The Quasimidi Quasar, released in 1993, represents an ambitious German approach to synthesizer design during the early nineties. This 2U rack-mounted module distinguishes itself by claiming to be an all-in-one synthesis solution, incorporating analogue, PCM, FM, and additive synthesis methods into a single unit. Unlike many contemporaries lost in alphanumeric obscurity, the Quasar earns points for its memorable name, echoing the classic synth nomenclature of "Jupiter" and "Prophet."

Design and Build Quality

The Quasar features a full-width standard rack-mounting format with sturdy construction, though the build quality falls slightly short of Japanese manufacturing standards. Notable compromises include plastic jack sockets and a screen inset prone to detachment. Despite these quirks, the overall appearance is pleasing and the unit feels capable of withstanding normal stage abuse. The front panel sports a back-lit 2x40-character LCD display that, while smaller than displays from Korg or Kurzweil, performs admirably given space constraints. A large 2-character LED display shows the currently selected performance number—invaluable in darkened stage environments—while two decimal point indicators flash to confirm MIDI data reception.

Interface and Control

The control scheme represents a thoughtful compromise between functionality and space. An alpha-wheel to the right of the LCD scrolls through option pages, while four knobs below the main display allow direct parameter editing for values shown above each control. Though this arrangement initially feels counterintuitive to those expecting traditional parameter-editing wheels, it becomes second nature with use. The numeric keypad and up/down buttons facilitate performance selection, with a "tens lock" function enabling quick access to performances within the same tens range.

MIDI and Connectivity

The provision of dual MIDI inputs makes the Quasar particularly appealing for shared setups, allowing keyboard players and MIDI drummers to access the module simultaneously. These inputs merge before reaching the sound circuitry, maintaining single-channel operation rather than offering 32-channel capability. MIDI Thru (from the first input only) and MIDI Out complete the MIDI implementation. The rear panel offers four separate outputs beyond the main stereo pair, though the lack of a second stereo pair or configurable stereo output from the singles represents a missed opportunity. The main stereo outputs can be reconfigured as two additional mono outputs. A sustain pedal input uses a standard (plastic) jack socket, while a proper Euro mains connector eliminates the need for external power supplies.

The front-panel headphone output, sensibly positioned unlike some competitors, suffers from low output levels and distortion on louder patches at higher volumes. Frustratingly, a single volume control handles both main and headphone outputs, preventing independent level adjustment during monitoring sessions.

Performance Architecture and Layering

Operating outside General MIDI mode, the Quasar plays single "Performances" consisting of up to four layered ROM "Sounds" from a library exceeding one thousand individual samples (expandable with optional boards). Layers can be stacked, split across the keyboard, or triggered by velocity switching. A particularly innovative feature allows single-note triggering of one layer while firing all layers simultaneously when playing two or more notes—perfect for solo lines punctuated by massive choir and brass stabs.

Three banks of 100 performances include two ROM banks (factory presets) and one RAM bank (user programmable). Performance selection accepts front-panel commands via keypad and buttons, plus standard MIDI bank and program change messages.

Sound Editing and Parameters

Sounds within performances can be modified through "offset" values applied to preset parameters for pitch, filter, and envelope settings. This approach proves unnecessarily complex, as it's difficult to predict how filter or envelope settings will behave across different sounds with varying default configurations. Changes only take effect when notes are re-triggered, and modifications can cause notes to cut off abruptly—a frustrating limitation during creative sessions.

The Quasar excels at MIDI implementation for real-time control. By connecting the MIDI output to a sequencer, button presses and knob movements can be recorded and played back, ideal for automating envelope and filter sweeps or programming multitimbral parts that cannot otherwise be saved. This straightforward approach avoids the complexity imposed by some manufacturers.

Drum set editing receives dedicated pages, made manageable by the four editing knobs: the leftmost changes the note on each page while the remaining three alter parameters. Though drum voices cannot be changed (conforming to GM standard), individual notes offer adjustable pitch, volume, panning, and effects sends. The drum sounds generally impress, though the TR808/TR909 open hi-hats suffer from questionable processing.

Synthesis Technology: M.A.S.S.

The Quasar employs Multi Algorithm Sound Synthesis (M.A.S.S.), combining multiple synthesis methods—Sample and Synthesis (S+S), FM (like the DX7), and additive synthesis (similar to PPG implementations)—to generate its diverse palette. However, these architectural differences remain largely transparent to users, as Quasimidi has hidden fundamental waveform-level editing behind simplified controls. While this approach streamlines operation for musicians focused on performance rather than sound design, it frustrates programmers seeking deeper synthesis capabilities. A significant limitation prevents filtering of FM-generated sounds; filter parameters appear in edit pages but remain non-functional, creating confusion without visual indication of their disabled state.

Modulation and Performance Features

Portamento suffers from implementation compromises, functioning only with legato playing and offering strange time values—the shortest setting proves far too long for subtle effects. The "fixed time" method (constant glide time regardless of interval) operates without the "fixed rate" option familiar from MiniMoog-style instruments. Oscillator pitch transitions exhibit noticeable stepping rather than the smooth glides of genuine analogue machines, though this rarely becomes problematic in normal use.

Vibrato can be applied directly or modulated via MIDI sources like aftertouch or modulation wheel. Extensive modulation options affect pitch, tone, and effects sends through MIDI, including user-definable sources.

Multitimbral Operation

Beyond full General MIDI operation, the Quasar offers a proprietary "Performance" multi-channel mode retaining a four-layer performance alongside 12 single-sound "parts." Single sounds can be edited as performance layers, though settings cannot be saved. All sounds share effects from the currently selected performance—a workable approach encouraging creation of dedicated effects "vehicle" performances for specific multitimbral setups.

Effects Processing

Two single-effect processors operate on separate send parameters for each sound, with variable signal routing from processor 2 into processor 1. Processor 1 handles delay and reverb effects while processor 2 covers modulation effects including flanging and chorus. Editing options prove fairly conservative, with competent if unremarkable results covering expected territory except for pitch shifting. The overdrive and distortion effects shine, contributing to convincing guitar imitations in factory performances. Despite vocoder inclusion, the absence of external audio input prevents microphone-based voice processing.

Arpeggiator

The arpeggiator delivers exceptional fun and simplicity with extensive control options exceeding basic expectations, including note sorting and MIDI control capabilities. It synchronizes to incoming MIDI clocks and can drive external machines or record to sequencers—a brilliant implementation. Limitations include single-part operation (circumventable through sequencer recording) and lack of MIDI Time Code synchronization.

Sound Quality and Character

The Quasar's sonic output impresses with crisp, clean high frequencies and phenomenally punchy bass response. Minor issues in isolation—occasional sample "grunge" and output level "stepping" during note decay—vanish once multiple channels run simultaneously. The bass spectrum proves particularly satisfying, with chunky TR808/TR909 bass drums faring exceptionally well. Analogue basses emerge as clear stars, benefiting greatly from the quasi-analogue filter implementation; TB303-style patches prove nearly indistinguishable from originals. Most sounds represent competent examples of their genres, though uncomfortable keyboard split points mar a few performances. The Steinway piano suffers badly from this issue, with heavy-handed filtering making it one of the weakest offerings. Fortunately, alternative piano sounds compensate, and electric pianos—particularly Performance A10 "Rhodeseq"—impress considerably. The clavinet ranks among the best sampled versions available, though like all manufacturers, Quasimidi fails to capture authentic Mellotron character.

General MIDI Implementation

A dedicated button switches to General MIDI mode, where the Quasar confidently outperforms typical GM modules of its era. Far from the "cheap 'n' cheesy" stigma often associated with GM logos, the Quasar's implementation adds genuine value without restricting functionality. In GM mode, full 16-part multitimbral operation handles demanding compositions effortlessly. The module truly comes alive in multitimbral contexts, where the whole exceeds the sum of parts—sounds suspect in isolation growl and sparkle within mixes, with strident, confident bass content. Restriction to the provided GM sound set proves acceptable given the quality of implementation.

Software Stability

The review unit's version 1.01 software exhibited occasional quirks despite overall stability. Rare issues included random sounds appearing in place of selected patches (resolved by power cycling), disappearing long reverb settings with staccato notes, unexpected waveform appearances, and clicking during sample loop phases. These anomalies occurred too infrequently to constitute major problems, and the system resisted crash attempts through strange button combinations or MIDI data overload. System exclusive dumps support various options including program tables and drum maps, with utility functions for copying parts and performances.

Expansion Options

Optional expansion includes 512K of user sample RAM requiring MIDI Sample Dump Standard communication—modest by contemporary standards where 2MB comes standard on samplers. However, as the Quasar doesn't claim sampler functionality, any user memory represents a bonus. The upgrade cost appears disproportionately high compared to other manufacturers, and anyone familiar with MIDI sample dump sessions understands the tedium of transferring large amounts of data.

The "Techno Rave Electronic" expansion board offers superior value, providing 1MB of samples from analogue synths and notable drum machines including Roland's CR-78 and TR-606. For dance music producers, the extra TB-303 sounds and CR78 drum kit nearly justify the asking price alone.

Standout Sounds

• A34 "Level42": A slapped bass speaker cone destroyer requiring careful usage
• A54-56 "Shineon": Impressive Pink Floyd imitation with chord on left and leads on right
• A92 "Flngmoog" / B32 "TB-303": Gloriously squidgy bass sounds with plenty of guts
• B30 "Ravebass": Grungy and fat for dance applications
• B90 "Taurvox": Arpeggiator showcase delivering mind-blowing results

Market Position and Value

The Quasar occupies an interesting niche. Sound quality impresses, but limited editing capabilities prove simultaneously advantageous and restrictive depending on perspective. FM and additive synthesis inclusion tantalizingly suggests deep programming potential, yet the inability to generate custom sounds from scratch prevents personal DX7 sound recreation—like buying a sports car and hiring someone else to drive it.

The provision of quality analogue synth sounds and classic drum machine voices makes the Quasar compelling for anyone seeking comprehensive retro-sounds. Considering the combined cost of TR808, TR909, and trendy analogue synths, the Quasar becomes a genuine bargain. Strong bass response positions it favorably in dance music production.

For musicians seeking a fine-sounding synth module with instant mix-and-match sound access, the Quasar merits serious consideration. GM compatibility adds significant value, delivered in impressive fashion.

Historical Context and Legacy

The Quasar achieved considerable success among nineties dance crowds, offering remarkable versatility for its time. While not without issues and occasionally fiddly operation, its user-friendly design and comprehensive feature set for dance music production earned it respect. The resonant bass sounds and quality drum selection particularly resonated with electronic music producers. However, by modern standards, the Quasar can sound somewhat muffled and lo-fi, with numerous contemporary alternatives offering enhanced capabilities.

Technical Specifications

General

Synthesis

• Synthesis Methods: Multi Algorithm Sound Synthesis (M.A.S.S.) combining:
  • Sample and Synthesis (S+S)
  • FM Synthesis (DX7-style)
  • Additive Synthesis (PPG-style)
• Oscillators: 2 per voice
• Waveforms: ROM-based samples
• Filter: Resonant, self-oscillating filter (analogue-style)
  • Note: Filter does not work on FM-generated sounds
• LFO: 1 LFO per voice
• Envelopes: 1 VCA with ADSR Envelope

Polyphony and Multitimbrality

• Polyphony: 64 voices
• Multitimbral: 16 parts (including drum part)
• Performance Mode: Up to 4 layered sounds per performance
• General MIDI: Full 16-part multitimbral GM compatibility

Memory and Sounds

• Total Sounds: Over 1000 individual ROM sounds
• Performance Banks: 3 banks of 100 performances each
  • 2 ROM banks (factory presets)
  • 1 RAM bank (user programmable)
• User Sample RAM: Optional 512K expansion (requires MIDI Sample Dump Standard)

Performance Features

• Layering Options:
  • Stacking
  • Keyboard splits
  • Velocity switching
  • Unique single-note vs. multi-note layer triggering
• Portamento: Available (legato-only, fixed time method)
• Vibrato: Direct or MIDI-modulated (aftertouch, mod wheel)
• Arpeggiator:
  • Built-in with extensive controls
  • Synced to MIDI clock
  • Note sorting options
  • Can control external synths
  • Can record to sequencer
  • Does not sync to MIDI Time Code

Effects

• Processors: 2 single-effect processors
  • Processor 1: Delay and Reverb
  • Processor 2: Modulation effects (Chorus, Flanging, Panning, etc.)
• Additional Effects: Distortion, Overdrive, Vocoder (no external audio input)
• Routing: Separate effects sends per sound; Processor 2 can feed into Processor 1

Controls and Display

• Main Display: Back-lit 2x40-character LCD
• Performance Display: Large 2-character LED
• MIDI Indicators: 2 decimal point indicators (one per MIDI input)
• Edit Controls: 4 rotary knobs for parameter editing
• Navigation: Alpha-wheel for page scrolling
• Numeric Controls: Numeric keypad with up/down buttons and "tens lock" function

MIDI Implementation

• MIDI Inputs: 2 (merged operation)
• MIDI Output: 1
• MIDI Thru: 1 (from first input only)
• MIDI Features:
  • Bank and program change messages
  • Real-time control recording to sequencer
  • System Exclusive dumps (performances, program tables, drum maps)
  • User-definable modulation sources

Audio Outputs

• Main Outputs: Stereo L/R (configurable as 2 mono outputs)
• Additional Outputs: 4 separate mono outputs
• Headphone Output: Front panel (shared volume control with main outputs)

Additional Features

• Sustain Pedal Input: Standard jack socket
• Drum Set Editing: Dedicated edit pages with individual note parameters (pitch, volume, pan, effects sends)
• Demo Songs: 1 included
• Utility Functions: Copy parts and performances

Expansion Options

• Sample RAM Expansion: 512K user sample memory (optional)
• Expansion Board: "Techno Rave Electronic" board (1MB)
  • Analogue synth samples
  • Roland CR78 drum sounds
  • Roland TR606 drum sounds
  • Additional TB303 sounds

Form Factor

2U Rack Mount (full width)

Power

Euro mains connector (internal power supply)

Pros

• Superb analogue-style sounds with excellent bass response
• Real-time recording of control knobs to MIDI sequencer
• Dual MIDI inputs for shared operation
• Easy multitimbral operation
• Comprehensive arpeggiator with external synth control
• Strong General MIDI implementation
• Classic drum machine sounds (TR808, TR909)
• Resonant, self-oscillating filter
• Internal power supply
• Memorable, user-friendly naming

Cons

• Occasionally quirky operating system (version 1.01)
• Build quality below Japanese competitors
• Relatively limited editing capabilities
• No fundamental waveform-level editing
• Individual sounds can be weak in isolation
• Filter non-functional on FM sounds
• Expensive user sample memory upgrade (only 512K)
• Portamento limitations (legato-only, strange time values, noticeable stepping)
• Low headphone output level with distortion at higher volumes
• Shared volume control for main and headphone outputs
• No second stereo output pair
• No external audio input for vocoder
• Some keyboard split point issues
• Occasional software glitches (disappearing reverb, sample loop clicks)
• Can sound muffled and lo-fi by modern standards (could be also a 'pro', actually)