Tom Oberheim – Two Voice Pro Synthesizer

Tom Oberheim - Two Voice Pro Synthesizer

Tom Oberheim - Two Voice Pro Synthesizer

Features:

  • Mini-Sequencer is enhanced – you still generate a sequence with the knobs ( up to 16 positions ) but you can store sequences from the knobs into flash memory (up to 99 sequences stored)
  • Two sequences can be played simultaneously (or play one sequence while also playing on the keyboard, like the old one)
  • After sequences are stored in flash memory, you can edit them to add 2-way, 3-way or 4-way ratcheting and you can program the gate length from zero (like a rest) up to almost the complete step length
  • Sequences can be chained into songs, and each step in a song can be programmed for sequence number, transpose amount and number of repeats
  • Sequencer syncs to Midi Clock
  • Keyboard outputs velocity and pressure
  • Each module (both SEMs, Mini-Sequencer, Keyboard Control) has mini-jack patch points (over 50 patchpoints)
  • Pitch and Modulation wheels
  • Pan pots
  • Headphone output
  • Separate Vibrato LFO

The U.S. price of the new Two Voice Pro is $ 3495

Filed under General

Es muss Mitte der 70er Jahre gewesen sein, als ich das erste Mal “Switched on Bach” von Walter/Wendy Carlos gehört habe. Seitdem haben Elektronische Musik und Synthesizer nichts an Faszination und Vielfalt in ihren Ausdrucksmöglichkeiten für mich verloren. Der Haptik wegen und wohl auch bedingt durch meine Wurzeln, gebe ich nach wie vor Hardware den Vorzug, selbst wenn die Qualität so mancher Plug-Ins mittlerweile beeindruckend ist. Die Entwicklungen der letzten Jahre haben eine neue Generation an Klangschaffenden und Musikern hervorgebracht, die wie es scheint nun wiederum der Faszination der alten analogen Instrumente erliegen. Genau in diesem Spannungsfeld soll sich der Inhalt unseres Magazins wieder finden. ________________________________________________________ It must have been the middle of the 70′s when I first heard “Switched on Bach” by Walter/Wendy Carlos. Since then, electronic music and synthesizers have lost none of their fascination and variety in their means of expression for me. Because of the tangibility of it and probably also due to my roots, I still prefer hardware, even if the quality of some plug-ins is now impressive. The developments of recent years have spawned a new generation of sound professionals and musicians, who seem to again succumb to the fascination of old analog instruments. It is precisely in this area of tension that the content of our magazine can be found.