Search the Synthmuseum.com Classifieds for this manufacturer.A true cottage industry, Akai was started in a backyard shed.The workplace was so small it could hardly be called a factory and his employees were entirely from his immediate family.
![]() ![]() He also designed other Akai Music Studio System instruments in the early 1980s, such as the MG1212 multitrack tape recorder. 6. The AX80 used digitally controlled oscillators (DCO) 1 3 4 and filter circuitry based on the Curtis Electronics 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, at a price of 1,695 US. Akai Synthesizer Plus A BankIt 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 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. 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 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. These oscillators are controlled digitally with analog circuitry used only to create the sawtooth waveshape. 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. OSC2s 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 24dBoctave (four-pole) resonant lowpass type, and there is also a separate 12 dBoctave highpass filter that is not envelope controlled. 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. Notably missing from the voice architecture are white noise and portamento. 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. ![]() 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.
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