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Synthesizers
AELITA
ALISA - 1377
ALISA - 1387
ALISA - 2500
ALTAIR - 231
AMFITON M-02
AMFITON M-028
ANS
ARTON IK-50
ARTON IK-51
ARTON TG-51
ARTON VS-34
CADANS S12
ELECTRONICA EM-25
EMIBAS
ESTRADIN - 230
FAEMI - 1M
FORMANTA EMS-01
FORMANTA MINI
FORMANTA MS-10
FORMANTA P-432
FORMANTA P-465
FOTON
LELL - 23
LELL - 24
LELL - 28
MAESTRO
MIRAGE
POLIVOKS
RITM - 2
RMIF TI - 3
RMIF TI - 5
THERMENVOX
UNOST'- 21
UNOST'- 32
UNOST'- 33
UNOST'- 54
UNOST'- 55
ZSK
Keyboards
DAINA
EKVODIN B-9
EKVODIN B-10
EKVODIN B-11
ELECTRONICA EM-003
ELECTRONICA EM-01
ELECTRONICA EM-04
ELECTRONICA EM-05
ELECTRONICA EM-11
ELECTRONICA EM-14
ELECTRONICA EM-141
ELECTRONICA EM-15
ELECTRONICA EM-17
ELECTRONICA EM-2
EMIRITON
ESTRADIN - 9
FAEMI - M
GAMMA
HARMONIA
KAMERTON
KLAVIOLA
KLAVIOLA - 1
KVINTET
LELL
LELL - 0041
LELL - 22
LIRIKA
MANUAL
MERIDIAN
MEZON
MEZON VL-100
MIDI-ORGAN
OPUS
ORGANOLA
PERLE
PRELUDIA
RETAKORD
RITM
RITM - 1
RMIF MIKI
ROMANTICA
SALUT
SKERTSO
SKERTSO - 202
SKERTSO - 204
SKERTSO - 208
SOLARIS - 314
SONOR
SYMFONIA
TOM - 1501
TOM - 1503
TRITON PC-1
UNOST'
UNOST' 001
UNOST' 1122
UNOST' 1132
UNOST'- 1142
UNOST'- 2M
UNOST'- 16
UNOST'- 70
UNOST'- 73
UNOST'- 75
VARIOPHONE
VILNIUS - 3
Rhythm-boxes
DM-8
ELECTRONICA RHYTHM
ELUDIN
ESTRADIN - 11
FORMANTA RM70
LEL' DR-8
LEL' DR-9
LEL' PSR
PULSAR
RITM
RMIF ES-2-5
RX ROM
SOUND
SPECTR
URAN
Electr.drums
ARTON DK-11
BAREL
DD-4500
DX-2500
FORMANTA UDS
LEL' SM
LEL' UDS
MARCH UDS
POLYGON
RMIF ELSITA
ROKTON
VX2
Electrobayans
ARTON DK-25
ESTRADIN - 182
ESTRADIN - 8A
ESTRADIN - 8B
KOSMOS
MIDI-BAYAN
ORION
POLTAVA
RITM
TOPAZ
TOPAZ - 1
Vocoders
ELECTRONICA EM-26
KROK
FX processors
ARTA
ARTON ME-01
BMX-20D
DD-1024
DELAY
DL-301
ECHO
ECHO-1
ECHO-2M
ELECTRONICA LZ-01
ELECTRONICA RC-01
ELECTRONICA RC-02
ELECTRONICA RC-10
ESKO-100
GONG RM-1
INTEGRAL RC-05
KROK D-2000
LIDER
LIDER - 2
LELL RC
LELL RC+
LM-1229
ORTHODOX
PRESTIGE
RH-1000
RH-1100
RUBIKON
SAMANTA SCR-1000
SDD-1000
SQUIRE SDD-2000
VENEC AP-01
VESTNIK ZVP-081
Toy synths
ALYA
ANUTA
CHEBURASHKA
CHIZHIK
ELECTRON
ELECTRONICA
ELECTRONICA (2)
ELECTRONICA - 1
ELECTRONICA IM-30
ELECTRONICA IM-46
EMI
EMI - 2
EMI - 3
EMIFON-M
FAEMI
GAMMA
GNOMIK
GOLOSOK
GRIFON
MALYSH
MELODIA
MIRELA
NOTA
NOTKA
NOTKI
NOTKI-2
OKTAVA
ORGANOLA
PILLE
PIF
ROYAL
SELMAFON
SIMONA
SVERCHOK
SOLOVUSHKA
UNIVOX
VENEC
VENTA ELE-10
VESELKA


Alisa-2500

Description

This instrument was made in a single copy at the electromusic instruments factory (Lubertsy) in 1984; Alisa-2500 is the development of Alisa-1377. It was used with success by well-known Soviet musicians in the course of their studio and concert activities. The device was not put in quantity production because it would have been fraught with enormous financial and labour costs. The author and the developer of the project Dmitry Isakov is presented on the photo testing Alisa-1377 and its export variant.

The author of Alisa-1377 Eugeny Tjurlenev also took part in this project; he developed analogue frequency multipliers x2, x3, x5, ripple filters ("pseudo overdrive"); he also consulted the author of the project on the problems of electronic commutation. All the details of the synthesizers were made with the use, to the maximum possible extent, of the details Alisa-1377 (hereinafter - "the base model").

The description of the synthesizer design.

Alisa-2500 consisted of two units - the synthesizer mounted on a turning rack and the keyboard with 61 keys. The units were connected with a standard shielded cable with 5-pin plugs. The keyboard unit was made of black wooden panels (the same as in the basic model); its bottom was made of aluminum. The keyboard was divided into a bass (2 octaves) and solo (3 octaves) parts.

The design of the synthesizer unit resembled that in the basic model; its overall dimensions were 700x700x150 mm, its weight - approximately 20 kg. The front panel consisted of four parts: three upper parts were equal in size to those of the basic model, and the lowest part covered the rest of space. The rear panel consisted of three parts; the two upper parts had only fastening openings, on the lowest part were situated input and output sockets, safety devices and a power input.

The synthesizer consisted of three absolutely independent parts (synth modules) with common assigned modulation oscillators (in the number of eight); it was possible to carry out common synchronization with independent programming and synchronization frequency dividers for every part. There were a common stereo output and stereo outputs in every part (parts 1 and 2 had two stereo outputs each). In addition, there was a mono output in part 3 (a filter) with the possibility of gain adjustment. The first (upper) synthesizer was intended for "solo"; it was connected with the right part of the keyboard; it was tuned respectively. The second synthesizer was intended for "bass"; it was connected with the left part of the keyboard, with the respective tuning. The third part (a filter in a self-excitation mode) was intended for creating the sounds of percussion instruments and for creating effects; it was equipped with a noise generator (white/pink).

On the lowest (fourth) panel and in the left of the third panel, were are commutation buttons and controls of LFO and volume for each channel of the instrument. On all the panels, there were red diode commutation indicators. When the device was working, they all flashed with its own frequency each, which produced an unforgettable impression.

Both synthesizers - "solo" and "bass" - were similar to those used in Alisa-1377, with the only difference: it was possible to modulate the filter with the frequency of the main LF oscillator and to switch it from 12 to 24dB/oct. It was also possible to change the attack time and sustain of filter envelope and output signal oscillators, due to which it became possible either to get very short percussion sounds or to set both the times equal to those at the basic model. Filters of synthesizers were tuned separately, for "solo" and for "bass".

In the lower part of the synthesizer, there were mixing panels for each channel; on the rear panel was situated a headphone output. Inside the case were set three step-down transformers with three rectifiers (one for each synthesizer), and with a filter and 2-3 (8 in the aggregate) stabilizers for each rectifier; the stabilizers were modified against the basic model by using more powerful capacitors. Such a system of separated power supply was used in order to prevent the penetration of low-frequency modulating signals (especially rectangle) into the sound sections. The space inside the case was cramped full with plates, wiring, and transformers (though actually all of them were accessible); that is why the weight of the entire unit was approximately 20 kg (the case itself weighed only 3 kg).

The synthesizer Alisa-2500 was in operation since 1984 to 1991; it was lost during transportation. It has never had any comparable analogue in Russia or elsewhere!



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