WATCH YOUR EARS on this one - turn them speakers down. YouTube via YonacSoftware
"Here is a quick and dirty demo of Therminator 1.0. Visit www.yonac.com or the iTunes app store to check it out!"
You can get Thereminator here:
Monday, September 29, 2008
Thereminator, the iPhone Theremin
WATCH YOUR EARS on this one - turn them speakers down. YouTube via YonacSoftware
"Here is a quick and dirty demo of Therminator 1.0. Visit www.yonac.com or the iTunes app store to check it out!"
You can get Thereminator here:
Using the Kaossilator as a midi controller (yes ! )
YouTube via Mfdhdp. Also see some undocumented features on the Mfdhdp blog.
"Finally, thanks to internet, I found a Pure data patch to convert the kaossilator to midi data ! So I have now a kaossilator, and an XY midi touch pad for the price of a single kaossilator !! Great !
more info http://mfdhdp.blogspot.com/2008/09/co...
Does anybody know a better virtual cable than MidiYoke ?
[update]
How to :
--------
Get midiyoke.
Get Puredata.
Get the pure data patch. (see web page)
Put your kaossilator out to your pc (mic or line in)
On pure data, select the midi "out to midiYoke 1"
On your host(fruity loops or other) select "midiYoke 1" as your midi in.
The channel are the 14th and the 15th.
You might need to fine tune the range of the CC in the patch ; they must go from 0 to 127. "
Crumar Spirit Serial Number 1
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"The first of the few exemplars ever made with serial number 00001!!
The Crumar Spirit was designed in 1982 by Bob Moog, Jim Scott & Tom Rhea. The Spirit is original about his amazing not standard features, only fifty to one hundred of these beauties exist! It come in EXCELLENT cosmetic and perfect working order. It has a 37-note keyboard with 2 VCO’s. There are saw, triangle, and several square waveforms on both oscillators. You can sync both oscillators. The oscillators have an octave range from 32′ to 4′. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, single & multiple triggering, keyboard filter tracking, band pass filtering, loudness envelope, filter envelope, arpeggiator linked to LFO (mod-X) with 4 different arpeggiations, LFO 1 modulated 6 different ways, a second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, performance panel to include Auto & preset glide, and 3 performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise. LFO 1 also has a red noise generator as well as a brightness control for overall boost of the high frequencies. A filter envelope with inverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. Features * Bob Moog design! * 37-note keyboard * Saw, triangle and several square waveforms on both ocillators Working voltage: 220 / 240 volts."
via this auction
"The first of the few exemplars ever made with serial number 00001!!
The Crumar Spirit was designed in 1982 by Bob Moog, Jim Scott & Tom Rhea. The Spirit is original about his amazing not standard features, only fifty to one hundred of these beauties exist! It come in EXCELLENT cosmetic and perfect working order. It has a 37-note keyboard with 2 VCO’s. There are saw, triangle, and several square waveforms on both oscillators. You can sync both oscillators. The oscillators have an octave range from 32′ to 4′. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, single & multiple triggering, keyboard filter tracking, band pass filtering, loudness envelope, filter envelope, arpeggiator linked to LFO (mod-X) with 4 different arpeggiations, LFO 1 modulated 6 different ways, a second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, performance panel to include Auto & preset glide, and 3 performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise. LFO 1 also has a red noise generator as well as a brightness control for overall boost of the high frequencies. A filter envelope with inverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. Features * Bob Moog design! * 37-note keyboard * Saw, triangle and several square waveforms on both ocillators Working voltage: 220 / 240 volts."
ROLAND CR8000
via this auctionclick the image for a supersized shot
"Released over 25 years ago, and used on classic records like Blondie's Heart of Glass, the CR8000 is often described as sounding somewhere between the CR-78 and the TR-808."
via ingmar808 on the forum.
Lukas Ligeti (live) - Great Circle's Tune II - 09-29-08
YouTube via whatfuckingever444
"Lukas Ligeti performing 'Great Circle's Tune II' live on September 29, 2008 at Dohnanyi Recital Hall, Florida State University, Tallahassee, Florida.
Lukas Ligeti: 'I'll be playing solo on an instrument called marimba lumina. It's a kind of electronic marimba, a very sophisticated midi controller, built by Don Buchla from California, and you can get information on it at www.buchla.com. The sounds I play come mostly from my laptop - samples for the most part, recorded during my travels, often in Africa. The music is part composed / part improvised, and made to be played live on electronic percussion.'
Lukas Ligeti is signed to John Zorn's Tzadik Records. He is the son of noted Romanian composer Gyorgy Ligeti whose works were featured in several films by Stanley Kubrick, such as '2001: A Space Odyssey,' 'The Shining,' and 'Eyes Wide Shut.'"
miniSynth, the iPhone Synthesizer
YouTube via YonacSoftware
"Here's a more extended demo of our latest release for the iPhone, the miniSynth (aka miniApollo). miniSynth is a vintage-modeling keyboard synth for the iPhone platform, featuring dual oscillators, adjustable retro-style sound filter, attack/decay, glide and a tape-delay influenced delay unit. Check it out at www.yonac.com, or at the iTunes App Store"
miniSynth, the iPhone Synthesizer
"a quick display of our recent iPhone music project, coming out soon. Includes messing around with the first preset ("the cheesy synth") and a song my friend calls My Country 'Tis of Thee, but I call with a different name."
You can get miniSynth here:
Cwejman MMF-1 Test
YouTube via boobtube356
"Doepfer A-111 and Cwejman VCO-6 feeding a Cwejman MMF-1. Korg EMX-1 is the sequencer and drum machine. PAiA MIDI2CV8 interface (with euro faceplate) is used to get the Korg data into the modular. Roland Edirol is doing the recording."
Nightmare at the Roxbury
YouTube via bigcitymusic. bigcitymusic.com
"Nod your head to this, tool. Here's the Metasonix S-1000 all-tube Wretch Machine in action. There are different clips, some are using the Wretch as a drum processor, some as a synth. There's a short little bit with the pulser section too. It's not very nice sounding, but aren't most synths trying to sound nice? Different is good."
The Model - Kraftwerk (cover)
YouTube via Tonneman
"The Model, originally by Kraftwerk performed by me on the Roland Fantom X7 and Novation A-Station (vocoder).
I've tried to be faithful to the original track, but obviously, I played around with the sound, effects and arragnement.
Recorded (and sampled) only with the Roland Fantom X7. I used the A-station for the vocoder effect."
Comdyna GP-6 Analog Computer
images via this auctionNot a synth, but definitely fun too look at.
"Comdyna GP-6 Analog Computer + Microhybrid I. Everything pictured is included. These are no longer made anymore. Complete info is available here: http://www.comdyna.com"
via the Comdyna site:
"The GP-6 carries on the general purpose analog computer as an old technology that stays forever young. Although the analog computer rarely computes in a manner that gave it its name, analog computing continues to thrive in the form of linear circuits. Analog computing fundamentals are the roots of linear circuits. The analog computer patch panel remains the only means of programming linear circuits, i.e. operational amplifiers into the endless number of analog circuit devices. With a GP-6 in the laboratory, stable, trouble- free signal conditioning, simulation, control, intrumentation, etc. circuits can be up an running in minutes.
Control laboratories are the primary installations. The GP-6 is the ideal starting point for teaching classic control system design. Working first with the GP-6, the student experiences not only the basic challenge of the control problem, but a hands-on development of the system physics into its math model, the patch panel programming of linear devices into interface and controller circuits, scaling analog variables and the use of simulation as a tool for both inductive and deductive analysis.The GP-6 is also used in classroom demonstrations and advanced design projects where programmable simulations serve as linear and non-linear plants to be controlled. GP-6 simulations are high speed, continuous, and realistic stand-ins for testing analog and digital controllers and control systems.
Other than teaching, the GP-6 finds application as a handy, portable, general purpose instrument, the GP-6 patch panel a means to quickly program, as opposed to breadboarding, linear circuits.
Each GP-6 is a self-contained unit capable of simulating linear and non-linear systems of up to four state variables. Over 2000 GP-6 analog computers have been installed in over 400 university, government and commercial research laboratories.USING THE COMDYNA GP-6 ANALOG COMPUTER, by Professor Ian Petersen, Department of Electrical Engineering, Australian Defense Force Academy, is an excellent presentation of programming and operating the GP-6.
The GP-6 Panel page offers a destailed description of the patch and operating panel functions."
For an analog computer with audio, see the Starkey Hearing Lab by clicking on the Starkey label below.
Yamaha TX81Z
images via this auction. There are some good close-ups of the "TX81Z MEMORY CONSTRUCTION" print on top of the synth.
360 SYSTEMS SLAVEDRIVER GUITAR SYNTHESIZER
"The item listed here is the bass version. This is a very cool and rare tool for the synth players and collectors out there. The Slavedriver was a guitar to control voltage converter for a synthesizer. You take the 360 System Slavedriver and connect it between your synthesizer and guitar and you are able to manipulate your guitar with the sounds produced on your synthesizer. It allows the guitar player to control any keyboard with CV input through your guitar.
The 360 Systems Slavedriver was one of the first units that allowed a guitar player access to the synthesizer world and all the insane sounds they make. The model we have for sale is a bass guitar version of the guitar interface and is meant to work with any 4 string bass guitar. It features a variable octave selector switch as well as several synthesizer and footswitch outputs. The Slavedriver for sale comes complete with the 4 piece magnet bass pickup which is needed to control the synthesizer sounds."
Voice of Saturn DIY
via this auction via Curious Inventor"Loosely based on the Atari Punk Console with some custom tweaks and an LFO front end, this box makes a ridiculous amount of different sounds, all from three 555s. This is a kit version complete with knobs and case. It's open source (see the instructions and surrounding pages) and has small area on the pcb for easy circuit bending. Created by recompas.com. Complete assembly instructions are available. We also sell a completely assembled and tested version."
click on the Curious Inventor label at the bottom of this post for prior posts including video.
Moog Taurus II
images via this auction"MOOG Taurus II bass synthesizer, footpedals, connector cable, and 2 patch sheets. One is labeled 'SOLO VI' and the other is labled 'Bass I'."
EMS SYNTHI HIFLI GUITAR SYNTHESIZER EFFECTS PROCESSOR
images via this auction
"The Hi Fli (aka The Sound Freak) was designed by David Cockerell in 1971 for EMS. He later went on to design many of the classic Electro Harmonix effects (both the Micro Synth and Small Stone phaser are inspired by the Hi Fli). Only 350 were made making it a collector’s gem. David bought a prototype in 1972 and from what he recalls it was “very, very expensive”.
The Hi Fli was actually referred to as a synthesizer in the original ad, but it’s basically an analog multi effect processor, which can be used on vocals, guitars and organs. It has two footpedals, which could be routed as control voltages/expression pedal to any of the slider functions. It’s got no memory to bank up settings, - everything is in real time, so one had to manually tweak the sliders for each tone change.Features; top boost (30dB treble booster), octave shifter (1 drop), buzz (treble booster to octave effect), ring modulator, sustain fuzz, solo/strum sensitivity control, bypass, modulation selector (rotary, phaser, vibrato and different types of auto-wah).
David is seen using the Hi Fli at Earl’s Court in May 1973. It was also used on the Dark Side of the Moon recording sessions. It’s not reported which songs he used it on, but it might have been for creating auto wah effects on Any Colour You Like and fuzz on live versions of Time.
The Hi Fli is still in David’s possession and last seen at the Interstellar Exhibition in Paris in 2004."
EDP SPECIAL WASP
via this auction
Note there is more going up on MATRIXSYNTH-B as well.
"Later versions of the Wasp included the Wasp Special (released 1981) which came with wood panels, a black and gold color scheme, and an internal power supply but no built-in speaker. And then there was the Wasp Deluxe (released 1979) which had all the features of the original plus a standard 3-octave keyboard, wood panels, an oscillator mixer, external audio-in, a larger speaker, and battery operation. EDP also produced a heavily modded Wasp that was built into a guitar form called the Keytar. It had a two octave keyboard and transpose and portamento buttons on the neck, only two were ever made as far as we know."
EMS REHBERG SYNTHI E
via this auction"The Synthi E is a general purpose electronic music synthesiser especially designed to be used in schools and colleges. It combines low cost with versatility and robustness. It is simple to use and a complete teaching course has been built round it. This allows teachers and students to learn the techniques and background of electronic music and its production. The manual relates synthesised to acoustic sounds and the relationship of the physical properties of sound to music. It also provides many creative exercises for the individual or class. The Synthi E has a full complement of conventional electronic music devices as well as several new ones. These devices may be interconnected using a simple patching system that allows experimentation not possible with usual performance synthesisers. The unit is easily transportable as it is housed in a small briefcase and is battery operated.
MAIN FEATURES INCLUDE:
* Input Amplifier with low (Microphone) and high (line) level inputs.
* Envelope Follower providing a voltage proportional to the amplitude of the input.
* Oscillator 1 with true exponential voltage control of frequency and three simultaneous output waveforms (sine, triangle and voltage controlled pulse)
* Oscillator 2 for slow control voltages such as glissando or vibrato.
* Filter/Oscillator 3 with v.c. low, high and band pass filter or pure sine wave.
* Modulator for envelope shaping or ring modulation. Noise Generator.
* Trapezoid Generator for multiple simultaneous trapezoid waveforms. These may be used for envelope shaping (trigger mode) or for low frequency waveforms (free run mode).
* Manual-Slide tape Controllers (2) for obtaining control voltages. One slide-tape is stepped and may be used as a keyboard and the other for variable control. One provides a trigger pulse. Both may be temporarily marked or written on.
* Inverter to invert control voltages or signals.
* Monitor Amplifier and Loudspeaker with two input mixer faders.
GENERAL:Signal level at patch nodes: 3v P-P.
Output impedances at patch nodes: 100 ohm average.
Input impedances at patch nodes: 25 kohm average.
All inputs and outputs are protected against short circuits to each other or to ground.
IN PUTS: High level input level: 2.2 v P-P nom. 10v P-P clipping. 180 kohm impedance. Direct inputs: DIN connections 2—Ground 1 inputs
Low level input level: 200 mV P-P nom. Overhead: 14 dB
50 kohm impedance.
Envelope follower output proportional to input over dynamic range of: 40 dB. V.C.O. — VOLTAGE CONTROLLED OSCILLATOR:
Total frequency coverage: 1 Hz to 10KHz.
Sine wave distortion: 5% THD (TYP)
Triangle symmetry (rise and fall): 3% at 1 KHz.
Rectangular wave mark space ratio voltage control range: 0 to 100%.
Deviation of voltage control of frequency from ideal exponential law
Over musical range 100Hz—2KHz: .8% (B.S.L.)
Over audio range 10Hz — 10KHz: 1.7% (B.S.L.) General short term stability. Drift at 1 KHz: 2% per hour.
OSCILLATO R (VIBRATO/TREMOLO): Manual control of frequency: 0.01 Hz —15Hz.
Manual control of amplitude: 1000:1.
V.C.F. — VOLTAGE CONTROLLED FILTER (Band pass, low pass, high pass):
Frequency range: 10Hz-10KHz.
Distortion (oscillating mode musical range): 2%.
Deviation of voltage control of frequency from ideal exponential law over complete range: 2% (B.S.L.)
Minimum 'Q': 2.
Maximum finite 'Q' over musical range: 30.
TRAPEZOID GENERATOR: (All outputs)
Minimum transition time: 20 mS.
Maximum transition time: 5S.
As oscillator — frequency range: 1—25 Hz.
NOISE SOURCE:
Spectral flatness over musical range: +6 dB.
KEYBOARDS:Slider tape Track and hold droop .02% of fullscale per second.
Chromatic keyboard Track and hold droop: .01 % of fullscale per second.
Differential step Linearity (ratio of smallest or largest to average): 95 %.
INVERTER: Voltage gain—1: + 2%.
MIXER: Fader control range: 50 dB min.
Tone control (treble lift/cut) Corner frequency: 500 Hz.
Max. change at 10KHz: 30 dB.
MONITOR: DIN pin connections. 2—ground.
3 monitor output
V.C.A. — VOLTAGE CONTROLLED AMPLIFIER:
As ring modulator
Carrier suppression: 30 dB. Signal suppression: 40 dB.
As envelope modulator Off breakthrough:—60 dB. On level distortion: 5 %.
MONITOR AMPLIFIER:
Power delivered to internal loudspeaker: 500 mw.
Output to external amplifier, tape recorder or oscilloscope (two outputs provided).
Minimum recommended load: 600 ohms.
Output impedance: 50 ohms max.
Maximum output voltage into 10K load: 7v P-P.
BATTERIES:
12 x Ever Ready U2 (1 .5V). An external mains power supply can be provided.
Battery life: Using 2 hour daily sessions and external monitor: 100 hours.
DIMENSIONS: 50 x 40 x 10 cm.
WEIGHT: 7 kg.
DKE KEYBOARD: OPTIONAL
A 3-octave keyboard for controlling the Synthi E is available. This unit is a mechanical keyboard which plugs into the Synthi E. It provides the correct pitch voltage and trigger signal for the Trapezoid Generator. A switch on the Synthi E selects internal or external keyboard operation."
SYNTON COLLEGE MULTI LEVEL INSTRUCTIONAL SYNTHESIZER
images via this auction
"Synton was mainly an importer in Holland. They imported big league stuff. Fairlight, E-mu, Simmons, PPG. They also made some synths: the SYRINX, the series 2000 & 3000 modular the College, as well as some Vocoders."
condventuit
via cebec's live modular improvs"Serge live improv. More along the lines of what I set out to do when performing with patches like this. I can hear room for improvement but this is more like it..."
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
