MOOG System 12 Modular

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Details:
"The synth was built on 9/21/73 and also has some of the original R A Moog modules. Also included are eleven of the original 1/4 audio patch cords, 4 trigger patch cords, Moog Modular service manual and a photocopy of the Moog System 15 users manual. All of the modules on the synth are complete (including the original knobs), work perfectly and were never adjusted or re-calibrated (which can be done with the use of the included service manual, if you know what you are doing!). The keyboard is also complete and works properly including the gold contacts which were just cleaned with De-Ox compound. Both original covers for the keyboard and main cabinet are also included. The original socket recepticle on the power cord was cracked, partially disintegrated and was replaced by seperate crimped connectors (its not original but is does work and is electrically safe!) The cabinet tolex is in good shape with no rips or tears but has been refinished to cover the stenciling that the original owner (which was a west coast college) painted numbers on it for inventory and theft control. The pictures show the current tolex condition which looks 100 percent better then it did when I got it! The original modules, power supply and cabinet still have the original yellow Moog manufacturing stickers in place. Now the upgrade part! - three new modules were added to replace the original Moog 907 fixed filter bank module, which in my opinion is a glorified EQ!. These new modules were made by Mike Bucki at Moog Custom Engineering and consist of a 904B High Pass Filter, 911A Dual Trigger Delay and 1528 Sample and Hold. The original Moog and some of the R A Moog modules consist of a 902 VCA, 903 Noise Source, 904A Low Pass Filter, two 911 Envelope Generators. 921 oscillator, 921A Oscillator Driver and two 921B Oscillators."
via Mr. Array

Octave Plateau Voyetra Eight

Title link takes you to shots via this auction.

Creamware Prodyssey Demos

Some sound samples via Stefan Trippler:

"Afaik no more Prodysseys are manufactured atm, I had the luck to get one 2nd hand and have some fun with it.

http://www.trippler.net/files/mp3/cornyprody.mp3
with drums from Spectrasonics Stylus

http://www.trippler.net/files/mp3/prody3b.mp3
some bubbling, Stylus drums too

I apologize in advance for the last one, a little waltz:
http://www.trippler.net/files/mp3/oddproddy.mp3

I never had the original ARP Odyssey, so I don't know how the ASB compares
soundwise."

CMU-800R / Apple II Set-up Tips

Via philip. Click the image for the full sized shot. You can find more info and video on the CMU-800R in these previous posts.

Monome 40h

Title link takes you to shots via this auction.

Details:
"One of the few 40h models, own this beautiful machine. One of only 400
From http://monome.org/40h/:

the monome 40h is a reconfigurable grid of sixty-four backlit buttons.

buttons can be configured as toggles, radio groupings, sliders, or organized into more sophisticated systems to monitor and trigger sample playback positions, stream 1-bit video, interact with dynamic physical models, and play games. button press and visual indication are decoupled by design: the correlation is established by each application.

There's a growing collection of applications written specifically for the 40h.

Provided on the monome website as well are examples for writing your own applications. the 40h uses usb and talks serial, midi, and open sound control. it plays well with max/msp, pd, processing, reaktor, flash, java, ruby, and many others. all 40h software and firmware is open source. monome aims to facilitate a community of shared exploration

There are also numerous applications and patches which exemplify the 40h as a simultaneous input and output device. several are musically-inclined, though the interface also fits wonderfully into alternative uses. all monome applications are open-source and no additional purchase is necessary to use them. here are a few examples :

* 64step is a versatile step sequencer aimed at fluid composition and editing.
* mlr is a sample-cutting platform intended for dynamic and performative live manipulation.
* life is an interactive version of conway’s original simulation.
* phoenix is a probabilistic arpeggiator with a drawable waveform

design

applied, aesthetic minimalism. the 40h features binary on/off buttons and binary on/off light indication with global brightness control. we believe these parameters most aptly fit both the physical action and size of the buttons. simplicity, constraints, and adaptability promote intuitive interaction.
open source = modification encouraged

all related software is open source. this includes the embedded code, routers (serialio and mapd), and applications. the community is invited to engage in exploring this interface and share findings. also encouraged are hardware modifications, included are available ports in the circuitry for the addition of analog knobs, optical encoders, or anything you could program to interact.
specifications
model 40h
elements 8 by 8 (64 total)
dimensions 6.75 by 6.75 by 1.125
materials 6061 anodized aluminum, translucent silicone, conductive silicone, high durometer silicone, lead-free components and circuit boards
interface usb 2.0
power bus powered
platforms os x, windows xp, linux

the unit contains no logos, text, or markings.

the hardware contains an atmel avr atmega32 microcontroller, interfaced with an ftdi ft245r usb fifo and maxim 7221 led matrix driver. the avr is programmable via jtag (port included on circuit) with gcc and avr-lib."

via ian

KORG PS3300

Title link takes you to shots via this auction.

Details:
"KORG PS-3300 POLYPHONIC MODULAR SYNTH 1977Well-known for its complex pads, thanks to its triple synth architecture, with independently panning possible for each, a fair number of LFOs (6+SH ) that brings sophisticated details, all making truly stunning masses of evolving sounds.

Another (not so well-known) strength of that beast is its ability to make strange sounds, a bit like a kind of polyphonic AKS: per example extreme stretching of the general frequency with the keyboard XY joystick, as few other polysynth of the following eras would, numerous options of patching modulations, along with the double expression pedal applied to modulation destinations… Independent envelopes for each bloc for additive-like synthesis, a step further from the typical 2 VCO/ VCF/ADSR approach most other synths provide. Altogether I was astonished by the wide range of sounds it can produce, much more than a PS-3200 would dare of!

Also surprisingly, it is very straightforward to use, with a logical layout, despite a good number of knobs.

- Waveforms choices: 6 for the VCOs (w/ PWM), 6 others for the main 3 LFOs. These LFO can be modulated also with a lot of patching options.

- Unique triple dynamic resonators per block, each modulated either from their own LFO, either left in a fixed combination of 3 frequencies. Peak frequency control on that LFO. Nice multi-phasing effects and sound shaping.

- Useful keyboard balance for filter and volume, independently for the 3 blocks. Adds playability when pressing a lot of notes.

- unique individual tuning per note, independently for each block.

The documentation (copy,in English/Japan) helps with examples of sounds and patches.

Users: Kraftwerk, K Schulze (“X”,his best), Vangelis (“China”..), ELP, Jarre, Space, Gino Vannelli, Ninja Tune, Vince Clarke, and praised by Bob Moog.

It has been totally overhauled by Jean-Loup Dierstein in Paris and now fully working: 50 capacitors changed , every function tested, tuned, not one scratching pot. So what is inevitably needed for a gun of this age and complexity has already been done professionally.

The keyboard is also in a close-to-mint condition, and the accessories (double pedal board and keyboard cable) are fully functional. A midification of the keyboard is possible.

This example seems to be a first and very rare version, with the inclusion of Korg 770 type pots (more “chic” than the MS series style of most of the PS production ), it has also a different positioning of the resonators disposition, and wears a nice slightly shiny black finish. As this version existed in some historical Korg catalogs, I guess it may be not a “prototype” as it was said recently, but certainly was part of a first limited batch among the 30/50 ever produced. Serial number: 770502.

It had been formerly bought at the “Phonorgan” Shop in Paris in the late 70’."

via adrien

Seb's Synth-DIY Pages

http://www.burnit.co.uk/sdiy

Some current projects listed:

Bench PSU
Simple multi-voltage bench power supply.

Fat Controller
Precision MIDI to CV converter with 3 Gates, 15 CVs, Portamento, Envelopes, LFOs, and other interesting and useful software features.

Digisound 80
Small collection of Digisound 80 modules and some modifications.

DrumBox
A collection of Roland CR78, TR808 & TR909 based drum modules with MIDI In and velocity sensitivity.

NoizBox
A weird and wacky noise generator with MIDI In, ADSR, VCA and 'touch pad'.

3031
Oakley Sound 3031 synth with my own design MIDI to CV converter.

JoyKontrol
6-dimensional dual joystick controller with MIDI and CV outs.

Box-O-Trix
Modular Compressor / Limiter / Distortion / Gate unit.

4xD
Quad digital delay/flanger with multiple LFOs and comprehensive analog I/O.

Flanger
Flanger based on SAD1024 BBD chip.

Chorus
Boss DC-2 Dimension C chorus clone.

via sequencer.de

DOEPFER A100 Modular Synthesis

Title link takes you to the post with some thoughts and samples via Sonicbrat.

The Germans have invaded Moog!

flickr by theglyph

via the Matrixsynth forum.

"I took this photo of my LP calibration/QC station at Moog on a day when I was checking out my Waldorf Q's waves on the O'scope. I'll post photos of the Q's basic waveforms soon as they are not so standard. Is it Analog or digital envy? ;)"

Waldorf Q
MOOG Little Phatty

Jupiter 8 Poly Vs. Dual

via Mok
"OK - here is a demo of the differences between Poly mode (8 voices, mono) and Dual mode (4 voices x 2 channels - stereo) on the Jupiter-8. There are eight different patches that I created - each goes for a couple of seconds on Poly, and then I set it for Dual with both upper and lower outputs on the same patch for a stacked four-voice stereo. Some of these sounds do well in both, while some just love the stacking. The slight differences in tuning over two sets of four voices, combined with the fact that the LFO's don't sync between 'stacks', creates a huge stereo field. I tried to play similar things on each pass (poly vs. dual) and also tried to balance the volumes afterward (as the dual pass was generally hotter). Yes, the JP is a little more difficult to play with "just four voices", but having owned the PEK for so long, I am used to that... I start out with a real basic patch, but each one is sufficiently different to hopefully maintain 'interest'."
Title link takes you to Mok's Space on Twango where you will find more samples and images.