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Tommye Hope
Subsequently, a number of D-50 presets wound up on the airwaves, though none so instantly recognisable as Digital Native Dance, a skittering atmospheric patch that started life as a novelty whipped up by one of Roland's PCM engineers. Lead patch programmers Eric Persing and Adrian Scott were duly impressed, using the loop to create what would become the D-50's signature sound, which would be used by everyone from OMD to Miles Davis.
Arturia's Pigments is appropriately named, as it offers a completely blank slate for sound design. The synth allows users to combine up to four sound engines to create an immense range of sounds, with one of the engines containing over 160 individual wavetables! For those who may feel overwhelmed by the possibilities, Pigments also comes with over 1200 presets to provide inspiration and give you a jumping-off point.
Oddity3 takes the character and sound of Oddity and adds a wave of enhancements, bringing the spirit of the original to a new generation of music makers. With a powerful new Preset Browser and 1250+ presets including 250+ new ones, new Distortion and Reverb effects, a Vintage control for dialing in authentic imperfections, and four programmable Macros, plus new and improved performance controls, this classic desert island synth just got even better.
I found romanticism in the idea I had to wait about fifteen minutes after switching on the Moog in order to allow the oscillators to warm up before I could play the keyboard. There were no presets. Just single-cycle waveforms, looped to match specific pitches. This was so long ago, if I liked a synth sound so much that I wanted to recreate it later on, I had to sketch the Moog settings in terms of where the dials and sliders were set with regard to filters and envelope generation, not to mention what position the pitch wheel resided in. Now that I think about it, a Polaroid camera would have pushed the romance through the roof. I probably should have used one.
Those shepherds of the northern pastures guard the rights of all things melodic and craft and I sense light waves and particles from things yet created from this duality. Though I long for a double disc white vinyl pressing of The White Songbook, a green 180-gram offering of The Tick Tock Treasury, and a collaborative Russian Imperial Stout release, perhaps in tribute to Hello, Mannequin sealed in pink wax, I understand none of this may never be.16 It is one of the bitter hardships of being a Joy Electric fan.