Thursday, January 18th, 2018 01:46 pm
The SH-2000 is a preset monophonic analog synthesizer with a 3-octave, 37-note (F-F) keyboard with aftertouch.
Although it is a preset synth by definition, it does have a healthy supply of knobs and sliders which can overide the
preset values. There are sliders for LFO modulation rate, filter cutoff frequency, filter resonance, filter modulation,
portamento speed (with an additional three-position switch choosing between on, off and slow) and master volume.
In addition there are switches for transpose (L, M, H)) and a knob for pitch (up or down five semitones). Aftertouch,
or as they call it "Touch Effect", has a knob for sensitivity and 5 switches enabling modulation of volume, WOW,
Growl, Vibrato and Pitch-Bend (switchable between up or down). Also available is a sample-and-hold modulation
of the VCO which can be set to only trigger when a key is pressed or set on "auto" which plays continuously.
For a preset synth, the SH-2000 proves to be quite a flexible instrument with a great sound. Unfortunately there is no
CV/gate interface. All there is on the back is a main output jack. Another thing to consider is that early SH-2000's
had a filter similar to the Moog's ladder-filter design. Perhaps too much like Moog's, instruments made after s/n
578049 have a different filter.
Available presets (in order of their tabs) are Tuba, Trombone, French Horn, Trumpet, Saxophone, Bassoon, Oboe,
Flute, Clarinet; Cello, Violin, Bass Guitar, Hawaiian Guitar, Banjo, Fuzz Guitar I, Fuzz Guitar II; Piano,
Harpsichord, Accordion, Vibraphone, Xylophone; Singing Voice, Song Whistle, Popcorn, Space Reed, Planet, Frog
Man, Funny Cat, Growl Wow and Wind. Unfortunately the tabs do not pop up when another preset is selected,
alowing for many presets to be down at once. If this is the case, the preset to the furthest right takes priority. The
"Popcorn" preset is a surprisingly close recreation of the sound used in the then current popular song of the same
name (which was done by a Moog Modular).
Hosted by Jesse Mullan