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. . .. .:.. . . .::.: .. . : The   VOICE   of   SPACE

ASTRO Muzik

You don’t have to look further if you want to hear one-of-a-kind music. Vox-Astro in Orlando, Florida releases unique and entertaining tunes as made by DasMaster Machine Manipulator, Lazonium.

I.O.I. – Industrial Orchestra Incorporated –aka- Induztrial Orcheztra Inkorporated

www.myspace.com/ioi3

Band Member: Lazarus...aka "LAZONIUM" [VOX - MASTER MACHINE MANIPULATOR]

: : : : : Lazonium : : : : :

aka ... DR. W a v e N s t i e n

The Realizer may well have been the world's first virtual instrument, yet ironically some feel the stress of its development put PPG out of business. It was the last PPG product, and never got beyond the prototype stage. Still, its features were staggering, even by today’s standards. Check out the photo above to see it emulating a Minimoog.


From the September 1986 issue of Keyboard Magazine, Dave Frederick wrote an article on the 1986 summer NAMM show stating:


"An impressive exhibit from PPG was the Realizer (about $50,000). This consists of software versions of familiar synthesizer configurations. It allows you to design your own analog, FM digital, and sampled sounds, patch any of the components of one instrument into another instrument, and then sequence or sample the resulting sound.


Wolfgang Palm, the designer of the Realizer and head of PPG Instruments, earns the quote-of-the-show award for explaining how he designed it: “I copied the circuit diagrams into software. No easy task."

PPG Realizer Info / Hamburg, February 1987

PPG REALIZER

With the development of the PPG REALIZER, the PPG Company has succeeded in bringing a completely new kind of instrument into the market and soon established itself in studios. The PPG REALIZER is the first of its kind to bring together in one instrument digital sound production, sound processing, and recording.


This is achieved using a hardware concept which, in its flexibility, remains unique in the development of electronic music instruments because all PPG REALIZER modules are realized exclusively by software.


The PPG REALIZER consists in its basic version of a 19" unit, the Sound Module, and Control Desk. The first one is the sound processing unit in which the complete sound-processing electronics and the Hard Disk are housed. The second one is the controlling unit. It contains a 14" color monitor with 64 colors and high-resolution graphics.


Forty functions can be carried out in a quick and easy way using knobs, faders, and foot pedals in an analog fashion. The Control Desk is able to control up to 8 Sound Modules or PPG HDUs (Hard Disk Unit) to form a big sound-producing and recording system (up to 32 tracks with a total recording time of 192 minutes).


The front panel and the monitor screen form together one unit so that there is no discrepancy between what you touch, see, and hear. It is just one harmonious whole. A 20-button keypad is used to enter numerical commands and other tasks, and a graphic tablet is used for graphics and controlling the cursor.


Contrary to the mouse or light pen, this graphic controller provides a precise way of adjusting and modulating every process represented on the monitor. The positioning of the cursor is swift and precise, allowing the full creative process to take over. All these features make the PPG REALIZER a simple-to-use instrument, with incredible possibilities.


THE UNITS OF THE NEW PPG REALIZER MUSIC SYSTEM

The PPG REALIZER Control Desk is the main controller for PPG RSM and HDU modules. It can supervise eight modules simultaneously. Any combination can be configured according to the needs of the user.


With its new ergonomic outfit, integral top desk and its alignments abilities, travel along Z-axis, swiveling in Y-axis, the Control Desk is adjustable to different habits of operation. The high-resolution color screen offers 64 different colors. Furthermore, six Penny and Giles faders, 31 pots, a graphic tablet, and an "alpha dial" give easy access to all complex control parameters.


The PPG REALIZER Sound Module contains eight TMS 32010 signal processors, one Motorola 68020 host processor, 12 D/A converters, (16 bit linear), two A/D converters (16 bit linear), one Winchester Drive 85 MB, and 4 MB RAM for sampling (ca. 45 sec). Interfaces include two MIDI in, MIDI thru, MIDI out, SCSI for fast data transfer, Digital Audio interface (AES/EBU) optional.

Waldorf (1995)

The WAVE is an instrument that inspires an emotional reaction from all who encounter it." The word "compromise" used in conjunction with the WAVE is a contradiction in terms."

Review by Drew Neumann ([email protected]):

"Speaker destroying bottom end. The best user interface this side of the 1980s. Very unique sounding and versatile. Everything the Matrix 12 should have been. The synth I would want to be left stranded on a desert Island with."


"I can't think of any synth I love more. It has its flaws, but the perfect synth has never been invented. Waldorf was extraordinarily brave to make a product which must be very difficult to manufacture. They spared no expense in making it a professional instrument. It is quiet, clean, full, beautiful ,and oddly enough easy to use (even though it is a very complex instrument). It is the only Polyphonic synth that comes close to a modular in flexibility, and like a modular, you always think of new things to do with it."


The WAVE is an Advanced Modular Wavetable Synthesizer with a very intuitive user interface, probably the most intuitive user interface today. It represents the logical refinement of Wavetable synthesis, with the utmost consideration for a clear, concise and intuitive user interface.


In addition, the WAVE has been conceived to be completely modular in its hardware. Options for soft- and hardware extensions allow for an even greater flexibility, putting the WAVE, as its predecessor, the MicroWave, into the best position to become a classic.

Comments About the Sounds:

Very weird sound possibilities by analyzing existing samples and transferring them into Wavetables. Can be done either by putting the whole sample with changes over time into a Wavetable or by extracting the harmonic content of a sample and creating a 64-part multisample.

Doepfer A-100 Analogue Modular Synthesizer

A-100 Monster Base has the same width as the A-100 monster case and is planned as a base frame for these. But it can be used also without the monster case. It has a removable top cover with handle for easy transportation.


The base frame has two rows for modules available: one with horizontal alignment and another 45 degrees inclined row. The useable width of the prototypes is 160 HP (i.e. a bit less than the monster case because of the mechanical construction). Two A-100 power supplies (PSU2) and four bus boards are built in.


The final version will have probably 168 HP useable width and will be therefore a bit longer. This version would have the advantage that even two standard suitcases can be positioned on top of the base frame.


Release date: ~ May 2008

Price: ~ Euro 700.00

Korg DSS-1

The Korg DSS-1, released in 1986, is a monster hybrid of analog, digital, and sampling-based synthesis. It has the best Voltage Controlled Filter (VCF) that Korg ever bestowed on a synthesizer (it was also the last VCF-based synth that Korg ever made).


Even today, a resonant filter sweep from the DSS-1 can put all but the mightiest analog synths to shame! It's an eight-voice polysynth with two oscillators per voice, and a unison mode that allows you to stack up all 16 oscillators into one very phatt and powerful monosynth.


However, the DSS-1 is much more than just an analog subtractive synthesizer. It's also a sampler and an additive synthesizer as well. All methods can be freely mixed within a single patch. This gives it a unique character all its own, with the ability to create very original sounds.


When it was first released, its tiny 256k of sample memory and 720k floppy disk storage was considered the standard for affordable samplers of the day (such as the Ensoniq Mirage and Sequential Circuits Prophet 2000). This is a far cry from the capability and specs of today's modern samplers.


However, the DSS-1 really comes into its own, not as a dedicated sampler, but as an analog synthesizer that allows you to use any sample or waveform as raw material for its twin oscillators. It's a huge beast, weighing in at a hefty 40 pounds and measuring larger in size than a Korg Trident or a Roland JD-800 and almost as big as an Oberheim Matrix 12!


While its control panel consists of only 27 buttons, four sliders, and a small, backlit LCD screen, the operating system is vast and quite flexible. Every control function or parameter is neatly silkscreened on the front panel, making it easy to find your way around. The LCD shows a clear indication of parameters and what they're doing.


At the heart of the DSS-1 is a 12-bit sampler with fixed sampling rates of 16, 24, 32, and 48 kHz. Maximum sampling times range from 16 seconds down to a crisp clean 5.5 seconds at the quite impressive top rate of 48 kHz. Sampling is actually a straightforward process with the menu system guiding you through sample-rate selection, number of sample divisions, the key number for samples, and so on.


There is an auto-loop facility which includes crossfade looping and back-and-forth looping which will get you some way towards creating a seamless loop. Raw sample data can be edited from the instrument itself, although you'd have to be rather fanatical to make much use of this facility via the small LCD.


Instead, you can use a PC-based sample editor that supports the MIDI sample dump standard and exchange samples to and from the DSS-1. Aside from sampling, you can use two other methods for creating your own oscillator waveforms: additive harmonic synthesis, and drawing your own waveform with one of the data sliders.


With additive harmonic synthesis, the DSS-1 allows you to create your own custom timbres through the addition of 128 sine waves, giving you the possibility of crisp DX7-like electric pianos, or glassy “digital” pads with stunning transparency.


You can also achieve some rather PPG-like tones, especially when the DSS-1s powerful filter is brought into play. The waveform-drawing feature allows you a specified amount of time to thrash about with one of the data sliders, resulting in a digital waveform of your own creation.


Smooth, steady sweeps of the slider result in soft, "fluty" sine wave shapes, while quick, jerky movements of the slider result in hard, "buzzy" saw tooth or triangle wave shapes, or even hollow, "reedy" square or pulse-shaped waveforms. Very complex and unique waveforms can be created by a mixture of slow and fast movements of the slider. The DSS-1 was the first affordable sampler/synthesizer to include a facility like this.


Previously, you needed to buy a $50,000 Fairlight or $100,000 Synclavier to get your hands on this kind of digital wave-shaping functionality. Of course, it's not nearly as advanced as drawing your waveform on a stylus-sensitive sketch pad or a light-pen sensitive monitor, but it's there - and it works.

“Imagine owning one of these MAMOTHs back in the late 80s...and creating a Unique Space Warped version of "AMAZING GRACE"...that only Bagpipes and Drums could come close to rivaling. Well Sir, I did. ”

- Lazarus