synclavier

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Synclavier Digital Synthesizer

SYNCLAVIER II
The very Best of...

A long time ago, in a Galaxy located on the East Coast....

Well, it is dramatic!

This Synclavier history is more about what the machine is capable of doing.

The Synclavier is something like the Rolls Royce of vintage synthesizer heritage. The only competition in its time came from the Australian made Fairlight CMI. The Synclavier was a wildly expensive vintage digital sampling synthesizer reserved for the most successful musicians, commercial studios, and sound designers. Designed during the '70's, they can still be found and prized by various sound designers, composers, and musicians. Although there have been three models, (the second called the Synclavier II pictured above) they are most often referred to as just a Synclavier.

From its specs alone it can be seen that the Synclavier is a masterpiece digital sampler / synthesizer workstation which was the first of its kind, and way ahead of its time. They command prices well into the thousands ($25,000 to $200,000) and are only used by those who can afford such. New Synclavier systems (including new hardware, software, and Mac OS X emulations of the Synclavier operating system) service, and support are currently available through DEMAS, the company created after the fall of New England Digital in 1992. Additional service and support can also be found at Synhouse and Synclavier European Services.

The Synclavier System was an early digital synthesizer, polyphonic digital sampling system, and music workstation, manufactured by New England Digital Corporation, Norwich, VT. The original design and development of the Synclavier prototype occurred at Dartmouth College with the collaboration of Professor Jon Appleton, Professor of Digital Electronics, Sydney A. Alonso, and Dartmouth, Thayer School of Engineering student software programmer, Cameron Jones. First released in 1977-78 it proved to be highly influential among both electronic music composers and music producers, most notably Mike Thorne, an early adopter from the commercial world, due to its versatility, its cutting-edge technology, and distinctive sounds.

The early Synclavier Digital Synthesizer used FM synthesis, and was sold mostly to universities. Some such systems had only a computer and synthesis modules, no keyboard. The system evolved in its next generation of product, the Synclavier II, which was released in early 1980 with the strong influence of master synthesist and music producer Denny Jaeger of Oakland, CA. It was originally Jaeger's suggestion that the FM synthesis concept be extended to allow four simultaneous channels or voices of synthesis to be triggered with one key depression to allow the final synthesized sound to have much more harmonic series activity. This change greatly improved the overall sound design of the system and was very noticeable.

The company evolved the system continuously through the early 1980s to integrate the first 16-bit digital sampling system to magnetic disk, and eventually a 16-bit polyphonic sampling system to memory, as well. The company's product was the only digital sampling system that allowed sample rates to go as high as 100 Khz for full digital sound quality, which was unsurpassed and frequently complimented by leading sound design and music recording engineers, who make up the Who's Who of modern music and sound effect recording.

Synclavier II models used an on-off type keyboard (called the "ORK") while later models, labeled simply "Synclavier", used a weighted velocity-and-pressure-sensitive keyboard (called the "VPK") that was licensed from Sequential Circuits and used in their Prophet T8 synthesizer.
Ultimately, the system was referred to as the Synclavier Digital Recording "Tapeless Studio" system among many professionals. There is absolutely no doubt that the Synclavier System was "the" pioneer system in revolutionizing the movie and television sound effects and Foley effects methods of design and production starting at Glen Glenn Sound.[peacock term] Although pricing made it inaccessible for most musicians, it found widespread use among producers and professional recording studios, competing at times in this market with such high-end production systems as the Fairlight CMI.

Tony Banks of Genesis used a Synclavier II on the albums Abacab, Genesis and Invisible Touch and their respective tours, along with solo albums and soundtracks of that period.
Christopher Boyes - Supervising sound editor/sound designer for the film Avatar, used the Synclavier for blending or layering different sound effects and matching pitches.
Paul Davis - singer/songwriter, producer at Monarch Sound in Atlanta.
Patrick Gleeson – film score composer, used the Synclavier to score Apocalypse Now.
Michael Hoenig – film scoring work on the Synclavier, including The Wraith.
Trevor Horn – used the Synclavier to produce records by Frankie Goes to Hollywood, Yes, and Grace Jones (Slave to the Rhythm), among others.
Kraftwerk - used on their albums Electric Cafè and The Mix(Kraftwerk Album) and in their live performances until the use of laptops
Michael Jackson – particularly on his 1982 album Thriller, programming by Steve Porcaro, Brian Banks and Anthony Marinelli. The gong sound at the beginning of "Beat It" comes courtesy of the Synclavier.
Mark Knopfler – The Princess Bride (1987) – With the exception of the guitar sounds, every sound you hear is generated by the Synclavier, including hand claps etc. Last Exit to Brooklyn (1989) – All sounds except guitar and horns produced by the Synclavier. Tracking for On Every Street was completed on a Synclavier.
John McLaughlin used it on the albums Adventures in Radioland and Mahavishnu.
Pat Metheny – American jazz guitarist.
Jack Nitzsche's score for the movie Starman was performed entirely using Synclavier II.
Jean-Luc Ponty – Used the Synclavier on many albums between 1983 and 1993.
Danny Quatrochi used Synclavier on Sting's album The Dream of the Blue Turtles (1985).
Gary Rydstrom – used the Synclavier for sound design, as seen in a bonus featurette on the Monsters, Inc. DVD.
Craig Safan - film composer scored several films during the 1980's on the Synclavier including Stand and Deliver, Warning Sign, A Nightmare on Elm Street 4: The Dream Master.
Howard Shore, film score composer – pictured with a Synclavier on the cover of Berklee Today, Fall 1997.
Alan Silvestri – in producing the scores for the 1980s films The Clan of the Cave Bear and Flight of the Navigator.
Paul Simon – on Simon's 1983 album Hearts and Bones, Tom Coppola is credited for Synclavier for the following tracks: "When Numbers Get Serious," "Think Too Much (b)," "Song About the Moon" and "Think Too Much (a)," and [15] is credited with Synclavier on "Rene And Georgette Magritte With Their Dog After The War." On his 1986 album Graceland, Paul [Simon] is credited under "Synclavier" for the following tracks: "I Know What I Know" and "Gumboots".
Mark Snow – film and television score composer; Synclavier used on The X-Files.
Mike Thorne – producer, first musician to buy a Synclavier, used it on records by Siouxsie and the Banshees, Soft Cell ("Tainted Love"), Marc Almond, and Bronski Beat, among others.
Whodini - Synclavier II was used on albums Escape and Back In Black.
Alan Wilder used the Synclavier a lot during his years with Depeche Mode.
Stevie Wonder – In an episode of The Cosby Show, Wonder records different snippets of the Huxtable's voices onto his Synclavier.
Frank Zappa – in 1982 one of the first Synclavier owners; 1984's Thing-Fish (underscoring), Boulez Conducts Zappa: The Perfect Stranger (underscoring) and Francesco Zappa (solely Synclavier); 1985's Frank Zappa Meets the Mothers of Prevention (sampled sounds); 1986's Grammy-winning album Jazz from Hell ("St. Etienne" excepted, solely Synclavier); 1994's Civilization Phaze III completed in 1993 shortly before his death, released posthumously, musical portions composed and recorded exclusively using the Synclavier.
Chick Corea used the Synclavier on various Elektric Band albums from 1986–1991 aswel as various Elektric band tours.

SYNCLAVIER II
The very Best of...

Sound Library over 2,2GB!!!! on DVD

The LEGENDARY SYNCLAVIER - PERFECT ORIGINAL MULTI-LAYER SAMPLES:
ANALOG BRASS, ANALOG BASS, ANALOG PADS, PIANOS, STRINGS, MALLET, PERCUSSION, VOX, SOUND-SCAPES, FX, WAVES AND MORE....

Top-studio recorded and mastered, mapped, ready for download and work

$20.00
All the Samples are compatible with any PC/Mac Music Software/Plug-In`s,
Music Sequencer/Sampler/Hard ware Synth's, that support WAVES/AUDIO Files:

Acid Pro, Acid DJ
Acid Music, Adobe Audition
Akai S5000 & S6000
CakeWalk ProAudio/Sonar (all version)
Creamware, Power Sampler
Pulsar, STS-3000/4000/5000
Emagic EXS24, Emagic Logic Audio
Emu E4 Platinum, E4XT Ultra
E-Synth Ultra, Emu E6400 Ultra
E5000 Ultra, Fast Tracker
Fruity loops
Image Line Fruity Loops
Impulse Tracker
Korg Triton
Kurzweil K-2000, K-2500, K-2600
Logic (all version)
Magix Samplitude Professional
Making Waves
MOTU Digital Performer
Native Instruments Battery
Reactor, Reason
Propellerheads Reason
Propellerheads ReasonEmagic EXS24
Propellerheads Recycle
Pro-tools (all version)
Rebirth (mods),
Recycle (all version)
Roland Fantom
Roland VP-9000, Scream Tracker
Sony Sound Forge
Sound Forge
SpeedSoft Virtual Sampler
Steinberg Cubase (all version)
Steinberg Nuendo (all version)
Steinberg HALion 1/2/3
Steinberg Wavelab
Syntrillium CoolEdit Pro
Tascam Gigasampler/Gigastudio
Unity DS-1
Vegas
Yamaha Motif A-3000, A-4000, A-5000

and many more...

This ultimate collection offered is an excellent for any musician at any level, for anybody looking to get into sample-loops-based music/recording, are designed to grow and expand with you into complete and professional sounds. Very easy to work: recording, looping & creating perfect sound.

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