SAGENESYNTHESIZER
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sagenesynthesizer
oslo norge
paraphonic rs-505
1978
The Synth section has four waveforms (selected by the large white buttons) and its own VCF with cutoff and resonance sliders, VCA ADSR sliders and LFO features. The Bass section has three preset bass sound types to choose via the big red buttons. It has its own VCA Attack and Release sliders and Vibrato controls. The String section has two String preset sounds - selectable via the big green buttons - and other features borrowed from the RS-202.
Sounds from the three tone sections can be blended for interesting results and the built-in Ensemble chorusing effect really warms, thickens and lushes up the sounds! The Paraphonic 505 also features an external audio input (mono) so you could run another synth through the quadruple-BBD Ensemble chorus. A new little performance control section to the left of the keyboard provides convenient volume, tune, glide and pitch bender controls. Similar to the ARP Omni, the Paraphonic 505 is considered one of Roland's finest string synths of its era.
compuphonic promars mrs-2
1979
The ProMars CompuPhonic has 10 preset sounds and 10 user programmable patches. The preset sounds include Bass, String, Clavi, Piano, Voice, Trombone, Sax, Trumpet, Synth I and Synth II. A very standard and well laid out set of knobs, sliders and edit controls give you the power to create some really cool sounds.
Designed as a partner to the polyphonic Jupiter-4, the ProMars is often considered a monophonic version of the Jupiter 4. However, whereas the Jupiter 4 had only one oscillator per voice, the ProMars features two oscillators (that can be de-tuned). Also found onboard are a nice VCF (filter) with its own ADSR, a typical VCA envelope section, a nice LFO and a pitch/mod wheel that can effect the LFO, VCF or VCA. It even has a noise generator. Nice wood end caps add to its vintage appeal as well. It has been used by Vangelis, Spandau Ballet, Add N To (X), Jethro Tull, and Depeche Mode.
1982
The next generation Juno-60 version added 56 patches of memory storage. Both of these synths sound virtually the same and are considered by many to sound better (punchier) than the popular follow up, the Juno-106. The Juno-6 and 60 are very rich sounding synthesizers and are great analog machines as long as you can overlook the absence of MIDI control. Of course nobody can deny that the wooden side panel look is a true sign of Vintage status! The Junos have been used by Nick Rhodes of Duran Duran, Enya, Sean Lennon, Sneaker Pimps, Vince Clarke of Erasure and Banco De Gaia.
1984
The Juno-106 is a six-voice polyphonic and programable analog synth with one digitally controlled oscillator (DCO) per voice. While classic monophonic synths used two or three oscillators to create a fatter sound, the Juno-106 uses built-in Chorus to fatten up its sound to dramatic effect. The nature of its DCO meant it was stable and always in perfect tune but still warm and analog. There is an excellent 24dB/oct analog lowpass filter with plenty of resonance and self-oscillating possibilities and a non-resonant highpass filter. The programable pitch/mod bender can be assigned to control the DCO pitch, VCF cutoff, and LFO amount all at once or individually.
The Juno-106 was the first MIDI equipped Juno and its implementation is quite good. There are 16 MIDI channels available and MIDI SysEx data can be transmitted/received from all the sliders and buttons for total remote control and sequencing capability. A switch on the back of the keyboard, next to the MIDI ports allows the user to switch between three types of MIDI modes: Keyboard and Hold data only; Keyboard, Hold, Bender, Patch selection data; or All data (including SysEx). Most users simply set it to MIDI Function mode 3 and forget it.
This synth is incredibly straightforward and very powerful. It's SH-series derived panel layout is easy to understand and very hands-on. Use it to generate lush pads, filter sweeps, and funky bass lines and leads. The Juno-106 is an awesome learning tool for anyone new to analog synthesis, as well as an electronic musician's dream for its warm analog sounds coupled with modern features like MIDI and memory - all at a very reasonable price. And still the Juno-106 has an even cheaper alter-ego in the form of the HS-60 - a hobbyist version with built-in speakers.
The Juno-106 is one of the most loved and used synthesizers by professionals and hobbyists alike! William Ørbit, Überzone, Norman Cook (Fatboy Slim), Autechre, BT, Vince Clarke, Moby, 808 State, Underworld, Leftfield, Fluke, Josh Wink, Todd Terry, Depeche Mode, Eat Static, Biosphere, The Prodigy, The Shamen, Bushflange, Cirrus, Astral Projection, Apollo 440, Faithless, Union Jack, Computer Controlled, Pet Shop Boys, Sneaker Pimps, Erasure, Freddy Fresh, Rabbit in the Moon, Kevin Saunderson, Jimmy Edgar, Laurent Garnier, Vangelis, Sigur Ros, and the Chemical Brothers have used this synth extensively! It belongs in your studio!
1969
The YC-10 was the series' debut model. The YC-10 featured 49 keys on a single keyboard, and came in four different colors. The ability to store the organ in a compact suitcase is one of its standout features.
The reverse-colored keys can be converted into bass keys through the flip of a switch.
1982
The P600 has two oscillators per voice with sawtooth, triangle and variable pulse waveforms. The oscillators can be individually tuned or synced together. Similar quality VCF and VCA sections from the Prophet 5 can be found here too! The P5's Poly-Mod section has also been passed onto the P600.
odyssey mk I
(model 2800) black
1972
The Odyssey essentially gives you a simplified hard-wired ARP 2600 in a much smaller and affordable package. The Odyssey is a 2-oscillator analog synth (with duo-phonic capability) and it sounds really nice; the Minimoog has three oscillators and is capable of thicker sounds. The Odyssey comes well equipped with all the tweakable features and analog goodness you'd expect: a resonant low pass filter, ADSR envelopes, sine or square wave LFO, and a sample-and-hold function.
The Odyssey also added a few new features such as a high pass filter that could be used in series with the low pass, oscillator-sync capability, and pulse-width modulation. It is a very professional and expressive machine that can create nice analog basses, interesting leads, great effects and sweeping sounds straight out of a Tangerine Dream album!
There were many versions of the Odyssey over the years, each a little different. They can be broken down into 8 models spanning 3 Mark "Mk" versions:
Odyssey Mk I (Model 2800)
First came the Odyssey Mk I (Model 2800) produced between 1972-75. These used a smooth but tinny sounding 2-pole voltage-controlled filter design (model 4023) similar to those used in the Oberheim SEM modules. From 1972 to 74 the Odyssey was produced with a white-faced front panel with black lettering. During 1974 to 75 they switched to a redesigned black front panel with gold lettering. However, all Mk I's can be identified by the rotary knob they use for pitch bending. None had any interface jacks, but a factory modification was available to add interface jacks as well as a PPC pitch bender in place of the rotary knob.
ms-10
1978