The Joy Circuit

     

Home

Contact

Synthesizers

Current Collection Redundant Collection Dream Collection Gallery
     

CURRENT COLLECTION

         

SYNTHESIZERS

         
Akai S612 Roland JX-3P OSC Oscar Casio CZ-101 Yamaha TX81Z
Korg DW-8000 E-mu Proteus 2000 Kawai K4R Novation A Station Yamaha MU90R
Korg MS2000B Casio VZ-8M Access Virus B Roland SH-32 Roland JV-1010
Alesis NanoBass Alesis NanoSynth Korg 03R/W      
         

DRUM MACHINES

         
Zoom RT-323 Yamaha DD-10 Ion Digital Drum Station Roland CR-1000 Akai XR10
Novation DrumStation        
         

EFFECTS

         
Amdek PHK-100 Phaser Boss CE-2 Chorus Boss RDD-20 Digital Delay Zoom Studio 1202 Alto TopVerb
Behringer Virtualizer Pro DSP2024P Boss ME-50 Multiple Effects      
         

MIXERS

         
Boss KM-600 Behringer RX1602 Behringer UB1002FX Behringer Xenyx 2222FX  
         

MIDI ACCESSORIES

         
Midiman 3x8 Philip Rees 5x5 Philip Rees CSF Philip Rees C16 Philip Rees 5S
Roland A-880 DACS Midi Patch Bay KeyFax PhatBoy    
         

RECORDING

         
Sansui WS-X1        
         

Akai S612

 

 

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

  

   

  
bullet

My first, and only, hardware sampler

bullet

Part of a package deal with a Casio CZ-101

bullet

Very limited today, maximum of one second sampling time at its highest rate but had it uses

bullet

Mine has been modified to accept a trigger input which would make it a useful drum sampler if I could be bothered!

bullet

Uses 2.8" QuikDisks which are not exactly common place nowadays and an external drive the same size as the sampler!

bullet

Although I still have it it is currently boxed and unused

Top

Roland JX-3P

 

 

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

  

     

  
bullet

Purchased using the funds from my Dockyard redundancy in 1984

bullet

I believe this to be Rolands first MIDI synth and the worlds second (after the Prophet 600)

bullet

I also have the additional PG-200 programmer which makes it far easier to use although you cannot use it and MIDI at the same time without a modification

bullet

Considering it's age it's been problem free

bullet

Although it has MIDI it's spec is very limited in responding to Omni mode only

Top

OSC Oscar

 

  

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

-Vintage Synth Explorer

  

         

  
bullet

Designed by one of the men responsible for the EDP Wasp and also (unsurprisingly) originating from Oxford.

bullet

Strange design incorporating a quite unique amount of rubber!

bullet

The later versions are MIDI equipped.

bullet

I purchased mine via E&MM Magazine after they somehow got the rights to sell off the stock of the then defunct company.

bullet

Highly sort after instrument, I did sell mine on eBay for £770, but got let down by the buyer.

bullet

The first four photos show a very rare prototype version which seems to have been made using the case from a Moog Source.

bullet

Have to be honest and say its not my favourite synth, does power ok but not very subtle although the waveform creation system is good.

bullet

I am led to believe only 2000 of these were ever made.

Top

Casio CZ-101

 

  

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

  

     

    

  
bullet

Given away as part of the package for the Akai S612, although of  far more use than the sampler now.

bullet

Identical in all respects to the CZ-1000 except for mini keys.

bullet

I don't understand the principles of Phase Distortion synthesis but in the end it uses pretty much analogue editing even if the envelopes are over complicated!

bullet

Programmes backup needs batteries installed which double the weight of the instrument, alternatively you can use a cartridge.

bullet

It is multi timbral although with very limited number of voices (8) this isn't really practical.

Top

Yamaha TX81Z

 

 

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

  

   

  
bullet

As complicated as any other FM synth but at the time I was desperate to have one. It's useful but FM wasn't quite the amazing sound I hoped for

bullet

Never understood how to program it!

Top

Korg DW-8000

 

 

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

  

   

  
bullet

I got this by trading in my Yamaha CS-15 and Moog Prodigy, both of which are probably worth more than a DW-8000 now!

bullet

Traditional "analogue" but with 16 basic waveforms to work with

bullet

One of the first synths to have built in effects in the shape of a quite comprehensive digital delay

Top

E-mu Proteus 2000

 

 

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

  

   

  
bullet

1000s of presets which was confusing at first, mainly due to it alwys defaulting to the wrong MIDI channel. Can probably change it but haven't studied the manual that much

bullet

Not attempted to program it yet but like the 4 quick edit knobs

Top

Kawai K4R

 

 

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

  

  
bullet

This synth certainly has a sound of it's won which you can't often say about intruments. Quite an earthy, dirty sound if that makes any sense

bullet

Fairly standard editing parameters but not not delved too deeply yet

Top

Novation A-Station

 

  

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

  

  
bullet

Got this not long after ditching the D-110, so much easy to use although the shared controls can get a tad confusing at times

bullet

Very powerful machine, not used the vocoder side of it

Top

Yamaha MU90R

 

  

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

  

  
bullet

Bought this mainly to use instead of the DB50XG I had bolted to my DMX Soundfire, provides the XG soundset plus lots more

bullet

I have a PhatBoy attached to this to allow easy editing of major functions

Top

Korg MS2000B

 

   

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. 

-Vintage Synth Explorer

  

         

     

  
bullet

This was purchase courtesy of my redundancy money, after using the A Station I realised that good old analogues still had a place in the world

bullet

Initially very disappointed with it. Korg had made a big thing of the in built 16 step sequencer and many of the presets used this. Although impressive they were musically limiting but once you ignore them and get down to the basic sounds it's a great instrument

bullet

The MS2000B differs from the original version in colour scheme, inclusion of microphone and front panel connector and finally a completely new set of presets. Having said that one of the above pictures shows and original version in the new colour scheme so it may have been available in both.

bullet

I have no more luck using the vocoder on this in a useful way than I did with the SVC-350

bullet

Contain a DWGS (Digital Waveform Generator System) which is an enhanced version of that found on the DW8000 and greatly enhances the basic oscillator waveforms

bullet

I was surprised how light this instrument is for its size

Top

Casio VZ-8M

 

 

No independent review available

  

 

  
bullet

The next step on from the CZ series

bullet

I have not been able to get a manual for this so have trouble working out what's going on most of the time

bullet

Only used as a preset so far

Top

Access Virus B

 

 

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.

-Vintage Synth Explorer

 

 
bullet

Amazingly versatile and great sounding instrument

bullet

Really needs a read of the manual to get to grips with all the effects options which unfortunately I don't have!

bullet

In my opinion the diversity of the waveforms to do not match the Korg MS2000

Top

SH-32

 

 

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.

-Vintage Synth Explorer

 

     

 
bulletAnother versatile virtual analogue with some hidden depths, so hidden in fact that I have still to work out how to use the drum part of it!

Top

JV-1010

 

 

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

-Vintage Synth Explorer

 

 
bullet

Like the Proteus this is a large source of instantly usable presets

bullet

Has the option of adding another board internally to increase the range of sounds

Top

NanoBass

 

 

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.

-Vintage Synth Explorer

 

 
bullet

Simple preset bass unit

bullet

Quality sounding unit, does exactly what you expect it to do

bullet

Very temperamental as far as PSU is concerned, had to purchase an official Alesis supply to get it to work

Top

NanoSynth

 

  

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.

-Vintage Synth Explorer

 

 
bullet

For the most part a preset bass and General MIDI compatible unit but with the possibility of edits via computer

Top

03R/W

 

 

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

- Sayers Web

 

 
bullet

Another eBay purchase, went looking for an M1 and ended up with this somehow.

bullet

Good sounds but not sure it offers me anything I haven't got already with the Proteus or MU90

Top

RT-323

 

 

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.

-ZZ Sounds Review

 

   

 
bullet

Bought this as I wanted something quick and easy for drums to save me having to program Cubase all the time, and my drum programming is rather basic

bullet

Only criticism so far is the Latin rhythms are not "cheesy" enough, suppose I will need an old Roland or Korg drum machine for that

Top

Yamaha DD-10

 

 

The DD-10 is a stereo digital drum machine with 8 touch sensitive drum pads,98 preset rhythms played on some 26 or so drums. It comes with one demo pattern and the ability to store 2 user patterns. It responds to MIDI and the channel for MIDI can be set. It runs on 9-12volts and can be powered by batteries. There is also the facility to play the drums from external pedals - which are attached via a 3.5 stereo jack - the unit uses the same grounding method for trigger as say the Casio MT-500 - a brief connection to ground triggers the drum,in this case the bass and hi-hat.

The Tempo can be generated from a manual entry system where you merely tap a button and the unit plays at the tempo you are hitting the button.
The pads are assignable from the kits available.All the pads can sound at the same time. The green purple and white buttons choose from the 3 sets of instruments available for each pad. If you press green and purple simultaneously,then you can customise the pad. This is done from the following process - press the "C" button on the numeric keypad and a number from 0-9 corresponding to one of the drum pads that you wish to transfer a sound to. Whilst still holding C+pad number,press the pad which contains the sound you wish to copy.Then press green and purple at the same time - which chooses custom mode,which is a 4th set of drums which you have chosen yourself. Press the pad,corresponding to the number you chose with the C button,this will then play the sound assigned from one of the other pads.
The Channel for the DD10 can be set by pressing the MIDI MODE button and the numeric buttons for the channel. Entering 00 means the DD10 will respond to each drum note sent to it individually - entering 99 means it will respond to a MIDI clock signal and program numbers will change which rhythm is playing.
The rhythms cover all the usual patterns. There are 100 patterns,two of which (98 and 99) are user programmable by using the pads. There is also a built in metronome.
The user patterns are selected using number 98 and 99 for the rhythm number,and can be overdubbed as the sequence loops.

Good points: MIDI channel response is good and the ability to swap to note mode or clock mode makes it easy to configure to any setup. There are 3 audio outputs - Left and Right Stereo and a headphone output,which means you can treat left and right channels independently with effects.

Niggles: The sound is not brilliant by today's standards but passable. The hard pads are hardly what you would wish to hit with drum sticks.You can though - get hold of CASIO DP1 pads and plug them straight into the drum ports and use those as controllers.

-eBay Guide

 

 
bullet

Predominantly preset drum machine with only two programmable locations 

bullet

Low quality sounds by modern standards but one of the reasons I bought it

bullet

Has a useful MIDI in which allows it to be synchronized with Cubase, something the latter Ion/Alesis Performance Pad can't do

Top

Digital Drum Station

 

 

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

-Synthtopia

 

 
bullet

Contains preset patterns so can act as a standard drum machine as well

bullet

Appears to be a re-badged Alesis Performance Pad

bullet

The lack of  a MIDI IN makes it very difficult, actually impossible, to sync to Cubase as it only outputs MIDI Clock and not MIDI TImecode

Top

CR-1000

 

 

No independent review available

 

 
bullet

The peril of eBay! Got this after looking at various preset CR series drum machines and suffice to say this is the runt of the litter!

bullet

Doesn't help that the "good condition" turns out to be "very battered"

bullet

Limited number of rhythms and no variation of sounds which are apparently TR-505 era samples although the volume can be easily varied.

Top

XR10

 

 

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.

-Audio Playground Synthesizer Museum

 

 
bullet

Another cheap but good sounding preset/programmable drum machine

bullet

Rather bizarrely you can not sync it over MIDI to play the preset patterns, it will only play songs!

bullet

You can edit the individual drum sounds using various parameters, not really explored this yet

Top

Novation DrumStation

 

 

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!

-Vintage Synth Explorer

 
 
 
bulletWell it does what you expect it to do, gives you vintage and adjustable drum sounds

Top

Amdek PHK-100 Phaser

 

 

No independent review available

 

 
bulletMade by Roland but sold as a "kit", actually the circuit board was complete all you had to do was solder a couple of wires and screw the case together!

Top

Boss CE-2 Chorus

 

 

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.

-Bossarea.com

 

 

 
bullet

My first effects pedal

bullet

In theory this should be replicated by the ME-50, it hasn't actually been used for many years

Top

Boss RDD-20

 

 

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

 

- Dancetech.com

 

 
bullet

Part of  the Boss Micro Rack series which at the time I hoped to get more of

bullet

Still a fairly good little digital delay which is currently used but might end up getting put in the chain again

Top

Zoom Studio 1202

 

 

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.

-Sound On Sound

 

 

 
bullet

Wanted this to give me an alternative to the built in effects on the Behringer mixers, unfortunately it was far too noisy

bullet

Not currently in use, may dig it out one day or more likely sell it

Top

Alto TopVerb

 

 

No independent review available

 

   

 
bullet

Another one of those eBay impulse buys, had never seen one before and it was cheap and I was after another effects unit

bullet

Well it's simple and limited and basically no use to me so it's back in its box!

Top

Behringer Virtualizer Pro DSP2024P

 

 

No independent review available

 

 

 
bullet

Got this to replace the disapointing Zoom effects unit, far better

bullet

Behringer did seem to have a dodgy reputation but I've not had any problems with their products

Top

Boss ME-50

 

 

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.

-UltimateGuitar.com

 

   

 
bullet

Used as a alternative send to the Behringer

bullet

Nice easy edits via the knobs

bullet

Rather disappointing reverb and noisy distortion

Top

MIXERS

KM-600

 

RX1602

 

UB1002FX

 

Xenyx 2222FX

 

RECORDING EQUIPMENT

Before the wonderful day's of PC based sequencers and hard disk recorders everything had to go down on tape and for the budget conscious musician that meant the "portastudio". I don't think anyone actually makes cassette tape based machines anymore but I have owned a couple.

Sansui WS-X1

 

I still own this although it would probably only ever get used again as a mixer. At the time Sansui introduced some very innovative recording equipment but then just as quickly disappeared from the scene. This had more inputs than the 244 and was also a 6 track. Another benefit was a built in reverb unit.

Top

Home

Last update

24/05/2009 11:00:08

© Dave Wateridge