NEA Pyxis – Aftertouch System for ARP Odyssey

The Pyxis Aftertouch System consists of two parts: a sensor bar and the control unit. The sensor bar is designed to bolt onto almost any style of Pratt-Read keyboard, which makes many different synthesizers a candidate to receive this mod. See the photo below for a Pyxis installed in an Arp Odyssey. The response curve for the sensor itself is wide and linear giving the aftertouch an intuitive feel that is easy to control.

ARP-Odyssey-AT-Upgrade-02

The Pyxis control unit receives the signal from the touch sensor and sends control voltages to different parts of the synth (VCO1, VCO2, VCF, VCA). One of the cool features is the on-board free-running LFO. Since the LFO speed and intensity changes with pressure on the aftertouch, very expressive effects can be achieved depending on how the signal is routed. For example, a bend could be combined with a subtle vibrato, tremolo, or volume swell. With ten controls (2 switches, 8 pots) there are many different ways that one could creatively process the aftertouch signal.

For those who don’t want to install the control unit on the front panel of their instruments, the unit is also offered in an attractive external hardwood shell that can sit on or nearby the instrument. The external unit connects through a 9-pin mini DIN connector that must be installed on the back of the synth.

ARP-Odyssey-AT-Upgrade-03

Pricing:

Pyxis Aftertouch Control System Kit (with Internal Control Unit): $485 (USD)
Pyxis Aftertouch Control System Kit (with External Control Unit): $650 (USD)

——————————————————————————————————————–Update 10/2017: NEA – New England Analog – is now called “Retroaktiv”. It seems as if the Odyssey aftertouch kit is no longer available anymore. Contact the manufacturer for further info …
——————————————————————————————————————–

Link: https://retroaktivsynthesizers.com

Filed under 2013, General

“Es genügt, einen Ton schön zu spielen” sagte der Komponist Arvo Pärt im Jahre 2005. Diese Aussage ist ebenso einfach wie ich auch exzellent: Es braucht kein Meer an Tönen, denn entscheidend ist der Klang. Dass so mancher Vintage-Synthesizer der 70er und 80er Jahre teils unerreicht hochwertige Klänge liefert, steht außer Frage. Doch tatsächlich leben wir “heute” in einer nahezu perfekten Zeit. Einerseits hat man – mehr oder weniger – noch Zugriff auf die Vintage Analogen, andererseits wird auch bei Neugeräten die wichtige Komponente des hochwertigen Klanges wieder zunehmend berücksichtigt. Doepfer, Cwejman, Synthesizers.com, MacBeth, Moog, GRP, Studio Electronics, COTK, John Bowen und andere Hersteller bauen hervorragende Synthesizer, die den “Klassikern” in nichts nachstehen. All diesen (alten wie neuen) “großartigen” Instrumenten ist Great Synthesizers gewidmet. _________________________________________________________ In 2005 composer Arvo Pärt said: “Playing one tone really well is enough”. In other words, it is sufficient to play one tone 'beautifully'. I agree with that. All musical efforts are focused on the sound itself. Although I studied classical music (piano and drums), it’s the electronic sound that inspires me. Synthesizers are the epitome of new sounds and exciting tonal spheres. Today, many companies produce high-quality - excellent! - synthesizers: Doepfer, Cwejman, MacBeth, Moog, GRP, Synthesizers.com, COTK, Studio Electronics, John Bowen and others. It's their products I'm really interested in ... apart from Vintage Synthesizers, which I have been collecting for 20 years. Subsequent to our former websites Bluesynths and Blogasys, Peter Mahr and I have now created GreatSynthesizers. We hope you like it.