Technos Acxel Digital Synthesizer

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TECHNOS Acxel Digital Synthesizer

Technos

Acxel

SPECS

The Acxel - An coustic Pixel.
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Digital Synthesizer
TECHNOS Acxel built in 1987
32 Voices / Stimmen
16x Multitimbral
Memory / Speicher standard © sequencer.de
Value / Gebrauchtwert in 2005 was about any price, whatever € (ultra rare)
OSC Synthesis can do additive resysnthesis and FM
resynthesis - and of course its nature is digital
uses hybrid technology: no
Wave Shapes sine
1024 OSCs
Filter info © sequencer.de
0 LFOs -
1024 Envelope Generators 2x 128stage (for: pitch, amplitude)
MIDI, Control & Triggering and playing via MIDI
61 Keys
responds to Pressure/Velocity? velocity aftertouch
Arpeggiator no
Sequencer no

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Synth ID is 626
- WHAT THESE THINGS MEAN / GENERELLE INFO ZU DEN DATEN

ABOUT this is one of the first and rare Re-Synthesizers in hardware. it had a 2114 LED-Touch Display to "draw" your Waves and Envelopes directly on the "screen" and FM. the other Resynthesizers were the Fairlight by CMI and a bit "like" a Resynthesizer: The PPG Wave and Waldorf Wave. Acxel = acoustic or audio element in the "contrary" of a Pixel being the basic element of Graphics, nevertheless it's based on Algorithms (FFT Analysis) so the real name should have something to do with algorithmic atoms of graphics, right? ok.. anyway it did not sell well, it wasn't cheap.

ABOUT Einer der ersten der sehr raren Hardware-Resynthesizer mit großem LED-Berührfeld aus 2114 LEDs. Analysiert "Samples" mittels FFT und gibt sie dann als Analysat wieder, kann aber auch FM. Andere Re-Synthesizer im weiteren Sinne: CMI Fairlight und mit starken Abstrichen auch PPG Wave und Waldorf Wave.

ABOUT

DETAILS 2114 LEDs in a Matrix can be set by touching them, it uses fast fourier transformation tpo analyse samples and save it as a model, today you get this technology in software (Virsyn cube and CA5000 from camel audio or DiscoDSPs Vertigo).

DETAILS 2114 LED Matrix, um Wellenformen einzuzeichen, Hüllkurven etc. Es nutzt die schnelle Fourier Transformation, um Samples (einfach gesagt) in eine Reihe von Formen zu bringen und so zu speichern. Dabei gibt es natürlich vor und nachteile gegenüber anderen "Samplern". Man ist jedoch unabhängig von der Länge des gesampleten Klanges.

DETAILS

SOUND digital Landscapes and sampling the other way plus editing it.

SOUND digitale Landschaften und "Sampling" auf andere Art und ändern und experimentieren mit diesen.

SOUND