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Upgrade fo Colossus CLASSIC

Stand-alone desk top unit

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Overview Specification

Filter banks

12 sets of 4;  band pass filters.

The level of each band can be changed.

The CV out from each band can be muted with a toggle switch.

The CV out from each band can be re-routed to a different band’s VCA with a toggle switch.

There are CV in and Out jacks for 10 of the bands.

Instrument Sources

2 VCOs featuring:

Vernier dial tuning.

CV pitch input.

PW CV control on VCO2.

Manual PW control.

Bend (portamento) control.

Direct audio out to a jack socket.

Noise - white and pink modes.

Effects

Features a triple spring reverb. An actual real spring reverb.

Touch keyboard with Sequencer

The touch keyboard can be used to play the VCOs. It is an independent module that must be patched to the VCOs with a jack lead.

A Brief History of Vocoders

The vocoder, short for “voice encoder,” has a fascinating history rooted in early telecommunications and wartime innovation, long before it became a staple of electronic music. It was developed in the 1930s by Homer Dudley at Bell Labs as a means to address a key problem of the time: the limited bandwidth of early telephone systems. Traditional telephone lines had difficulty transmitting the full spectrum of human speech clearly, which often resulted in distorted or muffled audio. Dudley’s invention aimed to overcome this limitation by analysing speech and breaking it down into its essential spectral components. The vocoder worked by splitting the voice signal into multiple frequency bands, extracting the envelope of each band, and then transmitting only this simplified data. At the receiving end, a synthesizer could reconstruct the voice using these envelopes, dramatically reducing the amount of data needed to send intelligible speech.

This ability to compress speech signals found a highly secretive but vital application during World War II. The vocoder was a core component of SIGSALY, an encrypted voice communication system developed by Bell Labs for the Allied forces. SIGSALY allowed for secure, real-time conversations between high-level leaders, most famously Winston Churchill and Franklin D. Roosevelt. The system was so advanced for its time that it used vinyl records to generate synchronised noise for encryption, and it required massive rooms full of equipment. Despite its complexity, SIGSALY was a groundbreaking step in secure digital communications and marked one of the earliest uses of speech encryption and signal processing.

After the war, vocoder technology gradually made its way into civilian and creative domains. By the 1960s and ’70s, musicians and engineers began to experiment with vocoders as sound design tools. Artists like Wendy Carlos and Kraftwerk saw its potential not just as a communications aid but as a way to merge human expression with the synthetic possibilities of electronic music. The vocoder’s robotic, otherworldly sound became iconic, particularly in genres like synth-pop, funk, and later electronic dance music. In the decades that followed, acts such as Herbie Hancock, Afrika Bambaataa, and Daft Punk helped cement the vocoder’s place in musical history.

Today, vocoders continue to be used in both music and speech processing, blending technology with artistry. What began as a solution to a technical limitation evolved into a cultural icon—proof of how innovation can leap from necessity to creativity.