View other reviews for this product:
KOSTOO « A good old analog rather unknown »
Published on 02/23/14 at 14:30Keyboard 5 with channels 6 octaves polyphonic 2 COD by generating waveforms and square saw (pulse width modulated by LFO), one can fine tune the VCO 2 to thicken sound. 24dB/octave VCF, 1 ADSR, 3 LFO, ADSR 1, a pink noise generator, MIDI in and out, a mono output, 2 DIN inputs to act on the VCF and volume using pedals.
Adjustable dynamic on 4 levels can be sent to the VCF and / or VCA. On the control panel, 1 modulation wheel and pitch wheel 1.
There are 95 programmable memory location all. The backup is done by K7 ... or dump ... But yes! There is no possibility to dump all programs simultaneously, but when valid by "enter" after selecting a program, corresponding to prog data is sent via the MIDI output. I've realized by chance one day when I forgot to stop my sequencer to record, I selected a program and another in the wake because it was not the sound I wanted ( display gives the No. prog) at the song, I was surprised to hear the sound change during the sequence. Following this, to make my backups, I recorded a song vacuum with a slow tempo, and whenever I entered a new program (eg measurement1 = strings, brass = m2, m3 = piano ... etc). Certainly for the load it is a bit tedious because you have to stop the sequencer at the end of the measure and validate the registration prg to the desired location but it allows backup and especially more reliable load on K7. Later, I read that, yes, it was possible to dump a prg from Opera 6 to Expander (rack version of Opera 6 output the following year). This explains it.
UTILIZATION
Rare synthesizer friendly look with its blue control panel on pale gray striped dark blue background which is a bit like the Oberheim style. This is a traditional analog offering a potentiometer or by a switch function, method which tended to disappear when it is released in 1983. It was the same year that the DX7 and membrane switches, novelty that would be imitated by almost all manufacturers and source of many problems when the contact has weaknesses ... Since then, spotty synths are again in fashion .
Editing sounds is easy if the basics of subtractive synthesis are known. Even if we know anything, starting from a recorded program can still fiddling the buttons and hear on the result. It is an intuitive synth, no need for manual although it is still easily on the web.
SOUNDS
In terms of sound, this is the analog JM Jarre's style Oxygen. Do not expect realism, long ago that the sampling is here for. on the other hand, if you like synthetic sounds, layers, sweeps, synth basses, sound effects and various gurgling, it will make you happy. The five-octave keyboard is dynamic but the response curve is not terrible for the nuances it does not. I personally do not use it for percussive sounds so it does not bother me too much.
OVERALL OPINION
Because it is not getting any younger (like me), it is robust, it has buttons, and it still works because the sound editing is more exciting than a digital, it is a part of all my synths, I love that instrument. With a chorus and a bit reverb output, it holds its own.
I bought used around 1987 or 88 at a time and (almost) all keyboardists got rid of their old bouzins to invest in digital. It fell well, I personally loved the analog and enjoyed long synthetic music: Tangerine Dream, Klaus Schulze, Kraftwerk, Vangelis ... I had paid dearly: 1000 Francs 150 €. This was the time when I bought a Moog Source, Korg Polysix, a Prophet 600 and even a VCS3 at ridiculous prices. It seems that their side has seriously increased, but I do not care, these are all keyboards that I always use and I will never part. Oh yes, I almost forgot a really important thing, the problem is most known for the Polysix but it also concerns the Siel, there is a significant risk of leakage of the stack. It happened to me and destroyed part of the printed circuit. I could fix it but it was limited. The solution is to deport and desoldering the battery in a place where the chassis it will not do any damage.
Adjustable dynamic on 4 levels can be sent to the VCF and / or VCA. On the control panel, 1 modulation wheel and pitch wheel 1.
There are 95 programmable memory location all. The backup is done by K7 ... or dump ... But yes! There is no possibility to dump all programs simultaneously, but when valid by "enter" after selecting a program, corresponding to prog data is sent via the MIDI output. I've realized by chance one day when I forgot to stop my sequencer to record, I selected a program and another in the wake because it was not the sound I wanted ( display gives the No. prog) at the song, I was surprised to hear the sound change during the sequence. Following this, to make my backups, I recorded a song vacuum with a slow tempo, and whenever I entered a new program (eg measurement1 = strings, brass = m2, m3 = piano ... etc). Certainly for the load it is a bit tedious because you have to stop the sequencer at the end of the measure and validate the registration prg to the desired location but it allows backup and especially more reliable load on K7. Later, I read that, yes, it was possible to dump a prg from Opera 6 to Expander (rack version of Opera 6 output the following year). This explains it.
UTILIZATION
Rare synthesizer friendly look with its blue control panel on pale gray striped dark blue background which is a bit like the Oberheim style. This is a traditional analog offering a potentiometer or by a switch function, method which tended to disappear when it is released in 1983. It was the same year that the DX7 and membrane switches, novelty that would be imitated by almost all manufacturers and source of many problems when the contact has weaknesses ... Since then, spotty synths are again in fashion .
Editing sounds is easy if the basics of subtractive synthesis are known. Even if we know anything, starting from a recorded program can still fiddling the buttons and hear on the result. It is an intuitive synth, no need for manual although it is still easily on the web.
SOUNDS
In terms of sound, this is the analog JM Jarre's style Oxygen. Do not expect realism, long ago that the sampling is here for. on the other hand, if you like synthetic sounds, layers, sweeps, synth basses, sound effects and various gurgling, it will make you happy. The five-octave keyboard is dynamic but the response curve is not terrible for the nuances it does not. I personally do not use it for percussive sounds so it does not bother me too much.
OVERALL OPINION
Because it is not getting any younger (like me), it is robust, it has buttons, and it still works because the sound editing is more exciting than a digital, it is a part of all my synths, I love that instrument. With a chorus and a bit reverb output, it holds its own.
I bought used around 1987 or 88 at a time and (almost) all keyboardists got rid of their old bouzins to invest in digital. It fell well, I personally loved the analog and enjoyed long synthetic music: Tangerine Dream, Klaus Schulze, Kraftwerk, Vangelis ... I had paid dearly: 1000 Francs 150 €. This was the time when I bought a Moog Source, Korg Polysix, a Prophet 600 and even a VCS3 at ridiculous prices. It seems that their side has seriously increased, but I do not care, these are all keyboards that I always use and I will never part. Oh yes, I almost forgot a really important thing, the problem is most known for the Polysix but it also concerns the Siel, there is a significant risk of leakage of the stack. It happened to me and destroyed part of the printed circuit. I could fix it but it was limited. The solution is to deport and desoldering the battery in a place where the chassis it will not do any damage.