Tag: Sample-based Synthesizers

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Classic Synthesizers Synthesizer Models

PPG Wave

The PPG Wave synthesizer, also known as the Wavecomputer, was a digital synthesizer developed by the German company PPG (Palm Products GmbH) in the 1980s. The instrument was distinguished by its distinctive tone, which was produced by combining additive and wavetable synthesis methods.

With the debut of the PPG Wave 2.2 in 1981, the PPG Wave was first made public. This model has a 61-note keyboard and an integrated 8-track sequencer. Many well-known bands, including Tangerine Dream, Pet Shop Boys, and Depeche Mode, utilized the instrument. Musicians in the electronic and experimental music genres soon welcomed it.

The PPG Wave’s wavetable synthesis method, which lets users manipulate many single-cycle waveforms to produce complex and changing sounds, was one of its standout features. The device also has a variety of built-in waveforms, such as sine, square, and sawtooth waves, as well as some more complex waveforms, such as formants and noise.

The PPG Wave’s ability to perform additive synthesis was another noteworthy aspect. This method allows users to combine several sine waves with various frequencies and amplitudes to produce sounds. This made it possible to create sounds that were even more intricate and nuanced than with only wavetable synthesis.

The PPG Wave had a variety of valuable features in addition to its synthesis capabilities, including an arpeggiator, a built-in chorus effect, and numerous modulation possibilities.

Eventually, the PPG Wave was replaced by the PPG Wave 2.3 and PPG Wave 2.3 Turbo, which had better sound and more memory. The PPG Wave was well-liked by electronic and experimental musicians, but as newer and more sophisticated synthesizers became available in the late 1980s, production of the instrument eventually ceased.

Despite this, the PPG Wave is still regarded as a cult favorite among synth lovers, and its features and sounds are still in high demand.

Used by

  • Tangerine Dream: The German electronic music band was one of the first and most prominent users of the PPG Wave. The band used the instrument on several of their albums, including “Exit” and “Hyperborea.”
  • Pet Shop Boys: The British synthpop duo used the PPG Wave on several of their early albums, including “Please” and “Actually.”
  • Depeche Mode: The British electronic band used the PPG Wave on their album “Black Celebration,” which was released in 1986.
  • Gary Numan: The British musician and pioneer of electronic music used the PPG Wave on his album “The Fury,” which was released in 1985.
  • Jean Michel Jarre: The French electronic musician also used PPG Wave on his album “Zoolook” which was released in 1984.
  • Art of Noise: The British band and pioneers of sample-based music used PPG Wave on their album “In Visible Silence” which was released in 1986
  • New Order: The British band used PPG Wave on their album “Power, Corruption & Lies” which was released in 1983
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Classic Synthesizers Drum Machines Synthesizer Models

Akai MPC

The Akai MPC, or MIDI Production Center, is a series of music production workstations introduced by Akai in 1988. The MPC soon rose to prominence as one of the most widely used and significant tools in the field of electronic music creation.

The original MPC was intended to be an all-in-one music production system. It included a sequencer, a sampler, and a drum machine. The sampler allowed users to record and edit samples, whereas the drum machine allowed users to construct and edit their own drum patterns. Users could record and edit their own tunes using the sequencer, and it could sync with other devices through MIDI.

Music producers and artists found the MPC’s user-friendly interface to make recording and editing music simple. Thanks to the front panel’s many knobs, buttons, and sizable LCD screen, it was simple to access the numerous operations and settings. The MPC also included an integrated effects processor that let users give their samples and drum patterns reverb, delay, and other effects.

Hip-hop, electronic, and pop music, among other musical styles, all frequently employed the MPC. A Tribe Called Quest, Public Enemy, Dr. Dre, and The Prodigy were just a few musicians who utilized it. The MPC was renowned for its capacity to produce lifelike sound effects and orchestral simulations, and it was also employed in film and television soundtracks.

The MPC60, MPC3000, MPC2000, MPC2000XL, MPC4000, MPC5000, MPC Renaissance, MPC Studio, and MPC Live are just a few of the new MPC models that Akai has released over the years. With each subsequent release, more features and functionalities were added, such as increased RAM, storage space, and processing power.

The MPC is still a well-liked and highly sought-after instrument among fans and producers of electronic music today. Since it is still employed in many contemporary performances, its legacy endures. The MPC continues to offer a blend of vintage feel and cutting-edge technology in its most recent iterations, the MPC X, MPC Live, and MPC One, making it a flexible instrument for music production.

With its integration of a drum machine, sampler, and sequencer, the Akai MPC is a music production workstation that transformed the music business. It became a necessary tool for many musicians and producers due to its user-friendly interface, potent sound manipulation capabilities, and extensive feature set. It is still frequently employed in various musical genres and the music production industry, preserving its legacy.

Used by

  • Dr. Dre: The hip-hop producer and rapper used the MPC extensively throughout his career. He used it on his groundbreaking album “The Chronic” (1992) and on many of his other albums.
  • A Tribe Called Quest: The hip-hop group used the MPC on their album “The Low End Theory” (1991).
  • Public Enemy: The hip-hop group used the MPC on their album “Apocalypse 91…The Enemy Strikes Black” (1991).
  • The Prodigy: The electronic group used the MPC on their album “Experience” (1992).
  • The Chemical Brothers: The electronic group used the MPC on their album “Exit Planet Dust” (1995)
  • Goldie: The drum and bass artist used the MPC on his album “Timeless” (1995)
  • J Dilla: The hip-hop producer and rapper used the MPC extensively throughout his career. He used it on many of his productions and solo albums.
  • Madlib: The hip-hop producer and rapper used the MPC extensively throughout his career. He used it on many of his productions and solo albums.
  • Timbaland: The hip-hop producer and rapper used the MPC extensively throughout his career. He used it on many of his productions and solo albums.
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Classic Synthesizers Synthesizer Models

Akai S1000/3000

The Akai S1000 is a popular digital sampler synthesizer that was first introduced in 1986. It is regarded as one of the most important and innovative electronic instruments of its era.

The Akai S1000 was one of the first digital samplers widely adopted by professional musicians and producers. It was renowned for its excellent audio and capacity to store a sizable amount of sample data. The S1000 included an integrated hard drive that could hold up to 20 seconds of mono audio or 10 seconds of stereo audio. Input and output options for the sampler included MIDI and SCSI, making it easy to integrate into a studio setup.

Another noteworthy feature of the Akai S1000 was its user-friendly interface. Thanks to the front panel’s large LCD screen and an assortment of knobs and buttons, it was simple to manage the several features and settings. A sequencer already included in the sampler allowed users to record and alter their tunes.

The ability to modify samples was one of the Akai S1000’s most distinctive features. Many sample editing options, including the capacity to alter a sample’s pitch, length, and loop points, were included with the S1000. Additionally, it contained an integrated effects processor that users could use to give their samples reverb, delay, and other effects.

Hip-hop, electronic, and pop music, among other musical genres, frequently employed the Akai S1000. Numerous artists utilized it, including Depeche Mode, Nine Inch Nails, and Dr. Dre. The S1000 was a popular choice for soundtracks for movies and TV shows because of its propensity for producing authentic sound effects and orchestral simulations.

The S3000 series eventually took the place of the Akai S1000 and provided even more features and capabilities. The S1000 is still a well-liked and coveted instrument among fans and collectors of electronic music. Given that it is still employed in many contemporary songs today, its legacy endures.

Overall, the music industry was transformed by the high-quality sound, ample storage, and user-friendly design of the Akai S1000 synthesizer. Many musicians and producers considered it a necessary instrument due to its adaptability and capacity for sample manipulation, and its legacy is still felt today.

Used by

  • Depeche Mode: The band used the S1000 on their album “Violator”, which was released in 1990.
  • Nine Inch Nails: Trent Reznor, the frontman of Nine Inch Nails, has used the S1000 extensively throughout his career. He used it on the band’s debut album “Pretty Hate Machine” (1989) and on their 1992 EP “Broken”.
  • Dr. Dre: The hip-hop producer and rapper used the S1000 on many of his early albums, including “The Chronic” (1992) and “Doggystyle” (1993).
  • A Tribe Called Quest: The hip-hop group used the S1000 on their album “The Low End Theory” (1991).
  • Public Enemy: The hip-hop group used the S1000 on their album “Apocalypse 91…The Enemy Strikes Black” (1991).
  • The Prodigy: The electronic group used the S1000 on their album “Experience” (1992).
  • The Chemical Brothers: The electronic group used the S1000 on their album “Exit Planet Dust” (1995)
  • Goldie: The drum and bass artist used the S1000 on his album “Timeless” (1995)
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Classic Synthesizers Synthesizer Models

Fairlight CMI

The Firelight CMI (Computer Musical Instrument) synthesizer is a digital musical instrument first developed in the late 1970s by engineer Peter Vogel and musician Kim Ryrie. It was among the first synthesizers to use a digital computer at the center of its construction, giving the user more creative freedom and control over the instrument’s sound.

The Fairlight Instruments company, formed by Vogel and Ryrie, initially produced the Firelight CMI before it was first released in 1979. Because of the instrument’s cutting-edge capabilities and distinctive tone, musicians and producers took to it instantly.

The Firelight CMI’s capacity to sample and retain sound, which allowed users to manipulate recorded samples to generate new sounds, was one of its primary features. A touch-sensitive keyboard, an integrated sequencer, and a number of other controls and interfaces for modifying sound were also included in the instrument.

The Firelight CMI was renowned for its cutting-edge technology, exorbitant price, and exclusivity. Initially costing roughly $25,000, the instrument was out of many performers’ and producers’ pricing ranges. Because of this, the recording industry’s professional musicians and producers were the primary users of the Firelight CMI.

The Firelight CMI is regarded as a groundbreaking instrument in the development of digital music technology despite its high price. It had a big impact on the music business. Its sampling and storing capabilities helped other digital instruments and software evolve, and its distinctive sound can be heard on many well-known songs from the 1980s.

The Firelight CMI is now regarded as a classic instrument and is highly sought after by vintage gear collectors and enthusiasts. The manufacturer Fairlight Instruments discontinued making the Firelight CMI in the 1990s. However, a few businesses are still able to service and repair it, and it still has a loyal user community.

Overall, the Firelight CMI was a groundbreaking digital musical instrument that expanded the realms of what was conceivable regarding technology and sound design. Its influence on modern music creation is still felt today.

Used by

  • Peter Gabriel: The musician used the Firelight CMI on his fourth solo album, “Security,” which was released in 1982. Gabriel also used the instrument on his tours during this period.
  • Kate Bush: The singer-songwriter used the Firelight CMI on her 1985 album, “Hounds of Love.” The album featured the hit single “Running Up That Hill (A Deal With God)” which was produced using the CMI.
  • Jean Michel Jarre: The French electronic musician used the Firelight CMI on his 1981 album, “Magnetic Fields,” which featured the hit single “Magnetic Fields 2.”
  • Thomas Dolby: The musician and producer used the Firelight CMI on his 1982 debut album, “The Golden Age of Wireless.”
  • Art of Noise: The British band used the Firelight CMI on their 1984 album, “Who’s Afraid of the Art of Noise?”
  • A-ha: The Norwegian band used the Firelight CMI on their hit single “Take On Me,” which was released in 1985.
  • Frankie Goes to Hollywood: The British band used the Firelight CMI on their 1984 debut album, “Welcome to the Pleasuredome.”
  • Toto: The American band used the Firelight CMI on their 1982 album “Toto IV” which featured the hit single “Africa”
  • Fleetwood Mac: The band used the Firelight CMI on their 1982 album “Mirage”
  • Revolting Cocks: The industrial super-group used the Fairlight CMI on their albums “Big Sexy Land” and “Beers, Steers, and Queers.”
  • Front 242: The Belgian EBM Industrial group used the Fairlight on numerous early recordings.

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Synthesizer Types

Sample-based Synthesizers

A sample-based synthesizer is a type of synthesizer that uses pre-recorded audio samples as the basis for creating new sounds. These samples are loaded into the synthesizer after being recorded from real instruments, found sounds, or other sources.

The samples are then played back and can be altered in various ways while typically controlled by a keyboard or other controller. For instance, the sample’s pitch can be changed to play different notes, the playback speed can be altered to change the tempo, and the sound can be given various effects like reverb and delay.

A very flexible and potent method, sample-based synthesis enables users to use real-world sounds and modify them however they see fit. It is frequently used in music production, particularly in styles like orchestral or ethnic music that calls for realistic instrument sounds.

It is significant to remember that sample-based synthesis is also a subcategory of ROMpler (Read-Only Memory player), a class of synthesizer that plays back previously recorded samples stored in ROM.

Examples