"It was totally configurable in software and we had 16 stage envelope generators for both frequency and amplitude, so it was kind of like the grandfather of the Yamaha DX7. On ours, you could build your own algorithms, using any of all of the 64 oscillators in any position in the algorithm. If you wanted additive, you could add 16 of them together. The phase modulation was similar to what Casio did with their CZ series. You could designate any tuning you wanted and save it. You could split the keyboard, stack sounds, model different parts of the keyboard for different parts of the sound, and save that as an entity - the kind of things that are common now." The ADS 200 featured "Additive synthesis, phase modulation, frequency modulation, nested phase and frequency modulation, and combinations of all modes." says inventor Tim Ryan.

...and only two were ever made. Whoever is lucky enough to have the opportunity to touch this fascinating piece of electronic music history is very lucky.

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