Both these new analog synthesizers take the groundbreaking UNO Synth monophonic synth and expand it in nearly every section: more oscillators, more filters, more sequencer memory, more effects, more presets, more connections and more programmability. UNO Synth Pro puts this amazing new sound engine in a rugged metal chassis with a 37-key synth-action Fatar keybed, while UNO Synth Pro Desktop provides a more portable form factor to travel anywhere.
The UNO Synth Pro's unique dual-filter, 3-oscillator paraphonic design lets it create nearly any synth sound imaginable, and with 256 presets, a new 64-step sequencer and expanded CV/Gate and audio connections, users will quickly find it's the ideal creation station for any outboard rig.
Huge, real analog sound
Three analog oscillators offer continuously variable waveshape, including pulse-width modulation. Oscillators can be hard-synced for more harmonically-complex tones, and oscillator FM (frequency modulation) lets users shape everything from bell-like sounds to screaming industrial tones. UNO Synth Pro even includes ring modulation for wobbly, sci-fi sound, and a white noise generator for a wide range of percussive sounds and epic rises.
Dual-filter design with 24 available modes
In addition to the original UNO Synth's 2-pole OTA multimode filter, UNO Synth Pro adds a new SSI 2/4-pole LP filter with self-oscillation. The dual filters can be used in series or parallel, with invertible phase, for a total of 24 possible filter modes. This unique design offers nearly limitless tonal possibilities, from recreating classic vintage sounds or forging completely new, experimental sounds.
Massive sonic flexibility
UNO Synth Pro offers two full ADSR envelopes, one dedicated to the filter and the other to amplitude, with both available as sources to modulate everything from oscillator pitch and waveshape to LFO speed or even other envelope stages. Two LFOs (low-frequency oscillators) can create classic synth vibrato, wah and tremolo as well as do more complex modulations including audio range FM.
A 16-slot modulation matrix makes routing all these a breeze. Users can quickly and easily design even the most sophisticated modulation scheme, with both internal and external sources, including MIDI controllers.
Deep onboard effects
UNO Synth Pro offers four effect blocks: an analog overdrive circuit from the original UNO Synth, plus three new, custom-designed digital effects: modulation, delay and reverb. External signals can also be routed through these effects, with pre-effects filtering for added flexibility.
UNO Synth Pro offers a premium 37-key synth action keybed made in Italy by Fatar, while UNO Synth Pro Desktop provides an enhanced version of the original's long-lasting capacitance-sensing keys along with pitch and mod strips for enhanced expression. Both units add firm-touch rubber pads for the control sections, plus LED-backlit indicators and an LED display for key information, making it easier than ever to use live on stage or in deep programming sessions in the studio.
Powerful presets, sequencer and arpeggiator
UNO Synth Pro offers 256 user-editable presets, each capturing the full state of the sound engine from oscillators to effects. An onboard 64-step sequencer offers both step and real-time recording, with automation of over 80 parameters, letting users create incredibly intricate and evolving soundscapes, and even write CV and gate automation.
And a 10-mode arpeggiator makes it easy to create intricate patterns and runs, while a new "chord mode" takes advantage of UNO Synth Pro's paraphonic design, opening the door to triads and chord work.
UNO Synth Pro offers two noiseless, balanced stereo outputs as well as headphone out, for superior audio quality in any situation. USB and 5-pin DIN MIDI In and Out make it easy to integrate with other synths, Mac/PC and mobile devices, and its assignable CV/Gate connections lets UNO Synth Pro interact effortlessly with a Eurorack or other modular system.
And now, an audio input allows access to the filter and FX section for external signals, in addition to the original pass-through for daisy-chaining multiple units together without using a mixer.
Options, pricing and availability
UNO Synth Pro and UNO Synth Pro Desktop will be arriving in Q1 2021 and are currently available for pre-order from the IK Multimedia online store and from IK authorized dealers worldwide for $/€649.99* and $/€399.99 respectively.
*All pricing excluding taxes
For more information about UNO Synth Pro or to see it in action, please visit: www.unosynthpro.com
By Andreas Hedberg
Erik van Vliet och Michael van Der Kuy.
In the late 70’s, the electronic dance music begin to emerge, and the Italian disco synth pioneer Giorgio Moroder was a inspiration for the Italo Disco genre. Synth and disco music was produced by many Italian producers around 1977 and onward.
For a Swedish version of this article, please click here.
Italo Disco and Spacesynth music consists of tracks with simple arrangements, catchy melodies, and a sound generated by analog synthesizers, and drum machines. Italo Disco had its peak around 1985, and was played frequently in Swedish clubs (and, of course, internationally too). Spacesynth, or Space Disco as it is also called, counts as a subgenre of Italo Disco, but unlike Italo Disco, its mainly instrumental music with a futuristic sound. The retro–futuristic cover art is also a very important part of the genre. To this day, Spacesynth still has many fans among dance music veterans and new generations of club goers alike.
Erik Van Vliet, founder and producer of Laserdance.
Founder of Laserdance
In 1969, at the age of twelve, Erik Van Vliet was playing drums and electric bass and was mostly into rock music, but a few years later, he discovered disco and synth-based dance music – music by Moroder and Farina, and a whole new world opened up to him. In 1972, when Erik was 15 years old, he started dj’ing at various clubs in Rotterdam, playing disco music.
– I was also dj’ing in Italy for two summers when I was 18. It was amazing, but soon I had to do military service, normally it is for 18 months, but I signed a contract for four years as a volunteer, because then I would earn three times as much money. I could still work as a dj on the weekends.
– The first dj record shop in Rotterdam, Holland, was named “US Import Records”. I drove around in Milan, Italy in the late 70's to buy the synth-based dance music and early Italo Disco music in a lot of different small underground record stores. I bought all the classics I could find with music by Giorgio Moroder, Mauro Malavasi, Farina and others, partly to play these when I was DJing, but also to sell to the “US Import Records”. These early disco and Italo disco music are still the best, I think. The “Peter Jacques Band”-album "Fire Night Dance" is the best disco album ever made.
Listen to Fire Night Dance on Spotify here.
– After I’ve served in the military, I’d saved so much money that in 1982 I could start my first own record store, "Hotsound Import Records", in Rotterdam. The business grew, and eventually I owned several record stores.
The first Laserdance track
Soon, Erik himself was releasing his own disco synth medleys and mixes, and he had a vision of recording and producing songs also. One song had long fascinated and inspired him, and that was an almost unknown b-side on a vinyl, of a band called "Sponooch" and the song was called “Laserdance” from 1979. Watch the video of Sponooch's "Laserdance" on Youtube here:
Erik did a remake of that song, and made it more suitable for the dance floors. And in 1984 he released his first label called Lazer Dance under the artist name Laserdance.
– I never played the syntheziser. or anything like that, but it's not just about being able to play, but to produce and create the sounds you're looking for. My strength is to produce and create the right marketing. For me, these are two things in one. I don´t want to produce a song if there is not a marketing plan to sell the music.
When it comes to producing music, I have seen so many people over the years that overproduce their music – there are too much instruments and things happening in a song. It is usually better to make it sound simple, because then it is easier for people to listen to it, and above all, they’ll remember it. If you listen to a Laserdance track it is very simple music basically, and its built up the same way as the music from Giorgio Moroder or Arthur Baker (house/tehno producer), to give you an example.
The collaboration with Michiel Van Der Kuy
Erik and the composer and classical pianist Michiel Van Der Kuy met in "The Marathon", a popular Italo Disco club in The Hague, Holland. Michiel loved Eric's Italo Disco music that he promoted at the club, and asked if they should work together. The first step was that Michiel began sending demosongs to Erik.
– Michiel was a classical pianist when we met, and he had not done any Italo- or Spacesynth productions before, so even if he was a great talent, and wrote great music, he didn´t manage to get the right sound. I had to teach him this, and made sure to provide him with a lot of cassettes with early Italo Disco music, to understand the sound.
– We were a great team right from the start. Michiel is mainly the composer of Laserdance, although I have been involved as a composer on some songs, as Michiel is involved in the production, but I'm primarily responsible for the arrangement, production and the mixing. I also do the lyrics and is responsible for the albums titles, the songs titles and the artwork.
The first album
– The first album “Future Generation” was released in 1987. It was magical, everything was just so right with this album. The most successful singles from the album were “Humanoid Invasion” and “Power Run”. It's my voice you hear in those songs. Thesingles, and the album, sold really well.
The main instruments used on “Future Generation” were a Roland Super JX10, Roland Juno-60, MSQ-Roland 100 (sequencer), Linn Drum, and Korg DVP-1 (vocoder) is used extensively.
Listen to "Humanoid Invasion" on Spotify here.
Erik and Michiel did nine Laserdance albums together until 1995, when they went separate ways because Michiel wanted to try his luck on his own, and created the band Rygar. In the year 2000 the last Laserdance album "Strikes Back" was released. Erik made this together with a musician named Julius Wijnmalen. Erik did one more album with him, and the plan was to release a second album in 2002 or 2003, but it never happened.
– “Strikes Back” was Laserdance to the style, but it was not quite the same as when Michiel and I did it. Also after the year 2000 the music industry almost collapsed when people began downloading music.
Back after 21 years
– It is just until recently, when vinyl is selling well again, and we got a pretty good deal with the record label ZYX, both I and Michiel thought it would be fun to make a new Laserdance album. ZYX also had in mind how good the sales had been with our first album.
– With “Force of Order”, we tried to make an even better album than the “Future Generation”, although we knew it would be difficult. “Future Generation” was special. We listened very carefully to it before we worked on “Force of Order”, and it was more or less an order from ZYX to do that.
– “Please, do the new album as similar as possible as the first one ", they said. Both Michiel, I, and ZYX, know that our fans around the world would likely buy the album if it had the original sound from “Future Generation”. In the past we sold about 80 000 albums, and today maybe 1 000 albums, but those are the times now. We are most popular in Mexico and Poland, but it is also where the largest proportion of illegal downloads of our songs are being made.
Same old gear
– Michiel bought exactly the same synths and gear that we used on “Future Generation”. We even rented some gear if we couldn’t find it. We really did everything to get the same sound as on the “Future Generation”. We only used analog hardware synthesizers, no software synthesizers at all, but we recorded and mixed everything in the computer. If we make more Laserdance albums, we will produce it with the same analog equipment.
– It took about six months to complete “Force of Order” - from composing to distribution. Now Michiel had already previously composed a couple of unreleased songs that are on the album. The response of “Force of Order” has been fantastic. Fans really like it, and everyone is happy that me and Michiel are back making music together again.
Listen to “Endless Space” from Force of Order on Spotify here.
Michiel van Der Kuy signing his autograph on the cover of ”Force of Order”.
Possibly more albums to come
Now when Erik and Michiel are back, starting with “Force of Order”, they have already talking about another Laserdance album. Erik has artwork for it, the title of the album, and the titles of the songs.
– We hope to release an album a year, but we have a contract with ZYX and they also have to want us to do it. ZYX of course look to how the sales will go. I will soon have a discussion with them. It is now April, and I need to know in a couple of months if we can plan ahead for a new album.
– For maybe 25 years I have been trying to convince Michiel to set up a Laserdance concert - a tour perhaps? Michiel never been so interested to do that, though, but I think it would be a fun adventure for the both of us. Naturally, it has to be done together with the right people, in the right places and context. Perhaps as an opening act for Kraftwerk?
EARLY SYNTH-BASED DISCO, ITALO DISCO OCH SPACESYNTH
Giorgio Moroder – From here to eternity, 1977 Donna Summer (Giorgio Moroder) – I feel love, 1977 Space – Magic Fly, 1977 Giorgio Moroder – The Chase (from Midnight Express), 1978 Peter Jacques band – Fire night dance (album), Walking on music (hit single), 1979 Sponooch – Laserdance, 1979 Koto – Chinese revenge, 1982 Hipnosis – Pulstar, 1983 Laserdance – Laser Dance, 1984 Laserdance – Humanoid Invasion, 1987
By Christopher Sigmond
Är klar med en låt som heter Stars. Skulle jättegärna vilja ha feedback på produktionen!
Intresserad av vilka känslor låten väcker hos lyssnaren, om det är något inte riktigt funkar, något som skulle behöva skruvas på och så vidare. 🙂
På förhand tack!
This ongoing ORIGINALS series of instant library tools with the same outstanding recording quality as the ‘full-blown’ blue-chip libraries with which it has built its reputation, simplified and presented in its free, easy-to-use plug-in, this time collaborating with the Bleeding Fingers Music composer collective (created as a joint venture between composer Hans Zimmer, his business partner Steve Kofsky, and Extreme Music, the production arm of Sony/ATV Music Publishing as the television and film industry’s leading custom scoring company) to work with world champion drum corps The Blue Devils, recorded by Bleeding Fingers Music CEO Russell Emanuel in the controlled acoustics of FOX’s famed Newman Scoring Stage in Los Angeles, CA, USA, for a tight, focused sound served up alongside variable effects as nine presets featuring ~1.5GB of sampled snares, tenor drums, bass drums, and cymbals with five straightforward NKS (Native Kontrol Standard) compatible controls, creating the spirit of the stadium — as of December 21…
Spitfire Audio initiated its (ongoing) ORIGINALS series when releasing EPIC STRINGS — an aptly-named symphonic-sized, 60-strong string section of London’s best players professionally recorded in the hallowed (Lyndhurst) Hall at London’s legendary AIR Studios, serving up 11 appetising articulations as a wallet-friendly yet eminently essential cinematic ingredient for any professional or budding professional composer and music-maker — to widespread critical acclaim in November last year, successfully followed throughout this year by EPIC BRASS & WOODS, FELT PIANO, CINEMATIC PERCUSSION, CINEMATIC SOFT PIANO, INTIMATE STRINGS, FIREWOOD PIANO, and, now, the also-aptly-named DRUMLINE.
Duly delivering the precision and excellence of The Blue Devils drumline to the fingertips of music producers, film composers, and percussion arrangers as the latest in a lengthening line of instant library tools with the same outstanding recording quality as the ‘full-blown’ blue-chip libraries with which Spitfire Audio has built its reputation, simplified and presented in its free, easy-to-use plug-in, DRUMLINE allows its users to harness the spirit of the stadium with a collection of sounds that are guaranteed to add depth and impact to musical projects, freed from the sporting stadiums that its namesake drumline have so successfully performed within to so many for so long.
Let us step back, briefly, in time, then, to — technologically and musically — make our way forward. Founded in 1957, The Blue Devils drumline and Bugle Corps is a world-renowned marching music ensemble based in Concord, CA, USA. Ultimately spending summers travelling throughout the USA as a talented group of brass, percussion, and colour guard members, competing and performing for millions of fans in massive stadiums, it is the most decorated ensemble in DCI (Drum Corps International) history, having won the World Championship title an unprecedented 19 times — a record that stands as an envied accomplishment in the drum corps community.
Furthermore, finishing first or second in national competitions during the past 13 seasons and placing no lower than fifth since earning third place in 1975, The Blue Devils’ performance pedigree extends beyond the USA with well-known international performances and outreach in Europe, Japan, South Africa, and beyond. But working with world-renowned sound-specialising British music technology company Spitfire Audio to create DRUMLINE is audibly a whole new ballgame!
BD Performing Arts CEO Shaun Gallant says, “This has been a very exciting project for us to work on with Spitfire Audio. They are truly the best in the business, and we’re so thankful for this opportunity to partner with them in providing top-of-the-line tools for arrangers and producers everywhere. We want to extend a special thanks to producer Russell Emanuel and the team at FOX’s Newman Scoring Stage for hosting our session with Extreme Music in preparation for this project. What’s even more exciting is this is only the beginning of what is sure to be an incredible partnership. We can’t wait to see what opportunities the future presents.”
Putting it this way, Spitfire Audio co-founder and composer Paul Thomson responds in kind: “At Spitfire Audio we take pride in working with the most talented musicians and artists in the world. We’re enormously excited to be releasing DRUMLINE with the exceptional players from The Blue Devils. Our mission is to inspire a generation of composers and, working with The Blue Devils and producer Russell Emanuel, we’ve created something that is going to inspire composers of all ages to learn more about this exciting musical genre!”
DRUMLINE is available as an AAX-, AU-, VST2-, and VST3-compatible plug-in supporting Native Instruments’ NKS (Native Kontrol Standard) for Mac (OS X 10.10 or later) and Windows (7, 8, and 10 — latest Service Pack) that loads directly into any compatible DAW (Digital Audio Workstation) for an RRP (Recommended Retail Price) of only £29.00 GBP (inc. VAT)/$29.00 USD/€29.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/originals
Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime, and is available for free from here: http://www.spitfireaudio.com/info/library-manager/
For more in-depth information, please visit Spitfire Audio’s ORIGINALS Frequently Asked Questions webpage here: https://www.spitfireaudio.com/info/faq/spitfire-originals/
By Fredrik Hollander
Grabben och jag tänkte börja lira lite tillsammans och jag inser att mitt digitala piano har lite begränsningar vad gäller ljud. Finns det möjlighet att komma åt "syntljud" som jag kan styra med keyboard på digitalpiano?
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