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Tag: analog synthesizers

Review: XILS-Lab KaoX Merges FM and Analog Synthesis With Chaos
The sonic masters at XILS-Lab recently crafted another unique software synth, this time combining FM and analog synthesis. Somewhat modeled after the Yamaha GS-1, the predecessor to the DX7, KaoX also leverages virtual analog and chaotic oscillators to greatly expand its sonic depth. Its range of sounds is stunning, taking FM synthesis to an entirely new level.

XILS-Lab KaoX Features
- One FM Oscillator With Eight Operators
- Two Virtual Analog Oscillators With Variable Waveforms
- Two Chaotic Oscillators With a Variety of Algorithms
- Two Virtual Analog Filters
- Two LFOs
- Two ChaoX Modulators
- Four DADRS Envelopes
- Two Separate Configurable Synthesizer Engine Layers
- Modulation Matrix
- Dual Arpeggiators
- Four Track Sequencer
- Four Effects With Independent Routings
- Supports VST, AU, and AAX Plugin Formats for Windows and MacOS
- Available for $159 from XILS-Lab
If you read our reviews of other XILS-Lab synths, like PolyM and XILS 505, you know they remain one of our favorite synth plugin makers. If anything, KaoX increases their reputation in our mind. It’s a stunning piece of work, capable of sounds far beyond either FM or virtual analog synthesis. Let’s dive into this sonic maelstrom!

A Massive Sounding Synth Deserves a Massive User Interface

With its large sound and detailed functionality, it’s not surprising that KaoX sports a rather huge user interface. However, the plugin shares common interface elements with other XILS-Lab synths. For example, the toolbar residing at the top provides access to patch library functionality as well as settings.

XILS-Lab KaoX in Action. Screenshot by author.

However, the meat of the KaoX interface lies beneath the toolbar. It’s a massively wide window unable to completely fit within my 15-inch laptop screen, so scrolling is necessary. Thankfully, KaoX features different collapsible windows to streamline things, but expect to scroll at times. Still, the interface remains highly accessible and easy to navigate. XILS-Lab also included a simple mode which hides most of the interface. This skeuomorphic wood-paneled view lets you stack or split layers (more on that below), turn effects on/off, add tremolo or vibrato, and more.

Beyond that, covering the rest of the KaoX interface makes more sense as part of exploring its robust synthesizer architecture. As noted earlier, it’s a mashup of FM and virtual analog synths, creating a sonic behemoth capable of significant mayhem and chaos. Here’s a closer look.

The Yamaha GS-1 and Sequential Prophet 5 Give Birth to a Mutant Synth

The KaoX synth architecture provides sound designers with multiple oscillators, as well as a standard array of filters, VCAs, and more. Three types of oscillators exist: virtual analog, chaotic, and FM. Routing options abound, with all oscillators able to be routed to the filters and the VCAs separately.

Importantly, KaoX features two independent synthesizer layers, so the entire synth architecture essentially repeats itself. The synth’s effects engine (phaser, chorus, reverb, and delay) allows each effect to be routed to either or both of the synth layers. Needless to say, the sonic possibilities are immense! Explore the robust library of presets in simple mode to hear for yourself.

Within various Advanced Settings Panels reside most of the KaoX’s interface, as described earlier. You use them for access to each synth module’s full collection of parameters, spanning an array of oscillators, filters, and more. Remember to turn off any unused modules to save CPU power.

KaoX Isn’t Your Grandmother’s DX7

The FM Algorithm matrix and FM operator module both contain various controls to manage the synth’s single FM oscillator. Note that KaoX provides little introduction to the concepts of FM synthesis. Use another source to learn more about this rather esoteric synthesis type. However, the accessible KaoX interface rewards exploration and empirical analysis, making it easier to craft your own FM or hybrid patches.

Ultimately, KaoX offers possibilities that greatly exceed those overused 80s DX7 sounds. Being able to modulate any FM operator with the virtual analog and chaotic oscillators provides an unlimited realm of sonic mayhem. You also have control over a variety of settings for each FM operator, including its ratio, offset, and detuning. There’s also a separate filter and envelope for each, providing controls for cutoff frequency, and ADSR.

You are also able to modulate operators using velocity, the modulation wheel, and the internal modulation matrix. The FM oscillator also provides two separate outputs, with either routable to either filter or VCA. Needless to say, this robust architecture combined with the other oscillator options sets KaoX apart from similar DX7 clones in the soft synth realm.

Chaotic and Analog Oscillators Add to The Mayhem

As noted earlier, KaoX features two pairs of virtual analog and chaotic oscillators that add to the synth’s sonic maelstrom. The analog oscillators feature a continually variable waveform that changes between triangle, saw, square, and pulse. Modulate an oscillator’s Wave knob to vary its waveform. The Synchro switch hard syncs oscillator 2 to 1. Each oscillator also provides either white or pink noise for additional grunge.

KaoX’s two chaotic oscillators are “based on algorithms which mimic the chaotic behavior of the real world.” The musical purposes for this approach seem valid, especially when used to modulate the operators of the FM oscillators. Three chaos algorithms currently exist, with more to be added in the future. As with the virtual analog oscillators, the chaos oscillators are routed to either filter or directly to the VCAs.

Exploring The Rest of KaoX

KaoX features two independent filters (each with its own envelope) with five different modes, including high-pass, low-pass, and band-pass options. Basic control over the resonance and cutoff frequency exists on the filter module; clicking on it displays its Advanced Settings Panel with additional parameters for filter mode, drive, envelope modulation, and more. The drive adds a measure of saturation. You also control how much signal gets routed to VCA1, VCA2, or both.

The synth boasts four independent envelopes; two modulate the filters, and two modulate the VCAs. Again, the module has basic DADSR functionality, and clicking on it displays the Advanced Setting Panel which provides control over all four envelopes at once, including a tempo sync switch for each. Of course, all four envelopes serve as sources in KaoX’s modulation matrix.

Two LFOs also add to the modulation fun. The basic module features a frequency knob, while the Advanced Settings Panel provides a host of other controls, including tempo sync, waveform, width (for pulse and triangle waveforms), and destination for convenience compared to using the modulation matrix.

Don’t forget the two ChaoX modulators which behave like an LFO from a modulation standpoint, but in a chaotic fashion as opposed to a repetitive oscillation. Like the LFOs, there is a basic module with frequency and an Advanced Settings Panel. Various algorithms provide different forms of chaos, with varying levels of randomization.

Put these modulators to use in the 8×8 modulation matrix, allowing you to connect sources and destinations to add depth and motion to your patches. A separate panel is used for setting the destinations for the velocity and aftertouch sources. Other sources include a standard array of envelopes, modulators, oscillators, and even KaoX’s 4-step sequencer. Cool options abound!

Don’t forget about the dual arpeggiators! KaoX provides one for each synth layer. Expect typical arpeggiator parameters, along with swing and a cool chord feature. The previously mentioned basic 4-track sequencer also adds to the fun. Of course, it supports odd time signatures!

Finally, KaoX provides four separate effects: delay, chorus, reverb, and a phaser. All features a basic set of parameters, and greatly add to the sonic mayhem of the synth.

Add This Mutant Synth to Your Collection

Exploring KaoX’s massive number of presets as well as tweaking my own patches reveals a synth of great sonic depth. Those boring 80s sounds typical of FM synthesizers need not pollute your own works. Simply add some chaos with an oscillator or modulator, giving a measure of experimentation to your sound designs.

XILS-Lab built another essential synthesizer app that stands right next to PolyM and XILS-4 in our hearts. Sound designers and musicians taking an experimental approach to their work need to consider adding it to their plugin collection. It’s a behemoth, but its rich feature set rewards deep exploration of its underlying sonic possibilities. We give KaoX our highest recommendation!
December 2, 2021
The Moog One blows out the Current Synth Market

Sell those stock options, as this week Moog released its benchmark polyphonic analog synth, blessed with the moniker of Moog One. Its price point places the synth squarely in the realm of the boutique. The 8-voice model runs $5,999; while the 16-voice edition rocks a street price of $7,999.

Needless to say, short of winning the lottery, most synth-nards and electronic musicians are out of the budgetary range for this behemoth. That’s sad, as its features and sound quality rank at the top of the current synthesizer market. Let’s take a closer look.

Moog One Specifications

Unfortunately, Moog didn’t send me a model to review. My absconding with the unit is a risk they didn’t want to take. Nonetheless, we forge ahead with a review of the Moog One specifications, as well as an imperfect sonic analysis based on the videos of the synthesizer.

Unfortunately, this is not my Moog One Synth. Photo copyright Moog Music, Inc.

As expected, the Moog One sports a robust analog synthesizer architecture, in both the 8 and 16 voice versions. The synth also includes a digital effects engine; simply bypass it to maintain a fully analog signal path. Those talented folks at Eventide licensed some of their excellent digital reverbs to give the Moog One a proper measure of space.

The keybed hosts 61 keys capable of sending both velocity and aftertouch messages. Onboard controllers include the standard pitch and modulation wheels, as well as an X-Y pad. Kaoss abounds! You know, the Moog One bears a resemblance to their classic Polymoog.

73 knobs and 144 buttons combine with an LCD screen; providing a state of the art synthesizer interface. Modular synth connectivity is accomplished with the two CV inputs and four CV outputs. There are also a host of audio outputs – stereo mains, sub outputs, dual headphone jacks, and audio inserts.

It’s all about the Tri-Timbral Synth Architecture

The tri-timbral nature of the Moog One’s design means each timbre acts as an independent polysynth, which its own sequencer, arpeggiator, and effects engine. Now, the high price of the unit makes more sense. This is a stunning piece of gear.

Considering these independent features of the tri-timbral design, I think anyone who went for the 8-voice model will be killing themselves for not spending the $2,000 more for the 16-voice. In short, the Moog One’s architecture appears to make running out of voices easy.

The Moog One’s three oscillator design includes practically every required analog waveform. FM, ring modulation, and hard sync are all available for your patch manipulation needs. A dual source noise generator with a host of colorful options rounds out this section of the synth.

Of course, the Moog One boasts Bob’s classic resonant ladder filter, with a host of slopes. The additional two state variable filters enhance the filtering options. Four LFOs, three envelopes, and a glide circuit make up the synth’s modulation section. There is also a full featured modulation matrix.

Moog’s Arty Video for the Moog One

Moog’s introductory video, while a bit too arty for someone just looking to dive into the details, nonetheless offers an interesting overview of the Moog One. Suzanne Ciani’s insights are especially worthy of note. Chick Corea does his thing with what sounds like Moog’s take on a DX7 polyphonic synth patch.

Check it out. It’s 20 minutes that won’t waste your time nor mind. As an aside (at the 10 minute mark), what’s the point of placing your book collection in large vertical stacks instead of a bookcase? It’s almost like designing a website where the information flows horizontally instead of vertically, like the rest of the Web.

This video as well the others I perused, reveals a stunningly powerful analog polysynth. The Moog One sounds great and works well as the centerpiece of an electronic music studio. Synth musicians who already own a ton of hardware and software gear might find they really don’t need Moog’s new behemoth.

Ultimately, the Moog One ranks at the top of the synthesizer world. Is it the Yamaha CS-80 for the 21^st Century? Time plays the ultimate arbiter in that determination. While I likely won’t be able to afford one anytime soon, gifts are always accepted here at TabMuse. Anyway, the Moog Sub 37 maintains its status as the favorite synth in my studio!

October 11, 2018
Review: PolyM offers a Great Polymoog Emulation
The Polymoog remains one of the most underrated Moog synthesizers. Gary Numan used it to great effect in the late 70s, but its complex design led to a poor reliability factor, with Dave Smith’s Prophet 5 ultimately winning the polyphonic analog race. XILS-Labs’ recently released emulation – the PolyM – brings the olde beast back to life, and is of interest to anyone looking to add bit of vintage vibe to their modern virtual synth collection.

PolyM Features
- 71-voice “Unlimited” Polyphony
- Synth Architecture based on Two Top Octave Divider Oscillators
- Filters Galore: Monophonic 24db Ladder, Resonator Bank, Acoustic Filter Bank
- Those Old School Polymoog Preset Buttons
- Delay, Phaser, Reverb – not on the Original Polymoog
- Emulations of the Original’s LFOs and Envelopes
- Modulation Matrix
- Supports Most Popular Plugin Formats
- Available for 99 Euros (149 after August 31)
The PolyM features a great 70s sound, a bit grungy in the right spots, with a warm feel typical of that classic era of analog synths. Whether you are going old school, or if the “newer” exponents of this sound – Air, Boards of Canada, etc. – are more up your alley, PolyM belongs in your plugin library.

The Divided Alien Octave

The original Polymoog 203a had more similarities with the classic string synths of the era compared to a true polyphonic synth. Its divide-down architecture is more akin to an organ or string synthesizer. This design principle is also at the core of the PolyM, including the original’s split keyboard fader and octave balance controls.

The PolyM in virtual action. Screenshot by Author.

The two Top Octave Divider oscillators can be tuned against each other, creating that classic beat phasing effect. Virtual buttons and sliders let you tweak the pitch for each oscillator as well as switch between free or locked mode. Each oscillator also sports an LFO controlling frequency modulation (or phase modulation when in locked mode.)

Being able to switch between oscillator waveforms based on the keyboard split (lower and upper) is a classic feature of the original Polymoog emulated nicely in the PolyM. Additional mixing and shaping controls add to the fun. The Loudness Contour section serves as the VCA envelope for the synth, with a toggle switch allowing you to change between a traditional ADSR envelope and the unique “Legacy” one from the Polymoog.

The PolyM mimics the Polymoog’s interface accurately. Everything is where one expects it to be, including the original blue preset buttons — another hint at the Polymoog’s similarity to the string synthesizers of its day. There are additional screens to manage the patch library as well as other features unique to the plugin, like the modulation matrix, reverb, phaser, and delay. As noted earlier, you are also able to control the synth’s mix in a variety of ways, including controlling the balance between the three sets of octave pairs, as well as the discrete outputs of the PolyM’s various filter sections… speaking of which.

Polymoog Filter Insanity

Like the original, the PolyM offers copious filter options, offering flexibility when creating your sonic mayhem. The polyphonic filter sports three different modes (high, low, and band pass) and comes with its own envelope. You are also able to disable the filter for either half of the keyboard.

Unlike its polyphonic brother, the 24db ladder filter is applied after all the notes are mixed together. However, it does offer the same disabling toggle switch for each half of the keyboard. Expect the standard array of filter controls, along with modulation – including an LFO with sine and sample and hold waves – to round out this filter.

There is also a resonators filter section, with 6db and 12db modes, for that extra sonic push over the mindfreak cliff. This filter includes cutoff and resonance controls for each octave pair separately. Switching between high, low, and band pass is also possible.

The MODE filter is a separate circuit based on the nine preset filters accessed from the classic blue buttons in the middle of the synth interface. These can be engaged whether or not the underlying preset sound is loaded. For instance, you can use a string MODE filter setting with your own patch creation.

A Must-have Synth Plugin for Moogheads

A fully-featured modulation matrix is one example on how the PolyM goes beyond the functionality of the original Polymoog. Its sound quality also comes pretty close as well; rivaling Arturia’s stable of emulations of classic 70s and 80s synthesizer models.

Personally, I expect to “reach” for the PolyM when I need its unique “string synth meets analog polyphonic” sound stylings. If you are interested in this era of Moog synthesizers, and can’t afford the several thousand dollars for a restored version, the PolyM belongs in your plugin collection, stat.

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August 24, 2017
Review: Go Semi-Modular with the Make Noise 0-Coast
Ever since watching the synth documentary, I Dream of Wires, analog synthesizers or even a Eurorack system were going to be part of my studio setup. Virtual analog synths from Korg and Waldorf still make their presence known on our recordings, but there’s no denying the superior tactile interface of a synth like the Moog Sub 37, let alone its otherworldly sound.

One way I’ve managed to avoid the cash rabbit hole of Eurorack is the Make Noise 0-Coast, a recent purchase. Its mixture of East Coast and West Coast architectural approaches offers a unique sound along with serving as a decent introduction to full modular synthesis. It’s well on its way to becoming a core part of the studio, while making a quite evil sonic pair with the Sub 37.

One Synth Patch at a Time

The 0-Coast comes with a MIDI connector as well as a small collection of patch cables which suffice to get you started on a journey to alien sonic vistas. A wall-wart power supply is also part of the package, so make sure your power strips have the extra room. There’s a simple introductory one-sheet with basic setup and patching information, with a full manual available online. Definitely add that to your near-term reading list.

The Make Noise 0-Coast finds a home on the Berlin School playground. Photo by author.

As a semi-modular synth, the 0-Coast sports a host of normalized patch connections, which makes it easy to create a simple patch. The one-sheet features diagrams for a simple East Coast patch to be played over MIDI or CV, as well as a more esoteric drone. If you want to quickly get to experimenting, these two patches are more than enough to start.

A single oscillator synth, the 0-Coast’s triangle wave is the default (or normalized) waveform; you can also patch in the square wave as needed. Of course, both waveforms can be routed to other patch points for additional sonic trickery – an essential function of any modular synth.

A Clean Synthesizer Layout

The 0-Coast layout is easy to follow for both novice and grognard synthheads, with lines and arrows tracing the normalized and potential patch connections. The Contour circuit essentially serves as an envelope, while controlling dynamics, with the Slope circuit acting almost like an LFO when cycled. The latter also works at an audio rate; useful for patching up some oscillator sync action.

Instead of a subtractive filter, you use the Overtone and Multiply circuits to add harmonics or otherwise mangle the waveform in a sonically interesting fashion. Animate the sound by letting the Slope or Contour (or an external sequencer, like the Korg SQ-1?) modulate the Overtone or Multiply. Possibilities abound.

Clock is received from the MIDI input, or you can patch an external source to the clock input. Tapping to set the tempo is another useful option. A variety of color-coded “activity windows” serve nicely to indicate MIDI and Clock data a-fluttering, as well as the signal polarity at various points throughout the synth. The Stepped Random Output – part of the Math circuit – provides sample-and-hold functionality. I typically have it patched somewhere.

There is an even a separate MIDI input capable of a wide range of esoteric tasks. Accessing an internal menu system is necessary to change some of these deeper settings. You are also able to edit those using MIDI CC data.

As noted earlier, the 0-Coast warrants a full reading of the manual as well as copious amounts of patch experimentation. Make Noise’s YouTube channel is another great resource for learning more about the synth; be sure to watch all of their “Patch of the Day” videos.

If you have any level of curiosity about modular synthesis – Eurorack or not – the 0-Coast belongs in your synth collection. It serves as a perfect introduction to this vibrant and modern sonic world, while also standing alone as a valued contributor to any synth collection. Don’t be surprised if its purchase only leads to a full “Eurocrack” addiction. You are hereby warned.

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June 23, 2017
Korg Volca Keys — the Analog Synth Reviewed
While Korg’s Volca series of portable analog synth boxes intrigued me, I wasn’t really in the market for one. But with a Moog Sub 37 on seemingly perpetual pre-order (its ship date recently moved from mid-May to late-Summer) and two albums from Church of Hed and Quarkspace needing overdubs I began to reconsider. I hoped to use the new Moog extensively for these synth overdubs, and I couldn’t wait until the end of August or even later.

Enter the Korg Volca Keys. I figured I could MIDI it to my Korg Prophecy, creating a hybrid analog/VA synth to serve as the emergency understudy and get these albums finished.

Korg Volca Keys Features
- Classic Subtractive Synth Architecture in a Small Package
- 3 VCOs, 1 VCA, 1 VCF, 1 LFO, 1 EG
- Ring Modulator, Delay
- Syncs to Other Volcas and the Monotribe
- Loop Sequencer with 8 Memory Locations
- A Street Price of around $149
Needless to say, the Volca Keys fits perfectly in my live setup paired with its older uncle Prophecy. Its true analog sound cuts through a dense mix; letting me finish these tracks, while I wait for the Sub 37. The included loop sequencer is more feature-laden than the Korg Monotribe’s version, making me contemplate using the two synched together.

A Polyphonic Analog Synth in a Box for $150?

The bottom line is that a polyphonic analog synth in a small box for around $150 is a stunning achievement from Korg. The Volca Keys sounds great, and tweaking the filter’s cutoff and peak add some piercing bite to the proceedings. Three notes of polyphony are possible; the voice knob lets you switch between poly and unison settings, with octaves and fifths also possible.

The Korg Volca Keys in my live rig on the Z1 plateau above the Roland TD-8. Photo by Author.

A ring modulator is “hard-wired” to the voice knob as well. It adds a metallic sound to the poly and unison settings, using a square wave. Generally, the Volca Keys uses a hardwired sawtooth wave, with the ring mod being the exception.

A LFO and a simple envelope generator allow a measure of sound shaping and tweaking. A delay rounds out the Keys’ sonic architecture with time and feedback as the only controls. It sounds nice, but I would have preferred a level control to boost the delay’s output.

A Simple Loop Sequencer as well

The Volca Keys loop sequencer works in a similar manner as the version from the Monotribe, with the notable improvement of eight memory slots to save patterns. The Active Step feature supports odd time signatures, and Flux mode allows for loops free from quantization. The Motion Sequence capability provides for the automation of the Keys’ synth parameters within a loop.

A real Korg “Trinity” — the Z1, Prophecy, and Volca Keys hold court behind the Yamaha MM8 and Kawai K5000. Photo by Author.

I only spent a little time syncing the Volca Keys with the Monotribe, but intend on exploring that feature more closely in the future. If I discover any interesting insights, you’ll read about them here.

The Volca Keys is another “little synth box” winner from Korg. Sometimes I wonder if I should have gotten the Volca Bass which provides step note entry and three independent simultaneous patterns when using its sequencer. (Not to mention a big cutoff frequency knob on the VCF.) Still, it is a worthy purchase and serves well as a perfect introductory analog synthesizer for those curious about this alluring sector of music. Recommended.

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June 6, 2014
Moogfest 2014 Intrigues and Inspires

Observing the news from this year’s Moogfest, held once again in Asheville, NC, headquarters of Moog Music, it is obvious that the modular synthesizer revival is coming full circle. At the festival, Moog announced they are reintroducing Keith Emerson’s classic modular unit, used in pretty much every ELP tour since the early 70s. I Dream of Wires, indeed. (Speaking of which, the theatrical version of this excellent modular synthesizer documentary saw its debut at Moogfest.)

Moog says “contact us” for New Modular System Price

It appears Moog’s new Emerson modular system is a very limited edition. The company says to contact them for the price; one rumor I saw placed the behemoth’s cost at a stunning $90,000. Whoa!

The new Emerson Moog Modular synthesizer in all its glory. Photo copyright Moog Music.

Hopefully, Moog decides to offer the individual modules on a separate basis. While, Moog’s modular format isn’t necessarily as popular as Eurorack, enough synth freaks want that classic filter sound to make it worth their while – MoogerFoogers notwithstanding.

The Moog Engineering Workshop a Success

One of the events at Moogfest inspiring a lot of jealousy in me was an engineering workshop where participants built their own analog synthesizer — the Werkstatt. Bob Moog’s Theremin kits were his first product way back when, and the Werkstatt pays tribute — more or less — to that part of Bob’s legacy. Very cool!

Check out the details behind the synth in this video from Sonic State which features an interview with Moog engineer, Steve Dunnington. (Note the Korg MS-20 on the rack behind Steve. Hmmm…)

Moogfest is also an Electronic Music Festival

Moogfest also plays host to one of the larger electronic music festivals in the US, which is many festival goers’ prime reason for attending. Kraftwerk, Chic, RJD2, Giorgio Moroder, Mix Master Mike, Bernie Worrell, and Keith Emerson were some of the musical highlights.

Seminars, Workshops, and More

Moogfest featured a number of seminars, panels, and workshops of interest to anyone enthralled by the art of analog synthesis. The workshops covered practical topics, including sampling analog instruments as well as a variety of modular synthesis advice and tutorials. Alternative musical interfaces were featured in a seminar, and the folks from the DIY bible, Make Magazine, even hosted their own five hour panel/workshop.

Non-Moog industry legends like Don Buchla, Tom Oberheim, Roger Linn, and Dave Smith each were featured in panels, providing that Moogfest goes beyond the brand name to cover analog synthesis in general. Also: Moog Yoga, anyone?

Needless to say, I need to find a way to actually attend next year’s Moogfest. This is a festival that showcases both the analog synthesizer industry and the beauty of Asheville, NC and its surrounding region. For the time being, I’ll just have to wait for my Moog Sub 37 to arrive in about three weeks.

April 29, 2014
Korg to Release New Version of the ARP Odyssey

A news item released by Korg yesterday probably shocked many vintage analog synth fans. The Japanese company announced they were releasing a new version of the legendary ARP Odyssey synthesizer from the early 1970s. I wonder if Korg waited for Roland to reveal their new AIRA line before dropping this bombshell.

Korg is releasing a new version of the legendary ARP Odyssey. Cat not included. Image copyright someone very cool.

The new Odyssey is fully analog and essentially a recreation of the original, not unlike Korg’s own MS-20 kit that saw its revealing at this year’s NAMM show. Korg said the new models will hit the market in September of this year. Maybe an iOdyssey iOS app is also in the pipeline?

An Early 70s Analog Synth Classic

ARP released the Odyssey in 1972 as an essentially scaled down version of the ARP 2600, hoping to compete with the wildly popular Minimoog. A dual oscillator synth, with a unique for its time duophonic capability, the Odyssey went on to become ARP’s most popular synth. Three different models of the Odyssey were produced throughout the 70s; with the synth being phased out in 1981.

The Odyssey’s hardware knob-less interface is another hallmark of its design. Sliders serve as the primary control component for the synth. Later models included a ladder filter similar to Bob Moog’s; ARP paid a small licensing fee to Moog for its use.

Used Odysseys on eBay cost anywhere from $1,500 to $2,500 and more. Korg didn’t announce a price for their new version, so who knows what will happen to used market after the September release?

ARP’s David Friend joins Korg

David Friend, who designed the ARP Odyssey with Alan Pearlman, is joining Korg to head the re-release project. Of course, that makes me think of the sheer wonder of a new ARP 2600 model and obviously both synths need a re-release of the ARP Sequencer. Put the man to work, Korg!

It appears that Korg’s success with the MS-20 and the Monotron series has turned its thoughts towards additional analog reissues. A new version of the Korg Polysix would be another winner. Analog synth fans are waiting for September with baited breath!

An initial knob twist to Synthtopia.

February 18, 2014
I Dream of Wires: Hardcore Edition Review
Serving as both a history of the electronic synthesizer and a look at today’s robust modular synth cottage industry, I Dream of Wires: the Hardcore Edition is a must view for any fan of electronic music and analog synthesis. After spending an afternoon watching the entire four-hour movie, I was inspired to check out prices for my own modular unit as well as broadening the scope of TabMuse from a magazine focused on tablet synth apps to something covering the entire world of sound synthesis.

An excellent documentary on analog modular synthesis.

Featuring a host of interviews with many in the synth industry – old and new – and a cool soundtrack, I Dream of Wires ranks near the top of music industry documentaries. The four-hour length of the hardcore edition breaks up nicely into two separate pieces – one covering the history of the analog synth and one covering today’s modular scene. Watching it in one sitting might give short shrift to the newer content if viewer fatigue sets in.

I Dream of Wires – Hardcore Edition Data
- Producer: Jason Amm
- Writers: Robert Fantinatto and Jason Amm
- Director: Robert Faninatto
- Soundtrack: Solvent (Jason Amm)
- Length: 240 minutes
- Format: DVD or BluRay
The hardcore edition serves as a companion to a forthcoming feature-length version of the documentary. But any fan of synths needs the hardcore edition of I Dream of Wires in their movie library. It is a top notch production worthy of its subject matter.

Moog and Buchla and the History of the Analog Synthesizer

As mentioned earlier, the movie covers the history of electronic synthesizer in its first half. This includes a brief look at the pre-Moog/Buchla development of early electronic instruments, including the Theremin, and RCA’s room-sized modular unit. It serves nicely as a primer for the pioneering work of Don Buchla and Robert Moog.

Moog and Buchla essentially individually worked on their own synthesizer designs almost in parallel — Buchla in California, and Moog in Upstate New York. Buchla’s design was more experimental and fit in nicely with the San Fransisco art community and its nascent psychedelic scene, while Moog’s model leveraged a keyboard and seemed to have more direct musical applications. Moog’s legendary ladder filter had a lot to do with its classic sound and subsequent popularity.

This part of the documentary pays little attention to the popular synth-laden prog-rock of the day – Keith Emerson barely gets mentioned. This is no great loss – Emerson was always better when limited to organ and piano, IMO. Wendy Carlos gets covered in the context of Switched On Bach making the synthesizer a popular instrument, leading to a host of poorly conceived copycat albums.

The West Coast scene around Buchla’s modular system covers Morton Subotnick and his seminal Silver Apples of the Moon album as well as his work with the San Francisco Tape Music Center. The movie gives an interesting view of the organic nature of the development of Buchla’s synth within the context of the entire scene of that era. The current interviews with Subotnick, et al are an enjoyable aspect of the movie.

The rest of 70s saw other synth manufacturers enter the fray with a gradual increase in synth capabilities, but at the loss of some of the spirit and soul of the industry. The use of CPUs and RAM led to preset patches and the eventual demise of knobs, usability, and ultimately the large scale modular systems. Yamaha’s DX7 is naturally singled-out for derision.

A Modular Synthesis Rebirth

The sadness of the possible demise of the modular synthesizer as the first half of I Dream of Wires ends transforms into an interesting look at resurgence of today’s robust modular scene. Interviews with newer musicians like Trent Reznor of Nine Inch Nails, Gary Numan, Vince Clarke of Erasure, and others provide insight to why modular synths remain a vital aspect of their music creation process. Manufacturers like Doepfer, hexinverter.net, and Make Noise along with a host of other companies reveal a thriving community.

I was convinced. Previously unaware of the depth of today’s modular movement and enthralled when a friend posted a video of a piece he created with his new Make Noise system, I knew a modular system was somewhere in my future.

The best documentaries are made as labors of love. Robert Fantinatto and Jason Amm put an amazing amount of effort into I Dream of Wires, and aficionados of analog synthesizers are the beneficiaries. This stunning documentary gets my highest recommendation and a special shout out for the excellent soundtrack composed by Jason Amm (as Solvent).
February 5, 2014