"modded sh09... this instrument has been stripped of paint and allowed to develop surface rust, has been relabeled with a label maker, and the slider holes glow with a red backlight. it looks badass on stage. most of the sliders were replaced several years ago, a couple were not and feel stickier than the new ones. the switches all feel old and crusty but still all work.
the stick part of the pitch stick is snapped off but it still works fine. the envelope generator is capable of clangorous fm type sounds because if you have both the sustain and decay set to a low amount it starts to retrigger variably.. its a neat effect. i dont know if its a malfunction or a mod, but i like it."
"With 2 VCOs, basic Filter controls, CG/GATE, and a 2 1/2 octave keyboard, this minimal monosynth still offers plenty of usable and familiar Moog sounds."
via this auction "Moog 1130 Drum/Percussion Controller. This Moog 1130 drum trigger can be used with any drum or synth module to create percussive inspired sounds. The 1130 was released in 1973, and was intended for use with Moog synthesizers like the Mini Moog, the Sonic Six, and Modulars, etc. The unit has scale and sensitivity controls, and a CV and S trigger output. The drum is in exceptional cosmetic condition, and does not exhibit typical shell splitting or peeling. The original side mount enables use with a normal tom stand. Compact size drum measures 9" from lug to lug."
via this auction
"The modules included are as follows
Oscillator (1st gen module)
Filter (1st gen module)
Positive Slew (1st gen module)
Negative Slew (1st gen module)
Reverb (1st gen module)
Ring Modulator (1st gen module)
Keyboard Envelope Generator
Quad VCA
Smooth Function Generator/Step Function Generator x 2
Variable Q VCF x 3
Wave Multipliers
Variable Slope VCF Dual Audio Mixer
Analog Shift Register
Noise Source
New Timbral Oscillator x 2
Precision VCO x 2
VCA
Universal Equal Power Audio Processor
Dual Transient Generator
Resonant Equalizer
Phaser x 2
Dual Universal Slope Generator
Wave Mulitpliers
Dual Audio Mixer
Here's the custom stuff--Schematics will be included
RCA IN (custom)
Scalers (custom)
Summer (custom)
Mic Pre Panel (custom)
Output Mixer (custom)
Adapters (custom)
Matrix Switcher (custom patch memory system) Need an apple IIc to run but I can provide computer interface and documentation
Input (custom)"
"Progress being made on the first Macbeth Eurorack module. Knobs, jacks, switches and LEDs mounted on aluminum front panel. Slotted mounting holes. This is only a prototype, the feature set may change. LINK: www.macbethstudiosystems.com."
YouTube via peglegjoe857 "So upon request, I made a video that is a collection of vintage samplers, all producing pretty much the same beat but ALL sounding VERY different. I will be doing more of these videos pretty soon, I am sure I am one of the only people out there crazy enough to have this group of machines...
So I sampled a Meters break, "Hey ! Last Minute" Then I sampled myself playing a bass riff and two chords on my Musitronic Wurlitzer. Then I sampled just a fat bass synth resonant filter decay sound from my Akai AX-80. So you can go find that break if you want, but you wont find the rest of the stuff in the track because it is all played live.
So the MPC-60 caught a lot more vinyl scratch and pop than any of the rest of the machines. Don't quite know why that is. The MPC definitely rocks really hard and has groove and whatnot, I love that machine!
The Emax obviously came out darker sounding. It somehow cleaned all that scratch and pop vinyl noise out, and it bumps pretty hard because of it. This machine is my favorite of all my samplers, it definitely does warm things to samples! I sampled at 28K, which is the compromise setting between 10K and 40K.
The Mirage KILLED these sounds. KILLED them, for real. Everybody talks about that SP-1200 stardust... well how bout the Mirage! Who has the balls to be doing Hexadecimal these days! I guess I wanted the grittiest of the gritty, and believe this machine offers just that! 8-bits of dirty filth. Nothing I sample into this thing ever sounds quite right?!? I love it. I had to sample with a setting of 40... I don't quite know how that translates in sample rate, but know that it is VERY low. I think the least it can be is 30, and the most is 99... so 40 is pretty close to the bottom! And even setting it that low still didn't provide all the time I needed to cram all those samples in there, so some got cut short. But it sure did make some crazy noise, I actually ended up enjoying what the Mirage sound a whole lot. It definitely does certain sounds really well and would slip into a mix nicely with one of my other samplers taking on other duties. I would say it is perfect for short samples that can be pretty dirty, like one shots, or short bass lines and stabs. It definitely took the longest to program!
The Akai S-1000 was definitely the cleanest... and that's why I got it! It was a breeze to program, but frankly not as quick as the MPC or the Emax (Probably because these two have less things to program!) Not much else to say about the machine, it accurately does it's job!
I have also owned the S-2000, S-900, and Emax Keyboard, and have also spent a lot of time with my friends S-3000. I wound up with my collection of these 4 machines because I feel they cover all bases. Somebody one a forum said "get one sampler that is 12-bit and dirty, and one that is 16-bit and clean... and you will have covered all bases". Well, for me to be satisfied I had to have at least all 4 or these. The MPC-60 and the Emax are VERY different 12-bit samplers with VERY different characteristics. Listen to the god damn video! The MPC sounds more like the S-1000! I had gone dirty with the Emax, but wanted even dirtier, something nobody else would be willing to do. In walks Mirage, an 8-bit sampler that actually has a ton of analog features, can store several (16) samples at a time, and has adequate time do function. From the specs I have read, it has a similar amount of time to the SP-1200. When you sample at a higher sample rate, know this machine DOES actually clean up a bit. The S-1000, though, does NOT get dirty.
So with all these machines, they each have a very specific characteristic that they impose on whatever is sampled into them. As I mentioned, I will be doing some more videos soon so you can hear that characteristic more fully, as well as show off their filter sounds and other features. The Emax and Mirage make GREAT melotron type instruments because of their filters!"
YouTube via bigcitymusic "The A.S. rs360 Vocal/Phase filter is an awesome sounding three-band resonant filter module. Each filter has 1v/oct CV input and there's a master frequency control with an additional CV input and attenuator.
You can use this bank of filters as an equalizer, to get great vocal and formant sounds, or as a resonator (and a lot more actually!). We're running some drum sounds into the filter inputs as well as controlling the "pitches" of each band via a MIDI to CV converter. This module is a lot of fun. We've tuned the filters to different intervals which makes it a bit more interesting. The rs360 can be used as an oscillator to great effect on it's own too! We turn the dry sound of the drums up at the end."
YouTube via Bildheinzer. via http://twitter.com/nonikatz "This is an Arduino Microcontroller generating Pal Video.The code is originally from the "Arduino Pong",which i slighly changed.it outputs 2 bars reacting to audio (here to bass via a phototransistor)and the signal goes into one of my bent Hama Videomixers which is also reacting to audio.recorded through an Edirol V-4 to add some colors.If someone knows who originally wrote the code for Arduino pong let me know to give some credits."
Video Circuit Bending
"This is a bent Hama 290 Videomixer,it's reacting to incoming audio.The effects can be control reacting to bass,mids and hights. It has a 3 channel RGB Matrix,where the signal colors can be routed to the other colors.the videosignal stay stable cause the sync signal isn't manipulated.so you don't get blue screens on projectors or tv's."
YouTube via LuisEduardoGalindo. Synths come in at 3:25, Mellotron at 3:00. "1974 Presents ¨The Chamber of 32 Doors¨
¨Progressive Sounds¨ (english subitles) This documental was originaly produced by Luis Eduardo Galindo for Radio station tecnologica 93.7 Fm in Valencia Venezuela and was aired for 2 month last summer 2007.
This is a video version for the Radio Documenal ¨The Chamber of 32 Doors¨ produced by the show ¨1974¨, collecting some videos of the era and original pictures created by Luis E. Galindo
Some of the footage used does not nesessarily match he original sound used for the radio documental, it was only used for illustrarion purpose due to generality of terms, so don´t be surprise is case of evenually see Chris Squire performing Renaissance material....
The voice was recorded by Judith Maribel Soto and the edition for both radio and video documental is conceived and performed by Luis Eduardo Galindo.
Dedicated with deep love for a magic era, I hope you like and enjoy, looking forward to encourage the appreciation of a Magic Era...
YouTube via obywatelWMG. Sequential Circuits Pro-One, Roland SH-101 "Oryginalny teledysk z lat 80tych do utworu Kapitana Nemo Twoja Lorelei. Nistety jest on słabej jakości. Dla zainteresowanych podaję adres strony Kapitana Nemo: http://www.kapitannemo.com/..."
YouTube via rollerskater "a test of the oscilloscope in Mark of the Unicorn's CueMix FX. source is a Buchla 261e Complex Waveform Generator running into the MOTU 828mk3."
YouTube via Denkitribe "Make a DIY synth. It costs only $50!
Auduino is a granular synthesizer built on the Arduino platform. It was designed by Tinker.it! and published under an open source license. I build one and plugged a stylus controller which was ripped from Gakken SX-150. It works very well. Its sound is dry and crispy, but I think it is not bad for $50. Want one? Do It Yourself!
"Korg Delta polyphonic analog Vintage synth (1979).. Classic korg Darth Vader black styling and built to withstand laser fights. This is a limited synth ,but for what it was made for it does very well - strings ! As soon as you lay your hands on the keyboard you fall in love with the warm lush ,thick tones this thing can make ,pure ear candy ! I think this is a very underrated synth . Its very easily capable of making great sounds and the filter on it is very nice (same filter chip as the MS 20).
highlights of this machine are ;
-solid keyboard action
-rugged professional build quality
-separate outs for the string and synth section.
-trigger in /out"
"The Condor GSM, the world's first guitar synth made by Hammond in 1970. Used by Jimi Hendrix, John Entwistle and Kraftwerk alike, this unit is new-old-stock and actually comes with the pickup & cover! It has some amazing features & sounds: repeat, vibrato, tremolo, 4 kinds of basses, bassoon, organ, fuzz, mellotron, horn, oboe, sitar, harpsichord and soprano."
"Peter Zinovieff's pioneering work into the fields of electronic music production and research led to many innovative electronic music instrument developments that were outstanding for the time. Peter was fascinated by electronic music and used his financial resources to develop a huge voltage-controlled studio that occupied an entire room in his home premises. There was a time when EMS (Electronic Music Studios) stood as equal to Moog and Arp. In many ways, EMS was more advanced with several pioneering ideas being investigated. Peter used two PDP8 minicomputers in the late 1960s to control the voltage-controlled analogue modules for research into electronic music exploration. Twenty years before affordable computing and sequencing packages, Zinovieff's computers could store and replay compositions, complete with sound shaping parameters even inventing a form of spectral or additive synthesis. Excerpts are edited from the television documentaries "What the Future Sounded Like" and "The New Sound of Music" featuring the first public performance of music by a computer in the Queen Elizabeth Hall in 1967. The spirit of EMS continues, and Peter's synthesizer innovations like the VCS3 and Synthi 100 have become outstanding analogue classics."
YouTube via RothHandle. Pro-One audio comes in at 2:00 "When I had recorded the acoustic drums for Antkowiak I realized I wanted to redo the bass so I took out a real Bass warrior...The sequiential Circuits Pro-1. This was treated through the Moogerfooger Phaser and the MOTM-440
This video was recorded at Roth Händle studios, in Stockholm, Sweden. This is where I spend my days and occasional nights recording and producing albums for artists from all over the world. After buying my first Mellotron in 1998 a spark lit in me to try to find interesting and different instruments to use in my music and productions. Now the studio is more less filled with old and new sonic weirdness ranging from tabla drum machines to pipe organs.
If you are curious about the studio please visit www.roth-handle.nu for more information, booking and blogs. If you are curious to hear some music that was recorded at the studio please visit www.myspace.com/Molesome
"This is probably the newest song I have ever presented here on YT. But I wanted to make something in multitrack where everything is played on the X-30 and I thought this particular melody by Kleerup was a good choise.
In this video I open up the instrument to fix some bad connections. And I also answer the somewhat relevant question 'what is Percussive Maintenance'."
circuit bent sesame street all star band and tube screamer
"Ear Bleeding!
I bent this sesame street all star band for Adrock.
- 1/8" output
- Looping
- phrase/keyboard shuffle
- pitch knob
- pitch body contacts
- pitch photo theremin.
- hard reset
The White Owl is a bent Ibanez tube screamer that adds lots of thick and tasty distorion as well as scrawling oscillation and super bass tones."
via this auction
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