Roland W30 on Ebay

Comes with original factory and 10 professional disks from midi mark.

Auction Link

Used V-Synth for Sale

http://nmi.craigslist.org/msg/1529463694.html

Its in like new condition with custom patches already loaded. Asking $900 + ship (U.S. only)

Contact through email on Craigslist: http://nmi.craigslist.org/msg/1529463694.html

Tips: Making out of date synth patches on new systems

Dreaming of owning a keyboard with a 6mb sample rom library? Thinking of selling your entire studio to get that new sound? Try these simple tips to get bigger synth sounds.

1. Use a double delay instead of reverb. Digital delays are the best. You can try one tight delay (30ms or so) and one long delay (250ms), then pan each to the left or right. This creates a larger sound space.

2. Filter the sample, or analog modeling synth with a Lo-Fi sample rate down-conversion (destructive). Change the bit rate to 12 or 8 bit. This would simulate old sample roms or digital synthesis.

3. Combine a choir (ahh) sample with a short percussive attack sample. Many pad patches have been created this way with various string type sounds or percussive strikes and plucks. Many keyboards based on rom libraries let you create a sound with two “oscillators” in the patch. Again use the tips above on something like this to make it sound bigger. This is the scariest tip.

4. Experiment with sample speeds, transposition zone, and formant. If you have a roland sampler with vari-synth or ableton you may be able to get low-fi type results on modern samples, as if you were to take a smaller section of the rom sample and stretch it to fit the keyboard. Sometimes its better to turn these new pitch correcting/stretching technologies OFF and let the samples run.

5. Use a stereo choir effect or guitar pedal

The old tricks are the best tricks.

Jexus Nord Lead FX

Korg MicroSampler Looks like Voltmeter

It seems like they come out with a new mini keyboard ever year.

From youtube “looks like a midi keyboard for troops in iraq… really ugly”

To me it looks like a plastic Voltmeter from electronics class or a yard sale toy. It looks like it has a sequencer at least. If it doesn’t have time-stretch, pitch, beat-match, and sample chop, like modern samplers, then its not necessary to own, but I hope it does for the sake of people buying this ugly thing.

Link to Video

V-Synth Vs. JX8P Roland Shootout

VS.

Who will reign supreme for the title of “Super Synth”

You might be wondering what these two have in common. They use completely different technologies, different design, and came out decades away from eachother. One would think these Roland boards would sound completely different. Theres the thing you can’t forget: they are designed to do the same thing: Synthesis. But which is better?
Today we’ll be testing both the V-synth and the JX-8p in a feature shootout. Instead of focusing on what makes them different, we’ll be focusing on its similiar features, the OSCs & filter sections. Yes, the V-synth is a sampler, with many more features and effects, but they still decided to call it the V-Synth. In these tests we’ll be having each instrument do the exact same thing, recreating the same patch. Since the JX-8p is limited in options we do have to make the V-synth work to try and sound the same. This might be futile, and completely narrowminded but lets find out which won!

The OSC Setup:

The initial OSC test was difficult to set up. I started each synthesizer on a virtually blank patch and introduced the saw waves. This was fairly easy to do with the V-Synth and JX-8p. However, to make the V-synth sound like the JX-8p we set both its virtual OSCs to +1 randomize pitch, and used the LA-SAW type. Randomize pitch was the best way to simulate the analog-ness, as detuning a virtual oscillator does not equate to “analog” as you may think. It just makes it go out of sync. Even the JX-8p is close to dead perfect in tuning. Adjusting the the relative volume of each OSC to match the other instrument’s was a harder process. Set up this particular way, I tested the notes both high and low, and used chords.

In the end I couldn’t tell the difference between the JX-8p and V-synth with my eyes closed! Both instrument’s dry OSCs are excellent, with maybe a negligible difference in the convertors.
OSCs: Tied!!!
Chorus:

This was a bit more difficult. You do have to make the V-synth work a bit to get a good chorus. These are the settings I used: Chorus Effect 2, with the rate set to .40 , and full depth you get a similiar sound. It wasn’t enough however. There is a huge volume boost in the JX8p and what feels like a sub OSC when the chorus is engaged. I failed to get the V-synth to get that quality, even after trying bass EQ. It comes extremely close in tone, but that extra “awwwrrorr” sound isn’t there, and neither is the exciting “shine.”

Don’t let this persuade you from getting the V-synth. It’s chorus sounds very roland-ey and I was impressed.

Chorus: JX-8p wins

Filter:

The JX-8P has a smoother resonance filter that can’t be beat. The V-synth actually resonates alot harder with all its digital information. The cutoffs seemed similiar, but V-synth digital filters work almost too well by design. They should try to program flaws into it or EQ changes to give it more character or refined smoothness. I know its possible, and you can definitely try more controls in the V-synth, but in the end the basic filter was the fastest. The V-synth’s TB-303 filter is also good, but doesn’t compare to the JX-8p for this test. Real world filters are just too smooth!

If you like hard resonance filters, the V-synth can be your board. This might be the only category in which I am willing to be biased though. I like a smoother quality.

Filter: JX-8p wins.


Memory:

Okay the V-synth won this, and I’m not going to bother to explain why. The nice thing is that you can delete the factory presets.

Memory: V-synth Wins

With the PG-800, the JX-8p had a clear advantage. Its just simply faster. The V-synth has onboard OSC & envelope controls, which are highly appreciated, but to get the depth that the JX has, you must go through some menus. It would actually be interesting if they made a hardware programmer for the V-synth 3. That would be the most kickass thing ever. Roland should go back to making full hardware control on their synths. Yes the knobs could break down over time, but you could just buy another programmer if one knob went bad. The modular setup of seperate controller & keyboard is genius and Roland would be best to go back to it.

They are both fun to program and I didn’t feel like the V-synth wasted my time, but if you just need to grab a particular sound without thinking, the 20+ year old synth won.

Speed: JX-8p wins

Aftertouch:

The JX-8p has a smoother aftertouch thats easily enabled with an on/off switch on top. It seems like its on slightly even when your not pressing it, and while I’m not sure thats normal, I find it cool and useful. The V-synth also has aftertouch, but they designed literally as an AFTER-touch. You have to press down in to the point of your fingers going concave.

Aftertouch: JX-8p


Mods:
The JX-8p has a nicer sheen when you enable its mods & waveform sync. It has a better sounding ring modulator. The V-synth sounds perfectly fine & digital, which isn’t really a downside, but the JX-8p has an extra edge. At this point I was still creating the same patches and comparing them side by side. You can hear the electrons “light up” almost when your using real components to mix the waveforms. I do believe its possible for roland to program mods and syncs that do a little something extra, but they haven’t yet.

Mods: Jx-8p wins

Pitch Bender: V-synth

The pitch bender on the JX-8p felt old and plastic, like it was breakable. The V-synth was stronger in regards to its action and plastic feel. Both worked fine. Another comparison I find is Korg’s pitchbender design, which feels a little sloppy and hard to control. Keyboard manufacturers go cheap on the pitchbenders I guess, but the V-synth’s is clearly better in every way.

Pitch Bender: V-synth

Key Action:

The V-synth has everything you want in a synth action keyboard. Its fast and feels amazing. The JX-8p isn’t bad and I know some people might like its spring feeling but its going to be a little worn after 20 years realistically. When you press the keys the V-synth and JX-8p they both make a THUD sound at similiar volumes. However there is some difference in this thud sound from the keys. The V-synth’s is more bassy and feels like its vibrating the entire case and the inside electronics. Thats a little cheap. The JX-8p’s is more like a higher pitch KA-CHUNK. I’m not sure which is better…maybe the JX-8p has higher quality keybed, but the thunk might interfere with hearing the high frequencies of your music. I prefer the V-synth’s direct feel, but the JX-8p’s worn out spring bed doesn’t feel cheaply attached to the rest of the board.

Key Action: Tied

JX-8P WINS!!!!




I was told that the V-synth would a replace the JX-8p, a 20 year old keyboard. I think this is not entirely correct. If you test it blind, its really damn close, with a special “shine” on the JX. The JX-8p won the tests by a nudge.

In conclusion, it is possible to program similiar patches and at times I couldn’t tell the difference. Going with the JX-8p your trading away extra OSCs and better memory to gain a slightly more special sound and better programming speed. If you want a straight out synth the JX-8p is still a killer and does its job a little better. The V-synth also sounds very Rolandey, and you must keep in mind that without hearing both side by side, I might not care at all!!

They both are winners. The JX-8p would keep the “super synth” title by a nudge. If you like variety and want harder filters get the V-synth. I’m keeping V-synth because I love its sampler.

Korg MS-10, Vintage Analogue Synth

KORG MS-10… a classic, rare monophonic synth. SWEET! Excellent condition: everything works, everything is intact, no noisy pots, all keys operate smoothly. No operational issues. A few trivial scratches in the paint, which all seem to be on the back side (see pics). Still has a two prong plug.

Harmony Central Link

Full Orchestra Re-creation Tips

Some people want to orchestrate an entire symphony from their computer or keyboard. ROM voices or even sampled instruments don’t cut it by themselves, but you can use them to get a useable sound TV style sound ala Stargate or half of the stuff on TV. Here are some tips not everyone will tell you.

Here is an example of what you can do with plain “rom” or GM voices and alot of time tweaking.
MP3: http://www.chipcollection.com/orchestratest.mp3

Time for the tips

1. Use lots of Reverb on every instrument. They are supposed to be all in the same space.
2. When layering, respect the dynamic range of each instrument and research each instrument. For instance a violin cannot go all the way to C1.
3. http://en.wikipedia.org/wiki/Range_(music) <— Check this link
4. Use the correct panning of where each instrument lies in the orchestra.
5. Sometimes your workstation won’t have enough power to play 12 violin voices at the same time. Try to fake it with a chorus filter or by using a patch that includes an entire section of the orchestra (violin and cello, double bass reeds)

Winter NAMM 2009 links

A new M50 by Korg with 76 keys.

http://www.korg.com/m50

Korg releases the Pink Kaossilator.

http://www.korgkaossilator.com/

http://www.korgnano.com
Korg releases the nano controllers in black.
Is all you could do was come up with new colors?

So far there is nothing too exciting to report about winter NAMM. Maybe everyone is buying guitars this year?

Nova Drive presented by Uffe Hansen at NAMM ‘09
This is kind of cool, a combination overdrive & distortion thats analog, with presets! Midi controlled too. Sounds like a premium pedal.

Kinda retarded but cool. The ultimate hacked TR707
Diabolical Devices TR-707 at NAMM 2009

More as I find it…

Alesis Fusion FM Presets Bank – “Alice FM” Released!

29 Must Have FM presets

This is the ultimate selection in FM sounds on the Alesis fusion. 29 must have FM presets range from Acid, Techno, Chip, to FX.

Alice FM presets honor the past of Yamaha style keyboards and others are remenesicient of sounds not since seen on the Sega Genesis game platform. Complex LFOs are used to generate envelope rythyms, like on those of expensive software packages costing $200 or more. Alice FM pushes the creative limits of the Alesis Fusion! Click here to listen to the demo (MP3)

Click here to visit the product page

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