The Model - Kraftwerk Synths

[80snostalgia]

On the official song video it's showing another Synth I'm not sure of.
There's 2 interesting sounds the main one at the beginning and my favourite bit at 1.35.

Anyone know the Synth on picture? Thanks.

[ppg_wavecomputer]

The image shows a Sequential Circuits Prophet 5 Rev. 2 or 3 which was used by Florian Schneider during the 1981 world tour. Ralf's rig was initially made up of a Minimoog, stacked on top of a Polymoog, stacked on top of a Vako Orchestron (before the Orchestron was replaced with a second Polymoog (for reliability issues)).

The video has nothing to do with the audio -- this is the original 1978 version, performed mainly on Minimoog, Micromoog (bass), Polymoog, ARP Omni, ARP Odyssey, and various other bits (Vako Orchestron for background choir).

Stephen

[80snostalgia]

The image shows a Sequential Circuits Prophet 5 Rev. 2 or 3 which was used by Florian Schneider during the 1981 world tour. Ralf's rig was initially made up of a Minimoog, stacked on top of a Polymoog, stacked on top of a Vako Orchestron (before the Orchestron was replaced with a second Polymoog (for reliability issues)).

The video has nothing to do with the audio -- this is the original 1978 version, performed mainly on Minimoog, Micromoog (bass), Polymoog, ARP Omni, ARP Odyssey, and various other bits (Vako Orchestron for background choir).

Stephen

Here's the rig think your mentioning.
Thanks for confirming the photo though.

[Vilak]

Kraftwerk, "Computer World Tour", may 14 - december 13 1981



A
First, there are two analogue sequencers which will produce up to 64 notes. The many rows of switches have 'in, shift and stop' settings for trigger, rest and reset points, as well as pitch control. The sequence can run as two x 32 in parallel or 1 x 64 in series. LED indicators can be clearly seen from the audience during operation. The triggers can be outputted wherever Ralf desires, generally to the console instruments (except Karl's who prefers to play manual bass lines).
So here is the secret of Kraftwerk's superb synchronisation throughout their performance. "Remember, we have been playing this kind of synchronised music for about 10 years. To play along with machines is very difficult - a lot of people speed up or slow down when doing it. Our 'dialogue' with the machines is to choose whenever we want the machine or human pulse. Although we don't yet have the perfect set-up, the 'friendship' or inter-relationship we create with the machines makes them an extension of the musician. If one instrument breaks down we are still able to continue, and when we finish our current series of tours we'll be modifying the set still further.
Several master clocks are positioned around the console so that any player can be selecting a tempo for the next piece. This explains the short gap between numbers - "It could be even shorter but we are a little nervous sometimes! We can also trigger other synthesisers off stage and the clock times are set via a digital display and key pad."

B
Ralf's TV monitor and telephone communication to engineers.

C
The Roland Micro-Composer (with expanded memory) plus a bank of switches for routing signals. "The composer can be used for extra tracks in one or two pieces or as the time clock in performance, although we prefer to use it when we are at home for trying out sequence combinations. This is much easier than using the analogue sequencers but it still takes a fair amount of time to set up."

D
The Eventide Digital Delay and Flanger with a small stereo mixer. Panning of sounds can be done by the players mixers or by the sound engineer. "We are not the biggest fans of panning!" comments Ralf. "We think stereo is a 'privileged sound' since only those that sit in the middle hear it properly, and so we are happier to use a mono output that has plenty of depth. Electronic Reverberation is not used very much in performance because most venues have enough (or too much) already."
Both Ralf and Florian use headsets. Ralf does the 'straight' vocals, often shielding the mic with his hand to avoid feedback and increase bass volume. Florian's mic feeds the vocoder and this adds subtle changes to Ralfs voice and provides extra effects.

R
"I am playing three keyboard instruments stacked on my console: a special light-disc instrument from Florida for mono choir sounds, with the Polymoog and Minimoog synthesisers. We all have 4 foot pedals under our front consoles for volume and/or effect control."

K
This is Karl's keyboard - specially made in Italy to replace Korg's keyboard controller, which operates the Korg PS-3300 polyphonic synthesiser set in E console. One of its special features for us is its ability to merge harmonic with 'non-related' overtones and its parameters stretch attack and decay times to their limits. In E there are also a tuning device, volts/amps meters for checking power supplies and graphic equalisers. Incidentally, LEDs on the keyboard console panel show notes being played to the audience.

G
Karl's TV monitor.

H
Ventilation grilles in corner section linking the two straight console rows.

I
Wolfgang's TV monitor.

J
The custom-built drum consoles. Here are the electronics for the two drum controllers containing 6 metal pads mounted on stands L. Also various filtering devices plus a Syndrum unit. One drum pad is played by Karl occasionally and the other by Wolfgang.

M
Next come some more equalisers including parametric types, filters, mixer rack, Eventide Harmoniser and Digital Delay, and Limiter/compressors.

W
Wolfgang's console contains the special drum machine built by Kraftwerk's engineer. There are 6 rows of switches, each row having its own drum sound that can be pulsed on when a switch is set during the sequence run (controlled by a master clock). LED lights on its front show the audience the sequence taking place. Wolfgang is continuously changing these to give the rhythm plenty of variation, at the same time using his pedals to give accent.

O
Sennheiser Vocoder rack.

P
Mixer, metering and switching facilities.

Q
Florian's TV monitor.

S
The circuitry for the electronic flute on its stand at N. It's not actually blown but uses keys situated in flute pad positions that are 'touched' by the fingers to give a D/A control voltage/trigger output for any of the synthesisers.

T
EMS Vocoder with patch panel.

F
Florian's keyboard console containing a Prophet polyphonic synthesiser and trigger pad for starting his master clock.

U
Overhead stage spots for highlighting players.

V
Special Sony Video screens with projection units.

X
Foldback at floor level (supplemented by extra underfloor speakers).

Y
Fluorescent name boxes.

Z
Coloured fluorescent strip lighting (ultra-violet, red, green, yellow, white and blue), running behind the consoles. Over each console rack are lights for illuminating the controls, although between numbers the players use torches to set up. The strobe lights ST are triggered automatically from a sequencer.

[ppg_wavecomputer]

Not sure how accurate the E&MM article is -- the PS in the rack behind Bartos is a 3100, not a 3300.

Kraftwerk are reported to have owned the 3100 as well as 3200 and 3300 (according to Martin Thewes in AME Journal, sometime in 1983 or thereabouts).

Pictures from Florian's studio also show the 3200:


https://www.sequencer.de/synthesizer/th ... 344/page-6

Not sure about the Sennheiser VSM 201 in their stage rig, either.

Stephen

[desmond]

Not sure how accurate the E&MM article is

You could probably say that about most of them...