Manufactured in Britain by the Oxford Synthesizer Company, the OSCar was a little late to the party as far as mono/duo synths go, which caused the synth to be as unique in specs as it was in looks. Now this one is a little controversial, and before you slosh your morning coffee over your computer, just read on.
#Polyphonic synthesizer Patch#
If you do spot one of these rare mystical creatures for sale, keep in mind that the onboard batteries often need to be replaced to keep the patch memory functioning like it should. This synth is often compared to other legendary Japanese powerhouses like the Korg Polysix or the Juno-60, although, due to poor marketing and a clumsy knob/slider absent interface, it never received equal recognition. Unlike most poly analogue synths produced around the same time, the SX-240 features both portamneto and glissando along with an inbuilt chorus labeled as ‘ensemble’ and a ring modulator or ‘brass’. The synth features a Split mode so that you can load an individual patch on each half of the keyboard, or Dual mode can be used to layer two sounds on top of one another – ideal for lush pads or distinctive leads. Known for its rich analogue character, the SX-240 offers eight voices and a sub oscillator on each of its two DCOs. There are a few versions of the Kawai SX-240 that were also released as the Tiesco SX-240 in a period where Tiesco was selling the company off to Kawai, and although the synth specs are the same, the branding on the synth may vary between the two names. While there’s not too much information out there on this Japanese gem, it definitely deserves some attention. When it comes to thick fuzzy baselines or piercing filter squeals, you won’t find anything that sounds quite like it. So, why bother you might ask? Because this synth is weird, distorted, and plain nasty. In short, this synth is weird, distorted, and plain nasty. Most of the quality electronic parts in the USSR were reserved for military-based products, so the components supplied to the Formanta Radio Factory were less than desirable and the factory was pumping the instruments out like hotcakes.īecause of this, the Polivoks is known to be highly problematic, especially in vintage condition. However, the duophonic synth is far from perfect. Since the Iron Curtain was still enforced by the Soviet government through the 80s, the importation of western electronics was prohibited and Soviet musicians were unable to get their hands on some of the most popular synthesisers of the time.ĭuring this period, much of the USSR’s commercial electronic goods were produced in military plants to keep the economy moving, and in the early 80s Vladimir Kuzmin at the Formanta Radio Factory began to develop the first USSR voltage controlled synth – the Formanta Polivoks, Mother Russia’s most iconic synthesiser. Notable users: Franz Ferdinand, Goldfrapp
Total Units Produced: Unknown (a whole lot) Don’t sell off your least favourite kidney just yet – if you want a little peace of Mario Maggi in your life, he’s at it again 20 years later with an entirely new synth, the Synthex 2, which is currently offering pre-order requests now.