 12-voice polyphony, but the new OS in the Virus B doubles the polyphony from 12- to 24-voices and the oscillators, from 2 to 3 per voice. 

The new OS also added an enhanced programmable 32-band vocoder. There are now up to 82 simultaneous effects, a retro-phaser (6-stage stereo phaser with 24 filter-poles), chorus/flanger, ring modulator, multiple forms of distortion, an analog boost algorithm, and an envelope follower. Up to five FM (Frequency Modulation) modes are also on-board now and many new sounds have been created for this bigger and better version of the Virus.

This is the first true TR-808 / 909 clone! Unlike the rest which use only samples, the DrumStation employs analog Sound Modeling - digitally synthesized models of the original waveforms which can be shaped, just like analog. This means you can adjust the tone, attack, decay, tuning, snap, and distortion of its drum tones. It includes all of the sounds found in the original 808 and 909's, the same tone controls for each drum part, and my favorite is the DIN Sync output which will allow you to sync a TB-303, 909, or 808 to it, just like the original boxes.

This is the perfect source for believable, tweakable 808 and 909 drums! It also features modern functions such as full MIDI implementation and control of all parameters, distortion, front-cut edits, note-off programming, programmable drum kits with 40 memory locations, and general-midi drum mapping. Plus there are multiple assignable individual outputs!

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 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.

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.

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

© Dave Wateridge