WSA1 – Technics “pro” synthesizer: The SX-WSA1. Not just another synth… the WSA1 uses acoustic modelling technology, which allows it to perform some nice tricks and solve a number of problems inherent to other types of synthesizers.
Technics WSA1 Downloads
WSA1 User Manuals & Reference Guides
WSA1 User Manual 1 – Basic Functions (this is the same manual as the link above-centre)
WSA1 User Manual 2 – Practical Applications
WSA1 Reference Guide 1
WSA1 Reference Guide 2
WSA1 Cakewalk ins File
WSA1 Instrument Definitions FIle for Cakewalk and Sonar
More Technics WSA1 downloads are available on the main WSA1 Website – http://wsa1.technicskeyboards.com/
Technics WSA1 Demo
Technics WSA1 Review
Ease of Use
Technics’ home keyboard background is evident in the WSA1’s design, and that’s a compliment. The instrument’s user interface makes this complicated machine very easy to fathom.
A Complete Workstation
In fact, this instrument is a complete workstation, designed so you can get by with it alone-no computer required. For example, its built-in full-featured 16-track sequencer even has a piano roll note editing screen that can display three bars at a time. and the instrument’s list of features includes three effects processor, two independent sets of MIDI terminals for up to 32 separate parts, a 5-octave channel pressure and velocity-sensitive unweighted keyboard that feels very good and includes two “mod” wheels and two other unique x-y ball controllers that we’ll describe later, keyboard controller features (zones, etc.), 64-note polyphony, four unbalanced outputs…and lots of other goodies!
In the WSA1, you start with PCM waveforms that make up a Driver. These are not samples: Technics refers to the process as “reverse modelling” data like formats are extracted from the original samples. The Driver is attached to a Resonator, such as a string, cylinder, cone, flare, high or low plate, or high or low membrane, and the way it’s connected to the model (the Connection parameters) has more to do with the sound than anything else.
Creating Real & Synthesised Instruments
You can create instruments that do exist or, by combining different Drivers and Resonators, instruments that don’t, such as a clarinet Driver run through a flare (trumpet) Resonator. And some of the combinations are very interesting and believable.
After the modelling parameters, there are “traditional” synthesis sections, including amplitude envelopes, pitch control, filtering, DSP, and the effects processors and reverb. But you can do a lot of things with the acoustic modelling implemented in the WSA1 that the synthesis techniques we’re used to can’t possibly do.
The WSA1 does an excellent job of making it easy to assign useful control functions to all those physical controllers. And also note that the ball controllers send and respond to MIDI control just like all the others, so you can sequence all these sound movements.
This instrument is really well laid out, I wish that that all equipment were this easy to get around. This is by no means a simple instrument, yet it invites you to get at its programming parameters. And with the presets, the parameters you’re after have already been assigned to the Realtime Creator more often than not.
You also appreciate the degree and useful types of real-time control over the sound that this acoustic modelling synthesis provides. You’re certainly not just triggering sounds and letting them go anymore.
Bottom line, an instrument to be considered very seriously. It combines a world-class user interface, the ability to be very expressive, sounds that may be what you’re looking for, sophisticated MIDI and controller features, acceptable fx processing, a playable unweighted keyboard, and a nice sequencer.