[SONDAGE] Tests synthés vintage à mémoires : lesquels souhaiteriez-vous en priorité ?

...One must again remember that no powerful PC’s existed at the time. The most innovative computer in those days was the Apple II. However I had not anticipated and underestimated the rapid development of PC’s.
In any case, it was now full steam ahead with the hardware and software work - whereby HDU and Realizer used the same technology. They differ primarily in the number of DSPs (the HDU used 2, Realizer used up to 8). The hard disk recording, analog converter and control processor were identical.Most of the development efforts went into the "layout" of the boards (i.e. routing of the conductor paths on the circuit boards). Previously we had always done this by hand. That went well on the analog circuit boards and the 8 bit processors of the Wave, but for the multi-processor systems and 16-bit buses, we intended using software for the first time. For this purpose we leased a larger computer on which we ran the software. However the refresh rate of screen layout was extremely slow which made it difficult to work with.

The Realizer software should on each page show the main synthesizer, mixing and recording functions. On the Synthis page we thought of an analog synth in the form of a Minimoog, an FM Page (which had a modulation matrix, where different modulation paths were represented), and a sampling / wavetable model.
I also incorporated a real-time loop algorithm which was able to play pieces from the hard disk. When a MIDI-Key was received, the recording jumped to a specific position. I had recorded "Hold On" by Yes, and every time "sunshine ..." played, I pressed a key on the connected PRK in time with the rhythm. It was really impressive...

"Only 39 Axcels [sic] were ever made - and those who own an Acxel (ACoustic + X + ELement) hold on to them - proved by the fact that it is very, very rare that an Acxel is for sale. The last, and probably the only, time an Acxel was offered on Ebay were 2003. If I remember correctly, the starting bid was USD10,000 that time.

Imagine drawing waveforms, 128-stage envelopes, base pitches and amplitudes (the user interface allows editing of 32 base pitches/amplitudes at the same time, like an 32 track pitch and audio mixer, with a discreet “page” for each group of 32 oscillators, or ISC’s – Intelligent Synthesis Cells, as they are called in the Technos terminology), and other sound parameters with your finger - and have 256 intelligent, digital oscillators follow your every creative move in real-time. Imagine creating a monophonic sound with 256 oscillators, 8 multitibral voices with 32 oscillators each or any combination in sections of 32 oscillators.

Imagine creating complex sounds with the touch of your fingers - and have complete control of the harmonic content of every sound you create.

Imagine having an audio engine - powered by a massive number of parallel processors with a combined processing power still unequalled in the sound design world - doing powerful harmonic (with fingertip control of every harmonic) and time (compressing/expanding) editing/processing completely in real time.

Imagine "sampling" a sound and having an very complex synthesis engine try to emulate the recording, which it does sometimes rather well (it will never sound the same as the recording, but sometimes it resembles the original in a synthetic way) and other times not well at all, but with very interesting results.

Hébé ça a pas l'air simple tout ça