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:: Synthesizers Used By Italo-Disco Artists
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Roland JX-8P synthesizer, 1984 The synth engine in ROLAND JX-8P is a six-voice unit with each voice having two DCO's, a mixer, a VCF (high-pass and low pass), a VCA, a LFO, and two ADSR envelopes. The DCO's features sawtooth, fixed pulse, square and noise. Variable pule width is available by synchronizing (SYNC 1) the two DCO's and turning the volume off of DCO 1. Set both DCO's to square and the pulse width of the DCO2 is determined by the pitch of DCO1. The unit also feature cross modulation where DCO2 is the carrier and DCO 1 is the modulator, and SYNC 2 where SYNC 1 and cross modulation work together. Additionally SYNC 2 tracks the keyboard so a normal scale may be played. Both DCOs may be modulated by either or both the LFO or either ENV (note: the ENV may be inverted). Italo Disco records that were created using this synth: 
Roland JUNO-60 synthesizer This is a classic analog synth. It's among the first in Roland's Juno family. It sounds just like the Juno-6, and better than Juno-106. Juno-60 is the best synth among all Junos, Alpha-Junos and JXs: chorus is perfect. You can store 56 patches, you can also back them up onto a tape or hard-disk. 
Roland Juno-106 synthesizer, 1984 Roland Juno-106 is a six voice polyphonic and programmable analogue synth with DCOs (digitally controlled oscillators) and comes with a 61-note keyboard without velocity or aftertouch. To get VCOs (warmer and fatter sound) you'll have to look for the far more expensive Jupiters. The Juno-106 is one of the most popular and widely used analogue synths due to its great sound and easy sound editing. It is very similar to the Juno 60 but adds portamento, increased patch memory storage (128 patches) and extensive MIDI control. In fact all the sliders on the front panel (17) are sending MIDI sys-ex data which can be sequenced, a fantastic feature of its time (1984). For extra fat sounds stack all six voices and play in unison. Missing is however the arpeggiator from the Juno-60 which is a shame since it is very useful while programming sounds. Compare to Moog and Prophet filters this one is very smooth and does not add the grit like the other ones do. An interesting “fact” is that an unusual lot of people which have sold their Juno-106 and seem to miss it a great deal afterwards, despite all its limitations. It could only mean that it sounds really nice and is a pleasure to handle. Overall it has a very smooth sound, almost feminine. It really sounds like the classic 80’s synthpop and new wave. 
YAMAHA DX7 synthesizer 1983-1987 If you have never heard of the Yamaha DX7, you have missed a very important chapter in synthesizer history. The DX7 is definitely one of the most influential digital synths ever produced. It's also one of the most used synthesizers ever. When the DX7 was originally introduced in 1983, Yamaha quickly found out that they had produced something beyond their wildest expectations: they simply couldn't make enough of them. Some 160,000 units were produced between 1983 and 1987. So what makes the sounds of the DX7 so special? Well, the most typical FM sounds are vibrant electric pianos, snappy basses, cool vibes, hollow bells, mellow organs and various sharp "hitting things with metal" timbres. Most sounds are very expressive and well suited for a large number of musical styles. But I believe that one of the main success factors, was that the DX7 excels at creating sounds that the previous breed of analog synthesizers were totally incapable of producing. Thus the DX7 could be used to fill a large gap in the sonic landscape. The DX7 has only one output, no internal effects, and its sound is therefore totally dry. It is really not until you process the sounds with some chorus and reverb that you realize how great this machine really sounds! Italo Disco artists used this synth: Savage
Italo Disco records that were created using this synth: 
ARP Odyssey 1972-81 The Odyssey is first duophonic (ability to play two notes at the same time) synthesizer. This 37-note synthesizer was used as an educational tool in ARP's "Learning Music with Synthesizers" book. A very popular keyboard for ARP, it was almost as popular with musical groups as the Minimoog. Italo Disco artists used this synth: Roberto
Onofri
ROLAND TR 808, 1980 Roland were always pioneers of the rhythm box. From their early attempts as Ace Tone right through to their (semi-programmable) CR78, they were always pushing the boundaries of what a drum machine should be. It was the TR 808, however, that made people sit down and listen. For the first time, here was totally programmable drum machine that allowed you to create your own rhythms almost without restriction. However, there was a problem - the sounds. They were distinctly 'electronic' and whilst many marveled at the advanced programming possibilities, the same people also scoffed at the quality of the sounds on offer. Of course, some artists embraced the technology and used it for what it was... a source of programmable electronic rhythms. The 808 enjoyed marginal success on the occasional record (...) but it wasn't a runaway success for Roland when it was released. What didn't help the TR 808's fortunes at the time was that it wasn't cheap. Only a few people could justify the expense of $1,000 for artificial, synthetic drum sounds. The TR 808's fate was decided, however, with the release of the LinnDrum two years later in 1982... a programmable drum machine with 'real' drum sounds.... how could the 808 compete? It just couldn't and the TR 808 all but sank without trace, only resurrected with the birth of Techno. 
Linn Drum, 1982 The LinnDrum was the second machine from Linn Electronics. It's basically an upgraded version of the original LM-1 with added crash and ride cymbals to the kit. The LinnDrum uses samples of acoustic drum sounds. They sounded great and much more realistic and they were a fresh alternative to the analog drum sounds of the '80's drum machines. The LinnDrum also had a handy upgrade option, a well designed layout and interface, and live drum trigger inputs. The LinnDrum had beefed up the sampled sounds from 28 to a 35 kHz sample rate. It features 15 sounds including bass, snare, rimshot, hi hat, crash, ride, three toms, cabasa, tambourine, high and low congas, cowbell, and clap. Up to 12 sounds are available simultaneously. Individual controls are available to tune, pan, and mix each drum sound via dedicated knobs and sliders. An Accent is available for the kick, snare and hats. The handy upgrade options involve inserting new chips containing new sets of sampled drum sounds created by many session drummers of the time. The sequencer had some innovative features (for the time) such as swing, quantizing and memory storage! Two-bar patterns can be recorded in real or step time, with or without quantizing. There are 56 user patterns for storing your drum patterns. There are also 42 preset drum patterns. Patterns can be arranged into Songs for which there are 49 memory locations. Old songs and patterns can be backed up to cassette tape for storage. The LinnDrum's features made it the most professional drum machine of its time. It was widely used throughout the 1980s and there are about 5,000 of them which have been used by 80's pop artists such as Sting, Prince, Jean-Michel Jarre, Peter Gabriel and the others. Italo Disco artists used this synth: Kirlian
Kamera
MiniMoog, 1970-1981 The most popular Moog synth, the Minimoog is a monophonic-synth designed for musician and performance. His main characteristic is the 24 dB Filter that is very stable with high resonance and that sounds really particular when the sound is getting overdrive. This was definitely a lead and bass synth. Italo Disco artists used this synth: Kirlian
Kamera
Italo Disco records that were created using this synth: Brando "Rainy Day" 
Oberheim OB-Xa, 1981 The OB-Xa is an updated version of the OB-X which was originally released in June 1978. The OB-X and OB-Xa definitely sound different and the OB-Xa offers musicians more features. The OB-Xa was available as both a six-voice and eight-voice unit. Each voice consists of two voltage controlled oscillators (VCOs) , two Voltage Controlled Filters (VCF’s - a 2 pole filter and a 4 pole filter), a Voltage Control Amplifier (VCA) and two Envelope Generators (ENV). The voices are located on two on two separate voice cards with each card containing four voices and a low frequency oscillator (LFO). The cards are independently controlled which allows the synth to offer a double (layer) and split modes. Italo Disco artists used this synth: Roberto Onofri , Brando, Casablanca "Wonderful Train" 
Oberheim DMX Programmable Digital Drum Machine, 1984 The Oberheim DMX Programmable Digital Drum Machine was the best sounding and most versatile percussion unit available anywhere. It has capabilities that place it light years beyond the ordinary rhythm box, yet the DMX is easy to use, and easy to play. The DMX is not a drum synthesizer: it is a complex microcomputer system programmed with digital studio recordings of real drums. It doesn't sound like a rhythm box, it sounds like a real drummer. Not only does the DMX sound like a drummer, it can play things that up to now, only a real drummer could play; like rolls, flams, odd time signatures, uneven phrases, changing tempos, or even off the beat. The DMX contains 24 drum sounds including cymbals. Drum sequences can be recorded in real time or one note at a time. Up to 100 Sequences of any length or time signature can be recorded, played, and modified quickly and easily. Individual drums or individual notes can be recorded, erased, and then re-recorded until the drum beat is exactly right. The sequence can be combined to form up to 50 songs. Each song can contain up to 255 sequences, arranged in any order, to form a compete composition. Tempo Time Signature are programmable for each sequence, and with the DMX extensive editing capability, a song's structure can be changed quickly and easily. The DMX features a built-in nine input stereo mixer, and each of the eight modular voices also has it's own output, so you can record them on separate tracks, with separate effects for each. The DMX can run in synchronization with the Oberheim DSX Digital Polyphonic Sequencer, audio or videotape, other sequencers, or almost anything else. Italo Disco artists used this synth: Roberto Onofri , Brando, Casablanca "Wonderful Train", Diva "No More In Love" 
Emulator II by EMU, 1984 In 1984 Emu introduced the Emulator II at the same $8,000 list price but the II offered so much more than the I. The instrument was a major success, sampling became very popular and if you look at most professional set ups in the mid to late 80’s there is a very good chance you will see the Emulator II. The EII is a very powerful instrument but its really just as much as computer as it is an instrument. Also like any computer of the mid 80’s it is just not going to compete with a computer of the 90’s. The same is true of the EII when comparing it to the samplers of today. Especially since sampling is memory dependent. But when you factor in its analog filters, a huge sample library, its classic sound, and a used price between $300-$700 its apparent why people still use them. Italo Disco records that were created using this synth: Check Up Twins "Sexy Teacher"; Sensitive "Driving" 
Prophet 5 Manufactured by Sequential, the Prophet 5 contains five individual voices.
For its principal sound sources each voice contains two VCO's (voltage
controlled oscillators), OSC A and OSC B, and a white noise source which
can be mixed into a resonant low-pass VCF (voltage controlled filter).
The filter modifies the voice timbre under control of its four-stage envelope
generator. The filter may also be resonated and serve as a sound source.
Following each filter, a VCA (voltage controlled amplifier), also controlled
by a four-stage envelope generator, shapes the voice amplitude. Supplementing
the basic voices are polyphonic modulation (POLY-MOD) signal routings
within each voice that allow OSC B and the filter envelope generator to
function as modulation sources applied to OSC A frequency or pulse width,
or the filter frequency. Finally, there is a single LFO (low-frequency
oscillator) and a pink noise source which can be mixed to modulate all
five voices, as adjusted by the MOD wheel. Italo Disco records that were created using this synth: Brando "Rainy Day" , J.D. Jaber "Don't Stop Lovin'", Duke Lake " Do You", The Creatures "L'Atro Mondo Studios" LP 
Rhodes Chroma, 1982 Rhodes Chroma synthesizer was built in 1982. It was developed by ARP, so this is the last ARP synth made. However, the design schematics later were sold to Rhodes. There were about 3,000 units manufactured and sold, so this unit is rare. Italo Disco records that were created using this synth: 
KORG Poly 61, 1982 Italo Disco records that were created using this synth: 
PPG Wave 2.2 Digital Wave Synthesis Plus Analog Filtering Polysequencer Italo Disco records that were created using this synth: 
MC 4 ROLAND MICROCOMPOSER, 1981 Italo Disco records that were created using this synth: 
ELKA SYNTHEX, 1982-1985 Italo Disco records that were created using this synth: | ||||||||
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