AX80 | |
---|---|
Manufacturer | Akai |
Dates | 1984 |
Technical specifications | |
Polyphony | 8 voices |
Timbrality | 1 sound |
Oscillator | 2 DCOs plus sub-oscillator per voice [1] |
LFO | 4 (2 oscillator pitch, one filter, one pulse-width) |
Synthesis type | Analogue subtractive |
Filter | 24 dB/octave resonant lowpass; highpass |
Input/output | |
Keyboard | 61 keys, velocity sensing |
Left-hand control | pitch & modulation wheels |
External control | MIDI, sustain pedal, program footswitch |
The AX80 is a polyphonic analogue keyboard synthesizer manufactured by Akai Professional in 1984. [2] It was Akai's first venture into the professional electronic musical instrument market. The AX80 used digitally controlled oscillators (DCO) [1] [3] [4] and filter circuitry based on the Curtis Electromusic CEM 3372 integrated circuit. It was marketed as part of a line of project studio equipment called the Akai Music Studio System, which included the S612 digital sampler the MR16 drum machine, the MS08 sequencer, and the MG1212 multitrack tape recorder.
This electronic keyboard is an 8-voice polyphonic, [5] digitally controlled analogue synthesizer. It has 64 memory locations for sounds ("patches"), arranged in two banks of 32 each, plus a bank of 32 factory preset sounds. The instrument has basic MIDI implementation, but lacks the ability to save or restore sounds except by using cassette tape.
The front panel has a volume knob, a master tuning knob, a data entry knob for programming patches, modulation and pitch wheels with knobs for the depth of the effect, and various buttons to switch on and off modulation destinations, enable chord memory, transpose the keyboard, or infinitely sustain notes. The case is black metal with fluorescent displays to indicate the status of different synthesis parameters (see Figure 1), and black rubberized end pieces. Other version, possible earlier may have gloss painted wood ends.
The back panel is unusual in that it is tilted from vertical so that the connectors can be seen from the front of the instrument. There are quarter-inch jacks for recording data to cassette tape, sustain and program change footpedal jacks, MIDI in, out and "thru" DIN connectors, a monaural quarter-inch audio output, a quarter-inch headphone jack, and memory protect and power switches. Some models have a voltage selection for the power supply on the underneath of the synth.
The keyboard is five octaves (61 notes, C to C) and is unweighted. It has velocity, but not aftertouch, sensitivity. The output MIDI velocity values span the full range (up to 127), but only discrete "steps" are used (in other words, not every integer value from 1 to 127). It uses rubber keypad type membrane switches, rather than J-wires. A common issue can be keys not working. This can be due to contamination under these pads.
The synthesizer voices are somewhat similar to those found in the Roland JX-3P or Teisco SX-240, in that there are two oscillators (referred to as "OSC"s) per voice, with the option of sawtooth and/or square waveforms. These oscillators are controlled digitally with analog circuitry used only to create the sawtooth waveshape. [4] OSC2 can be synchronized to OSC1, or the two oscillators can be cross-modulated. The OSCs can be separated by semitone intervals (up to four octaves) and detuned (to approximately a semitone). There is pulse-width modulation of the square wave of OSC1 (with a dedicated low-frequency oscillator (LFO) for this) and a square-wave sub-oscillator that is fixed at one octave lower. OSC2's pitch can be modulated by one of the two ADSR envelope generators, which are dedicated to VCA volume and VCF cutoff frequency. The filter is a 24dB/octave (four-pole) resonant lowpass type, and there is also a separate 12 dB/octave highpass filter that is not envelope controlled.
Tracking of filter cutoff frequency with keyboard position is fully variable, allowing for sounds to become either "brighter" or "darker" as higher notes are played. Keyboard velocity can affect volume and/or filter cutoff.
The modulation section of this synthesizer features four low-frequency oscillators. Three of these each have four available waveforms (sine, square, sawtooth and ramp), and these LFOs are dedicated to filter cutoff, and pitch of each of the two oscillators. These also have a programmable delay before their effect sets in. The fourth LFO is dedicated to pulse-width modulation of OSC1, and only its rate and depth are programmable.
There is also a programmable output level for each patch, to help balance loud and soft sounds. Notably missing from the voice architecture are white noise and portamento.
The AX80 has knobs for master volume and tuning, and a data entry knob that can be used to alter the currently selected parameter in real-time, although the value will jump to the knob's current position. There are various switches to select modulation destinations controlled by the modulation wheel (filter and pitch), to enable chord memory or infinite sustain of notes, and to select or edit sounds. The pitch-bend and modulation wheels also have knobs governing the depth of the effect of each. Footswitches can control sustain or switch sounds by moving up one patch at a time.
The AX80 has fairly standard MIDI implementation for an instrument of this vintage, with the ability to use any channel (1-16) for transmission or reception (these can be set separately). The instrument does not recognize the MIDI tuning request, nor does it allow for saving or loading sounds (patches) to a computer via system-exclusive data dumps.
The AX80 was designed by Kazuo Morioka. He previously ran his own synthesizer company, Hillwood, also known as Firstman, from 1972 up until the early 1980s, with his synthesizers released by Multivox in North America, before joining Akai in the early 1980s. He also designed other Akai Music Studio System instruments in the early 1980s, such as the MG1212 multitrack tape recorder. [6]
When it was released, Akai advertised various accessories for the AX80: a footswitch (PS-X80), the FC-X80 flight case, HC-X80 hard case, SC-X80 soft case, and a vinyl dust cover (DC-X80).
An AX80 appears in the video for Kim Mitchell's song "All We Are", played by Pye Dubois, although the manufacturer's name is blacked out. Greek synth-pop duo Marsheaux and U.K alternative act Spacehotel are also said to use the AX80, as is '90s dance act Rodeo Jones and Mark Bell of LFO on Björk's Homogenic album. The Dutch band Digital Emotion explicitly names the use of the AX80 and S612 on the label of their 1986 single “Jungle Beat”.
Full-page advertisements with the slogan "Simply...Awesome!" ran in Keyboard Magazine during the mid-1980s. [7] The AX80 also appears in the price lists at the end of both editions of Mark Vail's Vintage Synthesizers. [8] The second edition contains a footnote: "If you can get around the interfaces on the Akai AX-series synths, Wes Taggart [of Analogics (Geneva, Ohio, USA)] reports that 'a good-sounding synth lies beneath'". [9] Jim Aikin reviewed the AX80 in Keyboard Magazine in January 1985, noting it has a "warm, full sound, and can deliver a full palette of musically useful tone colors.... an excellent first entry into the keyboard market, by a company that we're sure to be seeing more from." [10] Keyboard also printed a capsule summary in its new product profile "Spec Sheet" feature. [11] There is also a two-page review in Complete Guide to Synthesizers, Sequencers, and Drum Machines, by Dean Friedman. [12]
The Roland JX-3P is a synthesizer produced by Roland Corporation of Japan from 1983–1985. The "3P" in its name refers to "Programmable Preset Polyphonic". It is notable as one of the company's first synthesizers to incorporate a MIDI interface.
Novation Digital Music Systems Ltd. is a British musical equipment manufacturer, founded in 1992 by Ian Jannaway and Mark Thompson as Novation Electronic Music Systems. Today the company specializes in MIDI controllers with and without keyboards, both analog and virtual analog performance synthesizers, grid-based performance controllers, and audio interfaces. At present, Novation products are primarily manufactured in China.
Ensoniq ESQ-1 is a 61-key, velocity sensitive, eight-note polyphonic and multitimbral synthesizer released by Ensoniq in 1985. It was marketed as a "digital wave synthesizer" but was an early Music Workstation. Although its voice generation is typically subtractive in much the same fashion as most analog synthesizers that preceded it, its oscillators are neither voltage nor "digitally controlled", but true digital oscillators, provided by a custom Ensoniq wavetable chip. The signal path includes analog resonant low-pass filters and an analog amplifier.
The Korg Poly-800 is an 8-voice analog synthesizer released by Korg in 1983. Its initial list price of $795 made it the first fully programmable polyphonic synthesizer that sold for less than $1,000. It was designed for portability, featuring battery power and a lightweight design that allowed the user to play with it strapped around their neck. It utilized digitally controlled oscillators (DCOs), and was a paraphonic synth with a single filter shared between its eight voices.
The ARP Odyssey is an analog synthesizer introduced by ARP Instruments in 1972.
The microKORG is a MIDI-capable digital synthesizer/vocoder from Korg featuring DSP-based analog modelling. The synthesizer is built in such a way that it is essentially a Korg MS-2000 with a programmable step arpeggiator, a less advanced vocoder, lack of motion sequencing, lack of an XLR microphone input, and in a smaller case with fewer real-time control knobs.
The Korg Poly-61(PS-61) is an analog synthesizer manufactured by Korg between 1982 and 1986. It was the first affordable synthesizer to feature two oscillators per voice, and was Korg's first synthesizer to feature digitally-controlled analog oscillators (DCOs). The Poly-61 marked a significant departure in design philosophy from previous Korg synthesizers by replacing the traditional array of dedicated control knobs on the front panel with a digital interface that required users to select parameters individually for adjustment.
The Korg MS2000 is a virtual analog synthesizer produced by the Japanese electronic musical instrument manufacturer Korg.
The Oberheim OB•12 is a Virtual Analog synthesizer, designed and realised by the Italian musical instrument manufacturer Viscount, in production between 2000 and 2005.
A synthesizer is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI.
Casio's SDSynthesizers were a late-1980s line of analog synthesizers featuring a resonant filter. SD synthesis was traditional DCO-analog synthesis, with the main difference being that some of the SD waveforms' harmonic spectrums changed temporally, or dynamically in relation to the amplitude envelope.
The Prophet '08 is a polyphonic analog synthesizer released by Dave Smith Instruments (DSI) in 2007. As with DSI's other instruments, the Prophet '08 uses analog subtractive synthesis. Similar in functionality to the renowned Sequential Circuits Prophet-5 popularized in the 1970s, the Prophet '08 has an all analog signal path; however its envelopes are generated digitally.
The Korg PS-3300 is a polyphonic analog synthesizer released by Korg in 1977. It was released alongside the PS-3100, a more compact variant featuring a complete synthesizer voice board for each of its 48 keyboard notes. The PS-3300 essentially combines three PS-3100 units, triggering all voices simultaneously with each key press and mirroring the PS-3100's overall design, featuring a total of 144 synth voices. The PS-3300 uses the PS-3010, a detachable keyboard equipped with an assignable joystick called the X-Y Manipulator.
The Split-8 is a polyphonic analogue keyboard synthesizer manufactured by Sequential Circuits. Built in Japan and going by the alternative name Pro-8 in some markets, this was one of the last synthesizers produced by the company and was assigned model number 608. It was released in 1985 at a list price of $1,199. This and some other Sequential Circuits synthesizers were built around the Curtis Electromusic CEM 3394 "synth-on-a-chip" integrated circuit, and used a Z80 as their central microprocessor.
The AX60 is a polyphonic analogue keyboard synthesizer manufactured by Akai Professional in the mid-1980s. It was Akai's answer to the popular Roland Juno series synthesizers. The AX60 uses voltage-controlled analogue oscillators and filter circuitry based on the Curtis Electromusic CEM 3394 integrated circuit.
The CZ series is a family of low-cost phase distortion synthesizers produced by Casio beginning in 1985. Eight models of CZ synthesizers were released: the CZ-101, CZ-230S, CZ-1000, CZ-2000S, CZ-2600S, CZ-3000, CZ-5000, and the CZ-1. Additionally, the home-keyboard model CT-6500 used 48 phase distortion presets. The CZ series was priced affordably while having professional features. In the same year Yamaha released their low-cost FM synthesizers, including the DX-21 and Yamaha DX100 which cost nearly twice as much.
Monotron is the collective name of a series of miniature monophonic analogue synthesisers produced by Korg, a Japanese manufacturer of electronic musical instruments. There are three models in the series: the original Monotron, the Monotron Duo and the Monotron Delay. The models share a minimalist set of synthesis components, consisting only of a voltage-controlled oscillator, voltage-controlled filter, a voltage-controlled amplifier and a low-frequency oscillator.
The Arturia MiniBrute is a synthesizer manufactured by Arturia. Although the MiniBrute was the first piece of analog hardware created by Arturia—which had previously exclusively marketed software synthesizers—it generated strong sales.
The Volca Keys is an analogue synthesizer manufactured by the Japanese music technology company Korg. It was announced in April 2013 at MusikMesse and was at the time one of the few affordable analogue synthesizers available. The Volca Keys uses subtractive synthesis to create sounds and is three-note paraphonic, meaning that it can play chords with all voices sharing a single voltage-controlled filter (VCF).
The Korg Sigma KP-30 is a monophonic analog synthesizer released by Korg in 1979. The Sigma was designed for organ players and live performance, featuring a user-friendly layout for quick sound selection and editing as well as two modulation joysticks and an aftertouch-sensitive keyboard. It features two separate synthesizer engines called Synthe and Instrument which can be mixed and layered together.
The oscillators were analogue but were 'digitally controlled' for better pitch stability and tracking.
Circuit Overview: ... exactly what those oscillators are...apparently DCO's as one would think with 16 of them. ... OK UPDATE. Meant to long ago. lol. I got schematics a while back and indeed this is the same type of circuit as the SX-240 etc. Programmable timers generating the base 'oscillations' in this one. Op amps are pulsed with the dco signal in cooperation with a CV signal from actual sample/hold cells that set the ramp rate of the analog circuit there that is generating the sawtooth waves. But of course the square part is digitally from start to finish.