QUASIMIDI
QUASIMIDI was a German manufacturer of synthesizers. QUASIMIDI was founded in 1987 by Friedhelm hair and Jörg Reichstein in the Hessian church grove. In 1998, the headquarters were moved to Rauschenberg; since 2000 QUASIMIDI is no longer present in the market.
The Early Years (1987-1993)
In the early years produced QUASIMIDI MIDI accessories and extensions. Highlight this case, particular extensions for the between 1987 and the early 90s extremely popular MIDI Synthesizer Module Roland MT -32, the extensions for the Roland keyboards the " E-Series " as well as the master keyboard controller " turbo Volcon / D "( 1989).
Style Drive (1993 )
The first "big" QUASI MIDI hardware device was the Style Drive - a fairly universal MIDI processor, which is housed in a 19 - inch rack with 1U. Apart from playing Standard MIDI Files (SMF ), which via the built-in floppy drive ( 720 kB ) are loaded, their own styles ( ie " sequences" ) can be created, played and stored. This " universal auto accompaniment " made the Style Drive interesting primarily for entertainers.
In addition to Style Drive also appeared to be even a remote control - the Style Drive Commander. Due to this the possibilities of Style Drive have been greatly expanded. In order for the Style Drive is a fully practicable device even for today's standards. The combination of style and Commander Drive is today (2008) still in use in a number of entertainers.
Quasar (1993 )
The first synthesizer from home QUASIMIDI was the quasar with the company in 1993 to a larger circle of musicians opened up. Even the quasar, which cost about $ 2000 in its basic version at the time was housed in a 19 -inch rack with 2 rack units.
Concept
The quasar was at that time a certain extent conceived as a kind of " universal synthesizer", united the various types of synthetic sound generation, one effect section, an arpeggiator and an extensive MIDI implementation in a single unit.
Available was the Quasar ' - as all subsequent QUASIMIDI devices - either directly from the manufacturer or one of the ans Kirchhainer " mother house" affiliated shops and dealers from the DOEPFER network, which has unfortunately somewhat negative impact on a large- scale dissemination - probably but made sure that the selling price total was largely maintained low and thus was quite " musician friendly".
Part of the success of the quasar is certainly in the fact that the device is already in its basic equipment with a very large supply of factory presets could come from many different areas of music. Points was the Quasar also with his - for that time - exceptionally easy operation, although deeper sound edits not allowed, but in a rather elegant way elementary sound interventions allowed, which was in turn for most of the " Quasarianer " adequate.
As a shortcoming of the quasar (and its " relatives " - Technox, Caruso and The Raven ) can be considered that the recoverable frequency range is quite limited: at about 12 kHz is closing! This is due to the fact that the components used for sound generation and influencing are pushed to their limits - although the used DA converter technology and higher quality signals could very well have to play. Higher quality sound quality ( in terms of the achievable frequency range) would have had a significant overhead in the signal processing components, the result, which would have driven the manufacturing and sale price of the quasar in other heights.
Features and Operation
The quasar has one of the few devices of its time over a number of " endless rotary encoder knobs " (so-called alpha-dials ), which allow a quick access to the various sound parameters as well as on the device settings. Act as both display a backlit 2x40 character LCD display and a 2- digit LED display for the display of the selected "Performance" program. Various push buttons, some have LED status indicators, round clearly laid out control panel onto the front fascia.
On the back is the " interfaces to the outside world ", see:
- Stereo master outputs
- 4 single outputs
- 2 x MIDI In ( merged ), MIDI Out and Thru
- 1 programmable footswitch connector
Tone
QUASIMIDI baptized the kind used in the Quasar the sound - generating MASS ( Multi- Algorithm Sound Synthesis System) - probably to be noted here that various sound synthesis techniques were used. Tonal heart of the quasar was a sound chip of the French manufacturer DREAM (today: ATMEL ), which combines the following types of synthesis on a chip:
- FM synthesis
- Additive Synthesis
- Subtractive synthesis
- Sampling synthesis
As a basis for most sounds serves a large 8 MB ROM; overall features of the quasar with a Sound- stock of over 1000 sounds ( single sounds ). These in turn provide the basis for 200 ROM - based performance sounds, another 100 performances can be saved as user-defined sound combinations in quasar internal RAM. A performance can be up to 4 different single sounds exist that can be blended arbitrarily layered ( gelayered ) and / or each other.
Overall, the quasar is 24 - note polyphony ( in single mode ) and playable via MIDI 16- channel multi-timbral.
Effects
Basis of the effects section of the quasar is a Digital Signal Processor (DSP ) from Analog Devices ( ADSP- 2105). This one chip is responsible for the two independently accessible from each effect sections - although so QUASIMIDI in the original Quasar Prospect of 1993 (...) two high-performance effect processors ( ... ) (PDF file, 1.37 MB) speaks, it is still only one " computational servant" who has to do the entire effect work.
In addition to the "usual" effects such as, inter alia, reverb, chorus, flanger and various delays ( = echo effects ) of the quasar also has "Rotor Cabinet " effects, which makes it ideal for generating appealing organ sounds.
Note: The programming of more or less realistic reverb effects is extremely complex. Development and implementation of the appropriate DSP routines can - especially in small companies - represent a considerable financial effort. In order to minimize the effort required within reasonable limits, it benefited from the quasar developers that just at that time a " non-European synthesizer forge" for the realization of the effect section of their devices just started the same DSP chip as QUASIMIDI. This was followed by: a little disassembly, something " cosmetic " and: Voila! The quasar had its "own" Hall ...
Extensions
Already soon after its release in 1993 showed that the device was pushed primarily by musicians from the techno area with great response. This was partly due to its ease of use and the other to the excellent for this kind of music sound selection. Although the quasar is still a lot of sounds to find out the " dance musician and entertainer section " were (such as accordions and various organs ), the quasar could by its rich variety of techno -compliant bass and drum - sounds find many friends in this area. Now continue showed that quasi Midis concept to put extensibility in the quasar from the beginning, could rise (and did). Two expansion slots inside the machine had the developer donated the quasar.
Techno - rave and electronic module ( TRE ) module (1994 )
RAM board (1994)
Hardcore module ( 1995)
The Raven (1995 )
The "Raven" was conceived as a classical master keyboard for the Dance / Techno oriented musicians and contained - in contrast to the Cyber -6- one sound production.
Cyber -6 ( 1995)
The Cyber -6 was designed as a classic master keyboard for the Dance / Techno oriented musicians and contained no own sound production. He came in robust metal housing with classically -inspired side panels made of real wood, as well as a high-quality full-size keyboard, therefore. He had two motivators ( Quasimidi 's term for the arpeggiator ajar generating note sequences but over the conventional options for an arpeggiator went out ), an 8- track sequencer, Alpha Dials for MIDI controller and two MIDI outputs. Despite the successful concept of the cyber -6 but only less been successful including several weaknesses in the firmware with which it contributed.
Sirius (1997)
The Sirius synthesizer, 11 band vocoder and sequencer at the same time. In addition, drum sounds, effects and an arpeggiator were integrated. The synthesizer provides at 28 votes 7 times multitimbral with 2 oscillators per voice which operate from a pool of 128 waveforms. Special gimmick is an integrated random function for all parameters. The vocoder can also be used as a filter bank for the synth parts. The keyboard has four octaves. Particular praise the usability of the interface with its knobs and buttons that are multiple assignable in part.
Summary
Despite its short history, the devices enjoyed - because of their innovative technologies and the relatively low price - great popularity among musicians (among Kraftwerk, Tangerine Dream, Klaus Schulze, Jean Michel Jarre ).