Cherry Audio Elka-X synthesizer relies on the legendary Synthex , a uncommon Italian analog synthesizer designed by Mario Maggi and produced by ELKA within the early eighties. Elka-X replicates the unique synth’s extraordinary character with out sacrificing sound or performance, thoughtfully increasing the function set and delivering an genuine Synthex expertise at a value that anybody can afford.
Description Continued
“Had it been constructed by a extra prestigious producer and launched at a extra affordable value, ELKA Synthex might probably have competed with the DX7 and stop analog from being so overwhelmed by digital.” — Peter Forrest (1998), Analog Synthesizers A to Z Half One.
The Synthex included a mixture of bizarre and forward-thinking options that set it aside from different modern synthesizers, together with extremely steady digitally managed analog oscillators and a versatile four-pole multi-mode filter. Not like most different widespread synthesizers that use CEM3320 filter chips in a low-pass-only configuration, the Synthex filter has a 24dB/octave low go mode, 6 and 12dB/octave bandwidth modes, and a 12dB/octave excessive go mode. Together with the highly effective built-in analog refrain impact, this gave the Synthex a definite and highly effective tonality. It was multi-timbral, with the power to play two separate patches on the identical time in cut up or overdub mode. It even included an modern four-track sequencer with real-time recording and transposition.
As a result of ELKA’s important market was dwelling organs, they by no means actually established themselves within the skilled synthesizer market. Sadly, the whirlwind of pleasure brought on by the discharge of the Yamaha DX digital synthesizers in 1983 pushed this glorious instrument into the background, with out attaining the deserved success.
By the mid-80s, ELKA made the final Synthex for Stevie Surprise, who used it for a particular bass tone on his single “Skeletons” from the 1987 album Characters. Different notable Synthex customers included Geoff Downes of supergroup Asia, Keith Emerson, Nick Rhodes of Duran Duran, Peter Howell of the BBC Radiophonic Workshop, and Jean-Michel Jarre who used it extensively on Rendezvous and for his well-known “laser harp”. ” sound.
The Synthex included a mixture of bizarre and forward-thinking options that set it aside from different modern synthesizers, together with extremely steady digitally managed analog oscillators and a versatile four-pole multi-mode filter. Not like most different widespread synthesizers that use CEM3320 filter chips in a low-pass-only configuration, the Synthex filter has a 24dB/octave low go mode, 6 and 12dB/octave bandwidth modes, and a 12dB/octave excessive go mode. Together with the highly effective built-in analog refrain impact, this gave the Synthex a definite and highly effective tonality. It was multi-timbral, with the power to play two separate patches on the identical time in cut up or overdub mode. It even included an modern four-track sequencer with real-time recording and transposition.
As a result of ELKA’s important market was dwelling organs, they by no means actually established themselves within the skilled synthesizer market. Sadly, the whirlwind of pleasure brought on by the discharge of the Yamaha DX digital synthesizers in 1983 pushed this glorious instrument into the background, with out attaining the deserved success.
By the mid-80s, ELKA made the final Synthex for Stevie Surprise, who used it for a particular bass tone on his single “Skeletons” from the 1987 album Characters. Different notable Synthex customers included Geoff Downes of supergroup Asia, Keith Emerson, Nick Rhodes of Duran Duran, Peter Howell of the BBC Radiophonic Workshop, and Jean-Michel Jarre who used it extensively on Rendezvous and for his well-known “laser harp”. ” sound.
Options of Elka-X
Two-Half Multitimbral Operation: Performs two completely different patches concurrently, both in cut up mode
or layered mode, with a user-defined cut up level and separate layer quantity and pan controls.
16 polyphonic voices that may be layered or cut up throughout all the keyboard.
Layer choice management panel with a utility operate to change settings between decrease and higher sound layers and even between presets.
Two DCOs with triangular, sawtooth, sq. and variable pulse waveforms and impartial tuning.
Modes for polyphonic, single voice and monophonic unison with unison detuning.
PWM cross modulation and ring modulation for each oscillators.
White or pink noise generator.
CEM3320 type multi-mode filter with 12 or 24dB/oct, 6 or 12dB/oct, or 12dB/oct bandwidth
Two tempo-locked LFOs.
Two impartial modulation sections: a hard and fast LFO 1 part and a performance-oriented LFO 2 part,
designed to be used with the pitch and modulation controls.
LFO 1 has triangular, sawtooth, sawtooth, bipolar sq., unipolar sq., and random waveforms;
LFO triangle wave solely 2
ADSR Filter and Amplifier envelope mills with Velocity management.
Multi Set off for ADSR Filter Envelopes and Amp (in mono modes)
Chord Reminiscence and Oscillator 2 sync.
Tempo Sync buttons for LFO 1 and a couple of, sequencer velocity, arpeggio velocity, and echo velocity for simple synchronization with DAW venture tempo.
A step sequencer consisting of 4 separate monophonic sequences,
every with a user-defined size of as much as 128 steps, assignable to any layer and saved with presets.
Step Sequencer utility for copying, changing and shifting sequencer knowledge between tracks or from one preset to a different.
Glide (pitch envelope) and Portamento (commonplace glide) independently enabled for every oscillator.
Tempo-synced arpeggiator, independently assignable to each layers.
Studio-quality refrain, echo delay and reverb results, together with our well-known Galaxy reverb algorithm.
Cherry Audio’s widespread Zoom Zoom function and commonplace drag and drop zoom and resize UI
Over 600 presets created by a gifted and numerous group of sound design veterans.
Full MIDI management and DAW automation for all controls with simple to make use of MIDI coaching.
Preset and international MIDI mapping.
Extremely optimized encoding for optimum efficiency with ultra-low CPU utilization.
Person configurable resampling management.
or layered mode, with a user-defined cut up level and separate layer quantity and pan controls.
16 polyphonic voices that may be layered or cut up throughout all the keyboard.
Layer choice management panel with a utility operate to change settings between decrease and higher sound layers and even between presets.
Two DCOs with triangular, sawtooth, sq. and variable pulse waveforms and impartial tuning.
Modes for polyphonic, single voice and monophonic unison with unison detuning.
PWM cross modulation and ring modulation for each oscillators.
White or pink noise generator.
CEM3320 type multi-mode filter with 12 or 24dB/oct, 6 or 12dB/oct, or 12dB/oct bandwidth
Two tempo-locked LFOs.
Two impartial modulation sections: a hard and fast LFO 1 part and a performance-oriented LFO 2 part,
designed to be used with the pitch and modulation controls.
LFO 1 has triangular, sawtooth, sawtooth, bipolar sq., unipolar sq., and random waveforms;
LFO triangle wave solely 2
ADSR Filter and Amplifier envelope mills with Velocity management.
Multi Set off for ADSR Filter Envelopes and Amp (in mono modes)
Chord Reminiscence and Oscillator 2 sync.
Tempo Sync buttons for LFO 1 and a couple of, sequencer velocity, arpeggio velocity, and echo velocity for simple synchronization with DAW venture tempo.
A step sequencer consisting of 4 separate monophonic sequences,
every with a user-defined size of as much as 128 steps, assignable to any layer and saved with presets.
Step Sequencer utility for copying, changing and shifting sequencer knowledge between tracks or from one preset to a different.
Glide (pitch envelope) and Portamento (commonplace glide) independently enabled for every oscillator.
Tempo-synced arpeggiator, independently assignable to each layers.
Studio-quality refrain, echo delay and reverb results, together with our well-known Galaxy reverb algorithm.
Cherry Audio’s widespread Zoom Zoom function and commonplace drag and drop zoom and resize UI
Over 600 presets created by a gifted and numerous group of sound design veterans.
Full MIDI management and DAW automation for all controls with simple to make use of MIDI coaching.
Preset and international MIDI mapping.
Extremely optimized encoding for optimum efficiency with ultra-low CPU utilization.
Person configurable resampling management.