<!--StartFragment --><B><SPAN class=titletext>Design Background</SPAN><BR><SPAN class=teeny><I><FONT color=#000080>Some words from Dave Smith</FONT></I></SPAN></B> <P><SPAN class=pagetext>First of all, I've gotten rather tired of software synths. After making the first pro soft synth (Reality from Seer Systems) a long time ago, and having more than 10 million earlier soft synths shipped, I'm finding that I'm tired of computer-based products, and I much prefer working on real hardware. Caveat - of course software and computers are the future, I'm not arguing that. There's just something more fun as a designer to be working again on dedicated hardware that I can touch and hold. Maybe I'm also slightly influenced by the fact that there are gobs of other soft synths out there now, and more every day. And considering the fact that software, especially music software, is regularly and easily ripped off, a hardware product becomes the ultimate dongle.</SPAN></P> <P><B>Is It Retro???</B> </SPAN></P> <P class=minitext><SPAN class=pagetext>Well, that's not my intention, though I suppose anything with real voltage-controlled analog filters would certainly fit in that category. I've received many requests over the years to re-do old Sequential gear, and later to design software versions of old products. As a synth designer, I really have no desire to re-do a product. If you want the old stuff, it's still around. I like new stuff. New sounds. And, most importantly, instruments with <B>personality</B>!</SPAN></P> <P><SPAN class=pagetext>The concept of Evolver is to generate new sounds that, well, evolve. Sounds that change, subtly or dramatically. Look back at the Prophet-VS and Korg Wavestation as previous examples of instruments that are never static. And, I have to admit, analog still has a warmer, more natural sound, partially because it is never perfect; it has that natural slop. Yes, there are some very cool digital synths out there also; even some that mathematically emulate analog synths have a nice edge to them. I don't think analog is always better, or that digital is always better; they're just different. </SPAN></P> <P><SPAN class=pagetext>So, Evolver has the analog components, and also some digital components. I'm trying to generate new sounds via the interaction of analog and digital electronics. Best of both worlds. I've always liked feedback in synths, so there is extensive use of tunable feedback in Evolver, interconnecting the digital feedback loops with the analog electronics. I like sounds that blow up, predictably or not. When sounds blow up digitally, it can hurt your ears - I've done that enough times designing the soft synths! However, when Evolver goes ape, the analog circuitry actually keeps the signal in line just enough that the result is wild sounds, not pain. Plus, the feedback constantly moves, and differently in each channel (each channel has their own independant feedback path), giving some very cool stereo ambience to the sounds. </SPAN></P> <P><SPAN class=pagetext>In fact, the product name came from playing with the synth. Originally the product name was Noise, just because I've always wanted to design a synth with that name. But, a day before the NAMM show in mid-January, I stopped development long enough to make a few sounds for the show, and was blown away by the organic nature of the synth. Organic is a stupid word to use most of the time, so the name Evolver popped up (thanks Denise!). </SPAN></P><BR> Dave Smith Instruments Evolver Keyboard Monophonic analog/digital synthesizer ... Learn more The Poly Evolvers come in two versions, the keyboard and the rack. They both have 4 voices, each voice a complete Evolver, which not only provides backwards compatability with the monophonic Evolvers, but also allows a number of cool features to play with. <BR><BR> Each voice still has its own sequencer. This allows some great wave-sequencing applications by gating sequences polyphonically from the keyboard. Each voice also has its own effects, such as feedback, distortion, and 3-tap delay with 2 feedback paths, which enables completely independent processing of each voice for a super thick sound. <BR><BR> The stereo audio inputs go to all four voices, each of which can select to process or ignore the external signals, so you can do quad parallel processing of any audio source. Or, since there are stereo outputs on each of the four voices, you can route the output of one voice to the input of another voice for some interesting effects. <BR><BR> Overall, the Poly, while retaining all of Evolver's wild capabilities, has emerged with its own personality. Many sounds that just didn't make much sense on the monophonic Evolver really shine when played polyphonically - this will be a real pad-monster machine. The wavesequencing is another. On the other hand, some Evolver sounds are actually too huge to play polyphonically, so I guess it works in both directions. <BR><BR> Once you play a Poly Evolver, you'll immediately hear what's missing with all those soft and virtual synths - this is real! Finally some personality and individuality in a polyphonic synth. As with the Evolver, the idea was not to create an analog retro synth, but to start with the benefits of true analog design, and then go well beyond with the tightly integrated digital features. You get all the old stuff (yes, these are Curtis filters) plus an all-new sound - check it out! <BR> <BR> -Dave Smith Dave Smith Instruments Poly Evolver Keyboard Polyphonic analog/digital synthesizer ... Learn more <FONT size=2>The Keystation 61es is a 61-note USB keyboard with velocity-sensitive, semi-weighted keys that is designed to easily integrate in any computer music environment. Class-compliancy with Mac OS X and Windows XP delivers true plug-and-play setup. The Keystation 61es is also compatible with many music education and music creation software titles, making it ideal for classrooms and studios alike. More advanced users can control software synths, external sound devices, and more with the assignable slider, and pitch and mod wheels. This sleek, compact keyboard is USB bus-powered and requires no external power supply.</FONT><BR> M-Audio Keystation 61es 61-note semi-weighted keyboard controller with pitch bend and mod wheels, and USB connectivity. ... Learn more <FONT size=2>If you appreciate the full range of a piano keyboard in a lightweight package, the 88-note Keystation 88es is for you. You get great-feeling, semi-weighted action that’s velocity sensitive to convey all the nuances of your playing to your computer and most popular music education and studio software. The pitch and modulation wheels plus slider and buttons make it a great controller for playing and programming synths, samplers, drum sounds and more. At just 22 lbs., the Keystation 88es is equally at home on stage and in the studio. Class compliancy with Windows XP and Mac OS X ensures easy plug-and-play setup. It’s even bus-powered, so one simple USB cable is the only connection you need<BR></FONT> M-Audio Keystation 88es 88-key semi-weighted action USB MIDI controller with velocity sensing ... Learn more The new Keystation Pro 88 is the first USB master MIDI controller designed specifically to let you perform, program and mix music directly with your computer. Regardless of whether you’re a seasoned pro or just ready to take your music to the next level, our 88-key hammer action is so expressive that you simply won’t want to stop playing it. And the complement of 59 (yes, 59) assignable controls delivers more than enough tactile command over your favorite soft synths and digital audio sequencers like Reason and Live. This bus-powered master controller unifies everything you need to experience the full potential of today’s virtual studios—and at a price and weight lighter than you’d expect. M-Audio Keystation Pro 88 The worlds first 88-key USB bus-powered hammer-action MIDI controller ... Learn more The Oxygen8 is the mobile MIDI controller that started it all. You get a fully functional MIDI keyboard, plus eight knobs to control any MIDI parameters you desire. This compact package is perfect for controlling software synths like Reason. Compose on the go or use it to perform live for bass lines, pads, triggering effects or ArKaos VJ visual effects. Fits in a 19” rack or the optional Studio Pack or Oxygen Tank. M-Audio Oxygen 8 25 key USB Direct-connect MIDI Keyboard Controller with 8 assignable knob ... Learn more The ProKeys 88 is the premium digital stage piano that doubles as a great MIDI controller. ProKeys 88 gives you a lot more sound bank memory than even the closest competitor, loaded with larger, more realistic samples—14 world-class instruments in all, including split/layer capabilities. We paired those great sounds with an 88-key hammer-action keyboard, delivering a realistic feel to satisfy the most demanding pro. The ProKeys 88 is also a great master controller keyboard, including a built-in USB MIDI interface for easy direct connection to your PC or Mac, MIDI In and Out jacks to communicate with other MIDI gear, pitch and modulation wheels, sequencer controls and more. ProKeys 88 pulls out all the stops in creating the ultimate playing experience in an affordable digital stage piano. M-Audio ProKeys 88 Premium Piano 88 key hammer-action digital stage piano, doubles as a full MIDI controller. 14 world-class sounds. ... Learn more Trigger Finger puts the power to program and perform expressive percussion and drum parts at your fingertips. Its 16 velocity-sensitive pads are perfect for playing the drum sounds in your favorite software, launching loops and samples, or even controlling video projections—and applying pressure to the pads can generate any MIDI controller you wish. Trigger Finger also gives you 8 knobs and 4 faders that are freely assignable to MIDI parameters such as volume, pan, pitch, and effects. Pre-programmed maps for Reason, Live, GM Drum, XG Drum, iDrum, and more make setup a snap—and full programmability le