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The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Round 3 in 3 cds :-)
The Remaster of the original soundtrack + unreleased tracks (and bonus) + a full CD of new material by Vangelis in the Blade runner spirit (a mix of Blade Runner mood and his The City Album, with speach of a lot of guests like Rutger Hauer, Ridley Scott, Oliver Stone...).
Interesting (Spinner Keychain Not inclued !)
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
In contrast with the rather modest sign, we have this wedding cake styled entrance, at one end of a long white building in London. This is the Maida Vale BBC studio, and this was where the mighty Radiophonic Workshop was based.
Once home to cobbled-together audio signal devices and a plethora of tape recorders, in true musique concrète style, it later deigned to include self-contained synthesisers such as the EMS VCS 3 and the ridiculous and incredible EMS Synthi 100. Later again the workshop acquired more mass produced units like the Yamaha CS80, much loved by Vangelis and Peter Howell, and naturally followed the technology to computers and MIDI. The workshop's output changed over time too, from mainly sound effects and then theme tunes to complete scores for hundreds of radio and television programmes.
Although the workshop had a long and distinguished career, by the late 1990s Elizabeth Parker was the only composer still working there, and in 1998 the facility closed completely.
Originals IMAG1121-1123
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The French love their cheese and they know that it sometimes takes a while for such a delicacy to mature and take on just the right flavor.
No wonder, then, that French soft-synth experts Arturia took some four years to take the Arturia Origin from first demo to shipping instrument -- it is finally ready for a life on stage and in the studio.
Based on Arturia's softsynth algorithms, this synth combines virtual synth modules -- VCOs, VCFs, envelopes etc. -- based on physical models of legendary synths like the Minimoog, SC Prophet, and Yamaha CS80, and lets you freely combine them into your personal dream instrument: let's say, you run the signal from a CS80 oscillator through Minimoog and Prophet filters.
At first, the Origin with its numerous buttons and pots may look intimidating, but if you are familiar with the basics of how an analog synth works, you will find your way through the Origin's menu structure in some 10 minutes, or so. And once you do grasp the instruments usage philosophy, creating patches and literally "screwing around" with the sounds through this wonderfully expansive set of hands-on control elements is tons of intuitive fun.
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Was amazing to own and play these two together. What is interesting is that later I found the E-70 and E-75 provided me with what I was after: a dual-manual CS-80 (with drum machine and arpeggiator). The EL-40 and Supernova gives me all that (and more) these days.