This is Paul Shillito’s Tomita-style version of Stravinsky’s The Rite Of Spring Introduction.

Shillito calls this his classitonic style – influenced by the electronic interpretations of classical music done by Isao Tomita and Wendy Carlos in the late 60’s and 70’s.

He plans a complete version of The Rite Of Spring.

Soft synths used on this included the Arturia Minimoog V2, Arturia Moog Modular, Arturia Jupiter 8V, Arturia Yamaha CS80V and soundtoys effects.

via paulshillitomusic:

Stravinsky – The Rite of Spring – Introduction.

Done in my Classitronic style, Classitronic is what I call electronic classical music with my style being heavily influenced by Isao Tomita.

This is the first part of the classic Stravinsky ballet The Rite of Spring which caused a near riot when it was premiered in Paris on May 29th 1913.

The rest of this work is to follow, so watch this space

Hollow Sun has announced plans for a new virtual instrument based on the rare and amazing Hammond Novachord – a polyphonic analog synthesizer released in 1939!

The Novachord is sort of the B3 of synthesizers – a huge, unwieldy beast that sounds like nothing else.

Unlike the B3, though, the Hammond Novachord has largely been forgotten. They were expensive, few were made, and few have survived because of their complexity.

The Novachord features divide-down oscillators and individual envelopes and LFO for each note. Yeah – this thing could do 72-voice polyphony in 1939!

Here’s an example of what this 70 year-old monster synth can sound like:

Imagine if this technology had taken off!

The Hammond Novachord Sample Library

Hollow Sun is working with Novachord owner Dan Wilson of Hideaway Studios in Bath, England, to capture the sound of this beast in all its epic glory.

Here’s what they have to say about this project:

Work has begun on this and tentative sampling sessions are beginning to reveal what lies ahead of us – textures that would not be out of place on a modern synth 70 years on in 2009 but with a strangely ‘earthy’ and ‘organic’ quality quite unlike I’ve heard before, full of flawed nuances and subtelty. The Novachord doesn’t generate sounds … it breathes them in gasps and grunts and squeals and whispers!

It’s early days. As time allows, I shall be bringing news of progress on a (hopefully) regular basis … so bookmark this Blog to watch us through our laboratory’s musty window. Dan and I aren’t quite ponsing about in white coats here (I favour a good tweed and a robust brogue!) but it feels a bit like it as Dan probes and regulates the 70 year old valves and massive capacitors with voltmeters and oscilloscopes and I work the resulting samples into an accurate representation of this incredible instrument.

No release date or pricing has been set.

Tom at Waveformless put together a fun post taking a look at going vintage on the cheap.

There are a number of really underrated synths that seem to go for consistently low prices. They’re awesome synths, but nobody seems to know about them, which means you can get a great deal.

Here’s the list of synths that he highlights:

1. Casio CZ-101 (typically less than $100)
2. Ensoniq ESQ-1 (typically $150-$300)
3. Moog (Realistic) Concertmate MG-1 (typically $100-$500)
4. Oberheim Matrix-6R (typically $150-$350+)
5. Roland HS-10/80 (typically $25-$100)
6. Roland HS-60 (typically $200+)
7. Roland MKS-7 (typically $200+)
8. Yamaha CS-01 (typically $150-$250)
9. Yamaha TX81Z (typically $50-$85)

See Tom’s post for his take on each of these synths.

Are these great synths? No – but you can get great deals on them and make some great sounds.

As an alternative to the Casio CZ-101, I’d recommend the CZ-1, which has twice the polyphony plus a velocity + aftertouch sensitive full-size keyboard. And is still dirt cheap.

Got other ideas for cheap vintage synths that don’t suck? Leave a comment!

Thalassa’s Berlin School Moments is a retro live synth jam, featuring Moog MG-1 + Synthesizers.com + Yusynth + MFOS step sequencing.

“Berlin School” synth music is music that’s inspired by the tradition of 70’s German electronic music pioneers like Tangerine Dream and Klaus Schulze. Key characteristics include step-sequenced basslines, “spacey” effects, Moog synth leads and Mellotron pads.

Details below.

via Thalassa77:

Synthesizers.com and the MFOS Sequencer: main sequence

Moog Realistic MG-1 lead sounds.

Redtron : Mellotron Sounds.

No MIDI sequences were used , all was recorded on one take and no further mixing after recording, Everything is improvised,please forgive my mistakes ( a lot of them )

The guru of symphonic electronica, Vangelis, demonstrates his approach to virtual orchestration in this video, Vangelis and the Journey to Ithaca.

If anyone has more information on this video, leave a comment!

The Realistic Concertmate MG-1 is vintage analog synthesizer that was distributed by Radio Shack under their “Realistic” brand name.

It was one of the worst synths that ever bore the Moog name. But, as the video demonstrates, that doesn’t mean it couldn’t make some great analog sounds.

Features:

• Two oscillators with sync & detune, one producing either a Square or Sawtooth waveform, with the other producing either a Pulse or Sawtooth waveform.
• One low pass filter/VCF, that can use the envelope generator, has limited keyboard tracking, and is capable of self oscillation.
• Limited envelope generator with variable attack and release, and a switchable sustain (no decay).
• Oscillator 2 can be tuned independently or synced to oscillator 1.
• Noise generator.
• Ring modulator (called “Bell Tone”).
• Polyphonic oscillator. This oscillator is routed through the filter, but not through the envelope generator or LFO.
• LFO that can modulate the oscillators and the filter using a triangle, square or random waveform
• Portamento (called “Glide”)
• External Control inputs for pre-MIDI CV/Gate.

The Concertmate MG-1 is notorious for it’s inclusion of a cheesy polyphonic organ sound and for using black foam on the interior which decays into a sticky black sludge over time.

If you’ve used the Moog Realistic Concertmate MG-1, leave a comment with your thoughts!

The History Of The Moog Realistic Concertmate MG-1

Synthesis Technology’s Paul Shreiber, who’s known for designing the Cadillac of modular synths, the MOTM, has explained the origin of the Concertmate MG-1:

Radio Shack has no engineering. Rather, that falls (er…’fell’) under TSD (Tandy Systems Design). Also, twice a year Radio Shack holds a private version  of COMDEX/CES, just for them! Vendors line up 50 deep and present their wares.

Back then (early ’80s) about 40% of gear in a Radio Shack was bought ‘outside’. Most electronics was made in a Korean factory that Tandy owned a majority  share called EnCal (EnCal made all of Pioneer’s and Alpine’s car stereos there).

So, during one of these mini-trade shows who is on the presentation list (which TSD got in advance) but a one ‘Dr. D. Luce’. Well, when I saw Mr.  PolyMoog on the list I had to see this. So sure enough here he wanders in with a hand-made small synth. He demos it. Bernie Appel, the #1 decision maker (er…the *ONLY* decision maker of what went in the store or not) had this type of conversation:

BA:  What the f*** is that piece of s***? (BA enjoyed treating all new vendors this way. This was his equivalent of “Hello.”)

DDL: It’s a music synthesizer prototype. [Proceeds on a 3 minute demo. You had 5 minutes to present. Period!!]

BA:  (interested, but certainly not going to show it to the Yankee geek) How the hell do you plug it in?

DDL  points out the 1/4″ jack.

BA:  Where in the holy hell, in my store (they were always referred to as “my stores”) does that thing go? Up my ass?

See, RS had not a single piece of gear that had 1/4″ jacks! All RCA. BA knew this.

DDL at this point looks like he’s gonna puke. He’s quivering & sweating like a whore in church (sorry, that’s another BA expression!)

BA:  Play me a tune. [DDL one-fingers a classical thingy.]

BA:  That damn thing busted? What’s with this 1 finger shit? [DDL explains about monophonic blah blah blah.]

BA turns to me.

BA:  You know what the hell he’s talking about?

Me:  (thinking this is a trick question) Err…yeah.

BA to DDL: We’ll look at it. NEXT!!!!

So began the Luce/Schreiber effort. What he had was the boards out of a Minimoog, no A440 osc, no noise, in a box. So, I got handed that, designed  the MG-1 version (added the organ stuff BECAUSE BA was convinced that typical  RS customers wanted more than 1 note). Added RCA jacks, ring mod do-dad. Then, had to specify parts that Moog never had to use: cheapo pots. I’ll admit it: CHEAPO. They were ALPS and I think we paid (back then) about 23 cents apiece.

That is because the RS gross profit margin was an unheard of 63% (the average of ALL the Forture 500 is like 8%) and lastly, I spent about 3 weeks on just the panel layout and color scheme & wrote the Owner’s Manual along  with, oddly enough, Steve Leininger who designed the TRS-80. He played a Vox  in a jazz band and BA wanted his opinion as well.

Luce and I went back & forth about 5 months until they delivered the “pre-production” units. Moog made them, Tandy supplied most of the parts (we had a company in Japan that bought parts and resold them to Tandy. One day I’ll tell my funny modem capacitor story.)

So, the story was:

• Moog presented the original idea to RS
• They dumped it on me. I had to make it “Radio Shack compliant”. Which meant a re-design. Used the 3046 + Tel Labs tempco for the VCO. More Electronotes than Moog! Moog ladder filter, 3080 VCA. Prototype had mod wheel; *PUNT!*. Cost like $3. Get real.
• Moog built it.
• Tandy had 18 months exclusive. Moog then made the Rogue which is my design without the organ/ring mod, wheels back on.
• No, I didn’t get a free MG-1 or a Rogue.
• No, I didn’t get a lot of money. At that time I was making about $21,500/yr.

Final note: NO!!! I DID NOT pick that stupid black felt that lays over the sliders, then turns to tar. That was Luce’s deal. But, I DID get Luce to send me *every* piece of Moog literature at the time: still have it!

Paul Schreiber
Synthesis Technology

Resources:

• The Moog Realistic Concertmate MG-1 at cykong
• Synhouse plans for adding MIDI to a Concertmate MG-1 synthesizer
• Video via Thalassa77: During the last few days I’ve been restoring this Moog Realisitic Concertmate MG-1 and now the synth is like new. The Moog MG-1 is basically a Moog Rogue with a polyphonic section, it has 2 VCO , 1 LFO with S&H , 1 AR envelope , noise,ring modulator and a genuine Moog filter. The sound is amazing and you can get a lot of different kind of sounds from deep basses to soft leads and brass sounds. On this video i’m just showing a few of sounds that can be created on moment with this little synth
• Wikipedia entry

Sunday Synth Jam: Skoulaman created this live Berlin School/space music/ambient synthesizer jam.

Details via skoulaman:

Sequenced with an arpeggiator loop from the Kurzweil Midiboard connected with the Kawai k1r and the Waldorf micro Q. The solo vibe sounds are from a Yamaha CX5M computer and the Korg Lamda in combination with a Moogerfooger. Accords played om the Juno 106 and on the Korg Lamda.

This is a demo video for the modern mini-synth classic, the Korg microKorg synthesizer.

Description:

State-of-the-art analog modeling and multi-band vocoding are available in a compact, portable instrument. With 37 keys and 128 user-rewritable programs, the microKORG Synthesizer/Vocoder is designed for the performer, producer, computer musician or beginner looking for an affordable synthesizer.

Korg microKORG Synthesizer/Vocoder Features:

• 128 user-rewritable programs
• 37-key mini keyboard
• Powerful synthesis
• Classic vocoding
• A full range of effects
• Great sounds and expression
• Flexible arpeggiator (6 types)
• Clear control and classic looks
• Can serve as a compact MIDI controller

EM’s David Battino had this to say about the Korg microKorg:

It’s easy to slip into critic mode and forget that making music is supposed to be fun. The MicroKorg is frustrating if you expect to play and program it like a full-size keyboard synthesizer, but as a portable, creative gadget, it stands alone. If you can justify spending $500 on a terrific-sounding musical toy (and I use that word in a very positive sense), you won’t go wrong with the MicroKorg.

The Korg microKorg retails for $399.

If you’ve used the Korg microKorg – leave a comment with your thoughts!

Specifications:

Sound Generation Method:
Analog Modeling Synthesis System

Synthesizer Program:
Multi Timbral:
2 (max, Normal/Dual Mode)

Voices:
4 voices

Sound Source:
2 Oscillator + Noise Generator
Multi Mode Filter (-24dB/oct LPF, -12dB/oct LPF/BPF/HPF)
EG x2, LFO x2, Virtual Patch x4

Vocoder Program:
Voices:
4 voices

Sound Source:
1 Oscillator + Noise Generator
EG x1
LFO x2
8 Channels vocoder
Level and pan of each channel can be edited
Formant Shift function

General Specifications:
Programs:
128 programs

Effects:
Modulation effects (3 types)
Delay (3 types)
Equalizer

Arpeggiator:
6 types

Keyboard:
37 Keys (mini-keyboard, velocity sensitive)

Inputs:
AUDIO IN 1, and 2

Level switch:
LINE/MIC
[AUDIO IN 1, 2 (LINE)]
[AUDIO IN 2 (MIC)]

Outputs:
L/MONO, R and Headphones

MIDI:
IN, OUT and THRU

Display:
3 characters x1 line with 8 segment LED

Power Supply:
DC 9 V (AC adapter), or six AA alkaline batteries (sold separately)

Power Consumption:
6.4 Watt maximum

Dimensions:
20.63″(W) x 9.13″(D) x 2.76″(H) 524mm(W) x 232mm(D) x 70mm(H)

Weight:
4.85 lbs. 2.2 kg

Accessories:
AC adapter (DC 9 V, 600 mA)
Condenser Microphone

Korg microKorg Resources:

• Official info page
• EM review

The Bob Moog Foundation has created a calendar celebrating the rich history of the Moog Legacy through vintage photos, memorabilia, quotes and information taken directly from Bob’s archive.

The photos trace pivotal moments in Bob’s early career and highlight musicians and pioneers who inspired his work.

The calendar is $20 in the Foundation shop.

The calendar is comprised of five photos of Moog himself, taken from 1958-1974.

The remaining photos are of:

• Leon Theremin
• Vladimir Ussachevsky
• Herb Deutsch
• Keith Emerson
• Paul Beaver and Bernie Krause
• Isao Tomita
• Joel Chadabe
• Roger Powell

Throughout the calendar, Bob’s thoughts and philosophies about his work are shared.

The calendar was designed by graphics artist Rose Hecht in collaboration with the Bob Moog Foundaton.  Through her designs, Rose pays hommage to the original Moog modular synthesizer as the instrument that spawned an industry and radically changed the face of popular music. The background of every page touts panels of knobs and patchbays — images taken from photos of an early modular that was used in Moog’s shop in the 60s.

OpenLabs

Open Labs is going to release a new product November 18, 2009. Now is your chance to win one free of charge by guessing what it is.

The rules are simple: (1) register in our online forum to post your guess (one per person), (2) describe what you think the product is, (3) the first person to correctly describe the unreleased product will win, (4) If you were involved in the development process or pre-release surveys, you are not eligible to enter and cannot tell someone else to enter for you, (5) Open Labs reserves the right to disqualify anyone it deems has violated the rules, (6) All entries become the property of Open Labs, (7) Open Labs may send you additional information about its products and special announcements, (8) winner will be announced on the Open Labs Live Interactive webcast O-Live November 18, 2009 at 4:00pm CST, (9) Winner receives one of the new product free of charge, (10) All decisions by Open Labs are final.

Note #7 – It appears that OpenLabs plans to sign up everybody that enters to get product info.

If that’s OK with you – go win whatever it is.

While the site of a large modular synth, a Roland TB 303 or a Fairlight CMI III is titillation enough for most synth freaks, the 2010 APC calendar goes a step further.

Here’s what APC’s Simon Iddol has to say about their 2010 calendar:

The calendar itself is a limited edition (500 copies) A3 sized wall calendar featuring legendary synths like Fairlight CMI III, Roland TB 303, PPG Wave, EMS AKS or Roland Jupiter 8.

Our aim is to create a calendar like this in every year and to do something for the music world like the Pirelli calendar for the car world.

If every garage has a hot chick VS cool cars calendar, than every studio needs our calendar.

The model is a world famous Hungarian striptease dancer and model Dorothy Black.

The politically correct side of me thinks that they should have balanced out the gear photos featuring the “world famous Hungarian striptease dancer” with some shots with a hunky naked guy – but photos of naked guys with monster synths would probably kill the vintage synth resale market on eBay forever.

The calendars are $30 via PayPal. Details at the APC site.

SFW preview (that’s probably NSFW) here.

This video, via synthjunk, is a celebration of all that is good – with an emphasis on the pure analog electronica power, using classic synths, sequencers and drum machines.

via synthjunk:

Influenced by electronic music of the 70’s 80’s & 90’s.

Recorded using Ableton live with minimal overdubbing.

Robot featured is home made.

Motherboard meets up with Ramble John Krohn, better known as the musician/producer RJD2 and the guy who helped write the theme song to Mad Men.

While RJD2 bakes an apple-raspberry cobbler a la mode, he gives a tour of his home studio, shows off his insane collection of gear, including a Yamaha CS-80, his Hammond Organ, modular processors, amplifiers, filters, compressors, and all sorts of vintage goodies.

The Yamaha CS-50, a vintage synthesizer from 1976,  is a scaled down version of the classic Yamaha CS-80 and CS-60 synths.

It offers 4-voice polyphony, with 1 oscillator per voice.

While it has a much simpler architecture, it offers a relatively inexpensive option for getting the classic Yamaha CS sounds.

If you’ve used the Yamaha CS-50, leave a comment with your thoughts!

Resources:

• Yamaha CS-50 at VSE
• Old Crow’s Synth Shop
• Video via lovesvintagesynth

Gearwire’s Bill Holland takes a look at the Moog Music Minimoog Voyager.

Click here to view the embedded video.

Moog Music Minimoog Voyager Electric Blue

Click here to view the embedded video.

Moog Music Minimoog Voyager Modulation Options

Kurzweil Music Systems has announced the PC3LE6, the first of its new PC3LE line of performance control keyboards.

The LE line includes the sound set from the PC3, in addition to many of the PC3’s most popular features like Setup Mode, Song Mode and Quick Access Mode.

The LE’s streamlined user interface has been designed to allow for a quick learning curve. This new, interactive U.I. provides a constant stream of useful information to players; move a controller and the LE will display the controller’s name, value and the parameter to which it’s been assigned. (Example – Knob 5: 43 Reverb Wet/Dry)

The PC3LE line also features USB thumb-drive storage, 16 independent arpeggiators, 16 simultaneous Riffs, 8 backlit impact-sensitive drum pads and high quality 24-bit D/A converters. The 61-note PC3LE6 will be followed shortly by the release of the 76 and 88-note versions, the PC3LE7 and PC3LE8.

Kurzweil has published a page of audio demos at their site.

The Kurzweil PC3LE6 retails for about $1,300.

PC3LE6 Features:

• Keyboard:     Fatar TP-8; 61-note semi-weighted action with velocity and aftertouch sensitive keys
• Display:     240 x 64 backlit LCD w/ dedicated back panel contrast control
• Polyphony:     64 Voice Polyphony, dynamically allocated, lightning fast performance
• Multitimbral:     16 parts (one per MIDI channel)
• Architecture:     PC3 sound engine, complete with anti-aliased VA oscillators and KB3 Mode. Important synth and effects parameters can be accessed and adjusted via the PC3LE6’s front panel knobs and buttons – user settings can be captured and saved with a single button press. Supports loading PC3 programs
• Factory Presets:     PC3 sound set, including Base ROM, Orchestral, Classic Keys, String Section, General MIDI set and over 70 KB3 programs with total of over 800 programs
• Factory MIDI Setups:     256 factory programmed MIDI setups. Up to 2048 user programmable MIDI setups, each with 16 independent zones, effects, triggerable pattern-based “Riffs” and arpeggiator settings. Dozens of user-editable patterns for both pitch and velocity
• General MIDI:     Standard
• User Memory:     2048 locations for user created preset programs, songs and setups
• Sequencer:     16 tracks; 960 PPQ resolution. Song editing functions include both event and track-based tools like quantize, swing, remap, controller scaling and more. Controller chasing and quick “set song loop point” functions are also included
• Effects:     10 insert effects distributed over 10 busses, one auxiliary send; featuring over 500 of our award winning effects – reverbs, delays, chorus, flange, phaser, EQs, distortions, rotary speaker simulators, compressors, and more
• Controllers:     Pitch wheel, modulation wheel, 5 front panel knobs (15 virtual knobs with a two-tiered shift button), 7 front panel switches (momentary or toggle, software selectable), 2 switch pedal inputs, 1 continuous control pedal input and mono pressure. Controller values can be “captured” and stored as part of a program. In addition to all of these, the PCLE6 also features 8 backlit velocity-sensitive drum pads that can be used to trigger sounds, sequences, chords and arpeggiations
• Arpeggiator:     16 full-featured independent arpeggiators with multiple latch modes, selectable play order, velocity, duration, tempo, and sync functions as well as pre-recorded beats and musical phrases
• Riffs:     16 simultaneous “Riff” generators (used for triggering MIDI sequenced phrases, beats, or complete multi-track arrangments from notes on the keyboard and/or any on-board physical controller)
• Analog Outputs:     Two 1/4″ balanced TRS analog (24-bit DACs)
• Headphones:     1 rear panel 1/4″ headphone output
• Digital Outputs:     24-bit, stereo S/PDIF at 48K (internal clock)
• MIDI:     In, Out, Thru
• USB:     Host port for connecting a USB thumb-drive and a Device port that allows the PC3LE6 to load and save data directly to and from a computer, perform OS updates and send/receive MIDI over USB
• FREE OS Updates:     Flash ROM upgradeable via USB or thumb-drive

PC3LE6 Specifications

• Height:    (5.00″) (12.70 cm)
• Depth:    (14.50″) (36.83 cm)
• Length:    (41.50″) (105.41 cm)
• Weight:    (31.00 lb.) (14.06 kg)
• Power:     Internal AC power supply
• Automatic selection 90-250V AC operation

This is a deep interview with a deep guy – Ray Kurzweil – about some deep ideas.

In the early 80’s, Kurzweil developed the Kurzweil K250 digital synthesizer, which developed into one of the most influential digital synthesis platforms.

Kurzweil sold his music business in 1990 and in recent years has focused his attention on artificial intelligence, transhumanism and the technological singularity.

Some of his ideas for the future seem far out. But if you watch this video, you’ll hear Kurweil’s thoughts on exponential technological development and how it creates change that is difficult for our linear minds to predict.

Fantastic stuff – bookmark it and give it a listen when you have a chance.

via ComputerHistory:

[Recorded July 13 2009] Ray Kurzweil is a 21st century polymath. He is a scientist, inventor, entrepreneur, author, visionary and futurist. As a scientist and inventor he has pioneered work in optical character recognition (OCR), speech recognition technology, and electronic keyboard instruments. As an entrepreneur, Kurzweil has founded businesses in the fields of OCR, music synthesis, speech recognition, reading technology, virtual reality and financial investment. He is the author of numerous books on health, artificial intelligence (AI), the technological singularity and futurism. The Kurzweilian version of the future is the inevitable merger of humans and intelligent machines.In this discussion with Computer History Museum Senior Curator Dag Spicer, Kurzweil shares his vision of how technology will re-shape the human body (and culture generally) into one that incorporates advanced technologies into a new type of post-human organism. Kurzweil sees this transformation occurring over the next 20 to 50 years and beginning with the integration of electronic-based systems into the human body. Some decades after that, a further transformation occurs–one based on nanotechnology—which incorporates the manipulation and construction of interfaces and complex systems based on atomic-level structures that merge with and control specific bodily functions and attack its problems (i.e. cancer). Some of the philosophical implications of Kurzweils vision are also discussed.

Image: Pablo Gregor

Saturday Synth Porn: Electronic music pioneer Michael Hoenig in his dream studio, in 1987.

via the Synthtopia Flickr Group

Jeez Louise shows you how to combine your digital synths with analog guitar effects – so you can create face-melting prog keytar solos.

via JeezLouise666

Dave Smith Instruments

The new version boasts 60 potentiometers among its complement of 78 rotary controls.

“The response to the pot edition of the Prophet ’08 has been overwhelmingly positive,” said company founder Dave Smith, “so we decided to extend that functionality to the Poly Evolver, as well.”

Unlike endless rotary encoders, potentiometers allow the full range of a knob’s values to be accessed in a single turn of about 300 degrees. That simplifies filter sweeps and other more performance-oriented gestures. A kit with potentiometer-equipped panel boards is available to convert older Poly Evolvers.

There have also been some cosmetic changes. “We needed both lined and unlined knobs to distinguish between the pots and encoders, so we’re using Prophet-style knobs,” said DSI’s Andrew McGowan. “And we’ve updated the panel graphics a bit without changing them significantly.” The wood end panels are now made from bubinga.

First released in 2005, the Poly Evolver received multiple awards and has been used extensively by artists such as Nine Inch Nails, The Faint, Silversun Pickups, Van She, and Thursday. An analog/digital hybrid, the four-voice Poly Evolver features four oscillators—two analog and two digital—in a unique stereo voice architecture with a real Curtis analog low-pass filter per channel on each voice. The digital processing does not simply add effects at the end of the signal chain, but is tightly integrated with the analog electronics for tuned feedback, distortion, bit crushing, and synced delays. It can also process external audio and has separate stereo outputs for each voice.

The updated Poly Evolver Keyboard is available now with an MSRP of $2,899.00 and an MAP of $2,599.00. The conversion kit requires nothing more than a screwdriver for installation and is available directly from DSI for $399.00 or factory installed for $449.00.