rack without a keyboard,
a floppy drive that is used exclusively SMF player,
a ball type controller similar to that of a Wavestation.
a very large screen (not very readable though) surrounded by many buttons, 4 separate outputs
and a pair of MIDI IN / OR CHANNELS for 32 and 64 voice polyphony announced.
aesthetics are very nice, it seems solid enough and noble materials.
announced as a VA, and 64 voice polyphony, it was only half true. waveforms are not modeled and proviennet wave tables. Only treatments were modeled through the resonator, etc. pinch.
So the interest is limited, and critics were quick to reflect this.
the user interface is deplorable. the function buttons are not aligned with the screen display, navigation in the list of sounds is incomprehensible sounds and many sound similarly.
after several months of use, I gave up, yet there was power in the machine. I managed to get some kick-ass tones but it takes too much effort to achieve the desired results.
catastrophic example: you can not use the large data wheel to scroll through this list of sounds, alphanumeric input is not always allowed ... Nothing in this synth is simple.
Edit: complicated, and again, the buttons are not positioned correctly ... boring. only passionate synthesis forgiveness treatment can make their bread and butter, others go your way ...
basic sounds are bad, only the electric pianos are ok but nothing special, ground almost good, but all tend to average / bad
very difficult to use with the origins of sound banks. effects very very average, however the expression was very correct.
favorite sounds: tablecloths and some patches found on the net. the rest is forgotten altogether.
Please note there are expansion cards (not found), but adding dance techno sounds, it seems it gives some strength to the rack.
I bavais rack unknown before this was released, I bought it 10 years later, I kept it a year and I am separated.
technically, it's a collector, I do not even know if there was a hundred copies worldwide. Unfortunately, it does not ring, it is not intuitive, in short, it is beautiful but that's all.
But with a lot of patience, you can get a little something interesting, but there are ways to do better today simply faster and much cheaper.
Finally, it is half a VA, which is based on wavetable, and aliasing means.
announced as the first real synth Technics, it has unfortunately sunk the firm. Yet it could have been otherwise if the bank original sound was more polished and debugged if the interface.
a huge mess, where there was huge potential for the brand.
is a rack for a museum and nothing else. However, the keyboard version and different controllers can do a good keyboard control. Touch is very special.
for the record, I feel like I have done some fine pictures of this machine (photos available on my profile)
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davidsynthé's review (This content has been automatically translated from French)
The company name is normally associated Technics llectronique consumption. Cest dailleurs one of the main reasons why this synthtiseur Has a dsastre for society Matsushita, keyboards sold with only 300 and 100 racks. Marketed in 1995, it is THE FIRST Technics between instruments in the field of professionals, beginners vrit remarkable. The WSA1 offers 64 voices of polyphony and three possde modulation wheel, two rotating balls (reminiscent of the joystick Wavestation), a standard screen with an intuitive graphic design, and excellent keyboard.
This is the only synthtiseur can directly express the combination of several different attacks associated rsonateurs, making possible the manipulation of basic CHARACTERISTICS MODEL. The structures can be associated, for example, simulate rsonances friendly. For the settings may be associated with a particular message to fit the Midi CONTRL his personal needs. The CONTRL intermdiaire of the Midi peripherals is simple and efficient trs.
Here synthse employee wears the pretty name dAcoustic Modeling Synthesis. It makes sagit dun Systm mixed using samples recorded (dattaques transient, noise), which then are sent to the rsonateurs MODELS simulated by donde guides. This principle is similar to the basic concept of Korg and Roland Wavedrum VG8 with forms that dmarrent donde prexistantes while VL1 modlise absolutely everything, including the form donde original.
Despite all these possibilities, it is far synthtiseur dgal a VL1 or even in the Z1 in terms of sound quality, imitation and expressiveness. The acoustic sounds are dull, pianos mtalliques, an aliasing is important, but many effects, it is inefficient nanmoins trs comfortable in an amazing sound design.
This synthtiseur Pipelines Limited to be played on the keyboard and play an instrument with the Controller of breath is impossible. The large number of rsonateurs, excitement and paramtres opens a vast field of exploration. The WSA1 could be a good compromise between physical MODELS Sampling and if the quality was denregistrement t better. Using samples of attacks Reduces Whereas the cot in computing, which allows 64-voice polyphony and a large variety of rsonateur. In comparison, the VL1 modlise that everything, including the attack, gives better quality sound but srieusement limit the number of instruments, mostly wind, and is monophonic.