lucasorrentini's Activity

The SH-101 is very cool, especially for techno, drum&bass and ACID! It's a monophonic bass synthesizer. Its sound lies somewhere between the TB-303 and a Juno bass sound. It has a lot of simple but cool features. You can control the VCF, pitch, LFO or all from the pitch bender. It has a white noise generator, arpeggiator with up, down and up/down patterns and a simple real-time sequencer. The LFO offers random, sine, square or noise waveforms. And normal or auto portamento effects give you that elastic bass sound. There are external clock inputs for the sequencer and arpeggiator, CV/GATE inputs and outputs and a CV hold pedal.

The highly anticipated Minimoog Voyager synthesizer has arrived! This masterpiece of a synthesizer marks two landmarks in the history of synthesizers: the rebirth of the Minimoog and the return of Moog Music! Dr. Robert Moog himself helped design this modern-day Minimoog along with Big Briar. Big Briar (formed by Dr. Moog in 1978) became popular in the nineties with their Moogerfooger analog effect boxes and Etherwave Theremins. In 2002, Moog got the rights back to Moog Music so Big Briar (and all its products) are now Moog Music.

Moog Music introduced the Minimoog Voyager synthesizer in two editions: the Signature Edition and the Performer Edition. There were only 600 Signature Edition models and they listed for $3,495 each! Their unique features include: Hand-finished wood cabinet in your choice of genuine solid maple (light), cherry (honey-colored), or walnut (brown), illuminated, clear acrylic Pitch Bend and Modulation wheels, gold-plated nameplate, padded Gig Bag, 4-year warranty with two free factory tunings, and is individually inspected and signed by Bob Moog. The Performer Edition listed for $2,995 and has a solid hardwood cabinet.

The Minimoog Voyager is a true analog monophonic synthesizer (probably the most expensive one of its kind) and is based entirely on the original classic Minimoog Model D, which was produced by Moog Music, Inc. from 1970 to 1982. It introduces many new features, including a three dimensional touch pad, MIDI I/O, extensive patching facilities, patch storage, and more! It's cased in a beautiful, solid hardwood cabinet with a multi-position hinged control panel.

Just like the original, the Voyager has three analog wide-range voltage controlled oscillators, one noise source, as well as one audio preamplifier for externally-applied audio signals. Two resonant Moog-style filters are on-board and function in dual lowpass or lowpass/highpass modes and can be modulated by one of the two ADSR envelopes, the LFO, or external control. All knobs and switches can have their settings stored into one of 128 Program memories. Program Banks as well as the Voyager's Operating System can be uploaded/downloaded via MIDI SysEx. Centered on its front panel is the ominous, black 3-D (XYZ) Touch Surface which provides three continuously-variable control signals which are derived from the up-down and left-right position of the player's finger, and the amount of area with which the player makes contact to the surface.

There's also a 44-note keyboard, this time with velocity and aftertouch sensitivity. Also on-board are Pitch and Mod wheels, Glide/Portamento, and a series of 1/4" CV and/or Pedal jacks lining the top/rear of the front panel. The Mod Wheel can be sent to control all oscillators, or just VCO2, VCO3, the filter cutoff, or LFO rate. The Mod can gets its source from the LFO (triangle/square/sample-n-hold waveforms), VCO3, or the external Mod2 input. A Mixer Module gives you a five-input mixer for combining various audio sources prior to filtering between the oscillators, noise and external audio input signals.

The new Minimoog Voyager is a first class synth; every bit as elegant in look as sound and quality. It is highly streamlined and offers all the functionality of a modern day (mono)synth with the classic, warm, unforgettable Moog sound. It WILL replace your original Minimoog (if you're lucky enough to have one). Signature models will become prized possessions for decades to come, and the Performer models will prove to be major players in future of music to come!! It's being used by Stevie Wonder, Maroon 5, the Crystal Method, Electric Skychurch, Duran Duran, Air, Morcheeba, Black Eyed peas, Nine Inch Nails, Blues Traveller, Red Hot Chili Peppers, Dido, The Cure, Herbie Hancock, Rick Wakeman, Yes, Nickelback, Dream Theater, Paul Simon, Joy Electric, the Neptunes, Alicia Keys, CeeLo Green, Madonna, Incubus, FUN, Radiohead, Bjork and more!

This seemingly worthless synth/calculator hybrid weighing in at under a pound has somehow found fame and fortune despite looking like a kid's toy. Its ultra cheesy sounds have been discovered and immortalized in the hit songs of such artists as Trio for "Da Da Da" and White Town. The Casio VL-1 or VL-Tone as it's also called has 29 little calculator-type button keys, five preset and one user memory patches, built-in rhythm machine (waltz, swing, rock, samba, etc.) and a 100-note sequencer. There is no chance at any external or MIDI control and there are no filters or effects. There is an LFO with vibrato and tremolo effects and an ADSR envelope.

he tinny monophonic blips and beeps that come out of the VL-1 provide a childishly funny accent to your music, if you're into that sort of thing. The VL-1 is analog, it's tiny, it has a built-in speaker and a useless built-in calculator. The synth itself is quite small, light-weight and portable when running on batteries. The keys are unreliable and cheap soft buttons with absolutely no natural feel, response, aftertouch or velocity. The VL-1 was succeeded by the VL-10 (same spec, smaller case) and VL-5 (4-note polyphonic version with a useless bar-code reader). Strangely, the simple cheesy sounds of the VL-Tone have been used by Apollo 440, Devo, the Talking Heads, the Cars, Dee-Lite, Sting, Stevie Wonder, Vince Clarke, Beastie Boys, The Human League, Trio, White Town, and Bill Nelson.

The TR-808 is a classic drum machine that uses analog synthesis to create its sounds. The sounds have a very pure quality and are closer to the sound of the CR-series of Roland drum machines, as opposed to its popular successor, the TR-909. The TR-808 has become the signature beatbox used in most R&B and hip-hop as well as a lot of dance and techno music. Booming bass kicks, crispy snares and a distinctive cowbell sound made famous in the 1980's are all part of the 808 and its famous sound.

Its 16 drum sounds include the famous boomy 808 kick, snare, low/mid/high toms, low/mid/high congas, rimshot, claves, hand clap, maracas, cowbell, cymbal, open hi-hat, closed hi-hat and accent. Most of the sounds can be edited. Bass Drum and Cymbal (tone, decay), Snare (tone, snappy), Toms and Congas (tuning), Open Hat (decay). All sounds have individual volume controls and individual outputs. Unfortunately it was not MIDI equipped but it did use Roland's DIN Sync.

The TR-808 was OK in its time—it just didn't sound like real drums. When the Linn Drum machines appeared, the 808 seemed doomed. But its unique sound and analog allure have allowed it to find a long-lasting home in many forms of music. Ultimately, the 808 has become one of the more important and famous drum machines in the history of music, spawning imitators (ReBirth, DrumStation) as well as band names (808 State).

Famous users include Orbital, Überzone, Download, Aphex Twin, 808 State, BT, Bomb The Bass, Sense Datum, The Prodigy, Josh Wink, Faithless, Skinny Puppy, Bushflange, Jimi Tenor, A Guy Called Gerald, Eat Static, Dr. Dre, Jimmy Edgar, Jimmy Jam & Terry Lewis, Freddy Fresh, Richie Hawtin, Kraftwerk, Jean Michel Jarre, Cocteau Twins, Marvin Gaye, Luke Vibert, LL Cool J, Ice Cube, the Beastie Boys, Nick Rhodes (Duran Duran), and Puff Daddy.

The SP-1200 was THE drum machine & sampler combo of legendary status among old school rap and hip hop artists from the eighties and nineties. It is similar to today's Akai MPC samplers - it is a sampler plus drum machine. It has limited sampling specs: 26.040 kHz and 12-bit resolution. However the dirtiness of that sound is great for hip hop and house music. They say it sounds like "old vinyl"... It features groove quantizing and a disk drive for sample storage. As an upgraded version of the 1985 SP-12, the SP-1200 focused on its coolest feature - sampling. The preset drum sounds of the SP-12 were omitted, leaving room for up to 32 user samples of your own custom sampled and edited drum sounds.

Although this machine was originally released in 1987, E-mu has reissued them again and again due to popular demand. They continued producing them until they ran out of the SSM filter chips they used, around 1998. It was just too legendary to give up as it was THE beat machine for old-school rap and hip hop! In 1997 a final reissued model was released with a cooler looking all-black case. With the SP-1200 it's easy and fun to grab those sliders and tune or tweak your sampled drum sounds all around! It is used by Roni Size, Todd Terry, Freddy Fresh, Daft Punk, Phil Collins, and The Prodigy.

The MPC60 is the music production studio that has single-handedly taken over the Rap and R&B music genres as the main instrument of HipHop production. Designed by Roger Linn (Linn Drum), the MPC60 is a one-box-does-it-all sequencer-sampler workstation.

The built-in sequencer is very complete and professional. There are 99 tracks per sequence, 99 patterns, and 99 sequences that can be created, edited and stored in the MPC60 with ease. Most artists create their patterns in real-time adding drum parts to a beat-loop spontaneously creating a groove that captures the vibe. These patterns are varied and chained into a sequence. Full MIDI, SMPTE and various other forms of external control prepare the MPC60 for any studio situation.

The Sampler section is lo-fi but highly respectable. Its 12-bit sampling at 40KHz is pretty good. Sample editing, looping and transforming is simple to do. And finally, there's even a built-in drum machine for extra groove! Finally, the 18 voices of polyphony should be plenty of room for anyone who wants to create HipHop on the machine of professional artists worldwide including Apollo 440, BT, Jean-Michel Jarre, Jimmy Edgar, DJ Shadow, Jermaine Dupri, and A Guy Called Gerald.

In 1991 the MPC60 mkII was unleashed. It wasn't much different, the casing and a head-phone jack were new and either machine is still very useful for today's aspiring musicians.

Questa è una drum machine degli anni 80