"This is an early 80's Moog Memorymoog with lots of Moog extras:
Memorymoog Plus upgrade kit.
Auto Tune kit.
2 x Polymoog Road spares kits.
3 x Moog footswitches plus bases.
3 x Moog soundtapes.
Moog controller pedal.
Original manuals and catalogues."
"The Steiner Microcon is a complete synthesizer (less keyboard) in a single module. It has its own power supply, VCO, LFO, VCF and envelope generator, thereby combining all of the most needed parts of a synthesizer in one unit.
It can be used with synthesizer accessories such as sequencers, electronic valve instruments, guitar slave-drivers, pitch followers, or with a keyboard. Multiple units can be combined with a guitar controller to form full polyphonic synthesizers at a fraction of the cost normally expected. Combined with a regular synthesizer, it ads an extra 'voice' to your present system.
'Oscillator stability and tracking are the best that state of the art will allow. Numerous inputs and outputs are available on the front and top of the unit. Other signals available inside can be brought out for special applications, and connected to other equipment in a variety of useful ways.'
The Minicon truly packs alot of synthesizer into a small space (which looks to be about 4-inches by 6-inches. There are 8 knobs and 6 switches. The VCO has knobs for course and fine tuning and switches allowing selection of "three waveforms". The LFO has knobs for rate and level and a switch for beat and is available for vibrato. The VCF has knobs for frequency and gain, as well as a switch for resonance. The Envelop Generator has knobs for attack and decay, as well as a switches to enable damp (a quick release decay) and sustain. The VCA is described as a "trigger controlled audio gate". Connections include positive and negative trigger out, VC filter in, calibrated and uncalibrated voltage control ins, a signal out (which "can be paralleled"), and a trigger in. According to the product literature the "beat function causes the VCO to sound like to sound like two oscillators beating together."
The Minicon was rumored to be used as the synthesizer innards of the Hagstršm Patch 2000 guitar synthesizer."
via this auction
"This truly one-of-a-kind microKORG is serial #101519. This auction contains the following refinements & alterations:
All 8 'Program' lights & 'Tempo' light have been changed to diffused BLUE LED's.
The Arpeggiator LED (under the Arpeggiator button) has been changed to a HOT PINK ONE (though it almost looks purple, through the lens). The 'Write' light has been changed to diffused WHITE LED. The 'Modified' light has been converted to diffused HOT PINK LED.
Entire enclosure is repainted (except the back panel) with dark brown, non-reflective enamel paint (very nice durable multi-coat paint job). This required removing all the electronics during painting, but it was worth the work.
Program Select knob painted flat black enamel to compliment dark enclosure (very nice multi-coat durable paint job).
Black Walnut hand-sanded 3/4" end plates with multi-coat polyurethane finish.
The stock internal 3.3V main supply circuit for the DSP, CPU, RAM, & Analog circuitry has been professionally replaced with a much more robust switching regulator module to insure years of problem free service including overload, reverse polarity, & over voltage protection.
Rigorously tested for months (I have been working on and using this synthesizer for about 5 months).
Many, many custom sounds loaded (easily changeable with included MIDI adapter & Korg Patch Editor software.
All electronic modification work was performed professionally, using an ESD (Electrostatic Discharge) safe workstation, and all replacement LED's are American-Made parts! This synthesizer has been meticulously cleaned & carefully tested."
Playlist:
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 1/7)
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 2/7) DISCLESS MODE + EDIT / CONTROL SECTION.
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 3/7) DISCLESS MODE + EDIT / CONTROL SECTION CONT.
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 4/7) MIXER SECTION
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 5/7) D-BEAM & EFFECTS
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 6/7) EFFECTS CONTINUED
ROLAND E-MIX STUDIO SP-808EX OVERVIEW (DEMO PART 7/7) SAMPLER SECTION
Update2: you can find a TB MIDI Stuff port of the editor in this post.
[Update: the Wave screen to the left has been updated with additional waveform names in via Jason Proctor. Updated screenshot below.]
TouchOSC editor for the Sequential Circuits Prophet VS. Click each pic for the full size shot. This editor was made with TouchOSC and is currently mapped for The Missing Link. You can, however, re-map it for Osculator or other. You can find the editor here and on The Missing Link forum here. Note in order for your Prophet-VS to responds to MIDI Sysex parameter changes you need to set "MIDI Parameters" under "MIDI Option Select" to enabled. Your MIDI device also has support MIDI Sysex.
The cool thing about this editor vs. editing directly on the Prophet VS is you can jump values. With the VS you select a parameter and use the slider to adjust, meaning to get from 15 to 120 you have to scroll through all values from 15 to 120. With this editor you can switch directly to 120 or any other value. I also created an XY pad for waveform selection, so instead of being limited with the onboard joystick for mix levels of the four oscillators only, you can use the additional XY pads for waveform selection (see bottom pic). Again you can jump parameters with the XY pads for both mix levels and waveform selection. This is not possible on the Prophet VS directly. And of course you can jump other slider values like cutoff frequency, resonance, and others. This allows you to play parameters in real time including creating manual rhythmic effects not possible on the VS directly.
"Accuracy not guaranteed. Get Audacity and play! http://audacity.sourceforge.net/
Correction: it is the "Basilar" membrane, which is what I say, but somehow between recording the script and actually drawing the stuff I got confused and thought I just pronounced my Vs poorly. Always sad to have such a simple and glaring error in something I put hundreds of hours of work into, but a "Vasilar" membrane can be the kind that a Vi draws to explain Viola Vibrations, I guess! Making up new words is just so prolightfully awstastic.
Props to my Bro for excellent and creative swing pushing, and to my Mamma for filming it.
Extra special thanks to my generous donators, without whom I would not have been able to create this video. Because of your support, I have the equipment, time, and take-out Thai food necessary for doing stuff like this."
"time to break out the old Serge panels and hook 'em up. In my eagerness to patch it up this noise thing manifested -- something more elegant later. . ."
Teenage Engineering OP-1 Test#01 with Famicom(NES)
Teenage Engineering OP-1 Test#02 with Bass Ukulele
Teenage Engineering OP-1 Test#03 with MS-20
Teenage Engineering OP-1 Test#04 with Toy Piano
Teenage Engineering OP-1 Test#05 with Alpaca
"[This is a follow-up video demonstrating digi-support. The initial video is available here: http://www.youtube.com/watch?v=gw-TQaskkQ8] [previously posted here]
I added digi-support to enable playback of tunes containing sampled sounds. Two things to keep in mind:
* The emulator code (TinySID) can only playback tunes in PSID format (in which the majority of the files in the HVSC are). However, with update #50 the digi-tunes in the HVSC have been replaced by ones in the newer RSID format. The old PSID digi-tunes are still avaliable separately here: http://www.hvsc.de/download/files/archives/C64MUSIC_PlaySID.rar
So use these for your digi pleasure :)
* The SID 8580R5 needs a digi-boost hack to play the digis sufficiently loud. Add a 330 k resistor from EXT IN to GND, preferrably using a switch.
Detailed explanations, pictures, schematics, and the firmware can be found here:
http://dangerousprototypes.com/forum/viewtopic.php?f=56&t=2197"
"To celebrate the fifth anniversary of the Bob Moog Foundation, we are sharing the first installation of the Moogstress blog. Michelle Moog-Koussa will continue to write about the more personal side of her work with the Foundation throughout the year. Here, she shares insights into the creation of the Foundation itself.
'My father was a quiet, introspective, cool, quirky, funny guy. He worked, and traveled for work, a lot so I got to see less of him than the average kid. While I silently longed to spend more time with him, even as a child I acknowledged that he functioned on an uncommon intellectual plane and that this attribute drove him to pursuits that were well outside the fathering realm. Dad was a great teacher, had a rambunctious laugh and sense of humor, loved chocolate and good food of all sorts, had a passion and attachment to nature and had the deepest, wisest, rarest presence that I have yet to experience. I loved him and respected him deeply, as you would expect, but he was still just my dad.
I have three siblings. We all grew up knowing that our father had done something remarkable, but it was rarely talked about in the house. Dad didn’t talk about work much and when asked, he often gave uncomfortable, short answers. There are probably many reasons for this for which I can only surmise, but one of them is surely that he wanted a place where he could just be Dad, and not be viewed through the big, and sometimes overwhelming, 'Bob Moog” filter.'"
via Befaco where you'll find more info in Spanish.
Googlish:
"We finished the prototype of our new VCO. The idea was to make a compact version of the above oscillator, which occupied the space of a single module (the II was two-fold), and was cheaper and easier to build.
We love was enough. Basically, the only function that we had to step down was the mixing section, where it was possible to combine the desired waveform at different volumes. Another thing is that it fails to reach frequencies as low as II, which can easily be used as LFO.
Instead, it has integrated a sub oscillator, which can run one, two or three octaves below the main frequency and a 10-turn potentiometer (!) To control the pitch.
Soon to be available for production in the workshops."
These in via Soviet Space Child. Note the custom knobs and end panels.
Playlist:
1) Bourrée n. 1 - dalla Suite inglese n. 2 in La min. Googlish description below. "Tanti anni fa, un mio prozio conosceva un bravo organista della chiesa di San Bonifacio, ad Arnstadt in Germania; lo chiamavano tutti Giova' (Giovanni)... c'era anche chi lo chiamava "Sebastianoooo!!!!! O Sebastiaanoooo!!!", ma a quel nome non rispondeva quasi mai. Era un tedesco in tutti i sensi, serio e preciso. Un giorno questo mio prozio e l'organista si ritrovarono a parlare di un bravo costruttore di clavicembali (uno strumento musicale adorato dallo stesso Giova') che abitava a qualche centinaio di chilometri, precisamente a Waldorf. Si diceva che era in grado di costruire clavicembali con possibilità "sonore" mai sentite e di qualità eccelsa. Il Giovanni necessitava in quel periodo di un nuovo strumento per il suo diletto, quindi colse l'occasione per contattare questo costruttore a Waldorf e per farsi costruire un clavicembalo nuovo di zecca, con tutte le caratteristiche timbriche di cui si faceva vanto. Il costruttore disse subito al buon Giovanni che ci sarebbero voluti molti giorni per costruire uno strumento del genere, ma egli aveva una grande pazienza e poteva comunque sollazzarsi nel frattempo con gli altri strumenti che possedeva. Passarono gli anni, il buon Giovanni morì, il mio prozio ereditò da lui la commissione di ritirare questo clavicembalo una volta pronto... la commissione passò di padre in figlio nella mia famiglia. Finché alcune settimane fa sono stato contattato direttamente da un discendente del "vecchio" costruttore di clavicembali di Waldorf: il clavicembalo era pronto!!! Come si dice, meglio tardi che mai... In questi giorni mi metterò in contatto coi familiari del buon Giova' per sentire se qualcuno di loro vorrà reclamare la proprietà del clavicembalo. Nel caso mi sono premunito e ho pensato bene di registrare (per ricordo) una esecuzione allo strumento in questione di un pezzo composto dallo stesso Giovanni: dalla Suite inglese n. 2 in La minore, la Bourrée 1 eseguita sul clavicembalo Waldorf. Buon ascolto."
Googlish: "Many years ago, my uncle knew a good organist of the church of St. Boniface, in Arnstadt in Germany, is worth all called him '(John) ... there were those who called him "O !!!!! Sebastianoooo Sebastiaanoooo !!!", but that name is almost never answered. He was a German in every sense, serious and precise. One day my great-uncle and the organist found themselves talking to a good builder of harpsichords (a musical instrument is worth adored by the same ') who lived a few hundred kilometers, more precisely in Waldorf. It was said that he was able to build harpsichords with possibility "sound" and never heard of excellent quality. The John needed at that time a new tool for his pleasure, then took the opportunity to contact the manufacturer to get in Waldorf and build a brand new harpsichord, with all the tonal characteristics of which did boast. The manufacturer immediately said to John that good it would take many days to build such an instrument, but he had great patience in the meantime and could still amuse others with the tools he had. Years passed, the good John died, my great-uncle inherited from him the commission to withdraw this harpsichord once ready ... The Committee passed on from father to son in my family. Until a few weeks ago I was directly contacted by a descendant of the "old" builder of harpsichords of Waldorf: the harpsichord was ready! As they say, better late than never ... In these days I'll get in touch with family is worth the good 'to hear if any of them will claim ownership of the harpsichord. If I were in possession and I thought it best to record (to remember) a matter of running the instrument in a piece composed by John himself: from the English Suite No 2 in A minor, performed on the harpsichord Waldorf Bourrée 1. Happy listening."
2) Domenico Scarlatti - sonata in La maggiore K 212 "Non avendo più avuto notizie dalla famiglia del Giovanni Sebastiano, mi accingo a proporvi una personale "revisione" della sonata in oggetto, opera del partenopeo Domenico Scarlatti (contemporaneo dell'organista di Arnstadt), rigorosamente eseguita al clavicembalo Waldorf. Un po' di storia: Scarlatti nasce nel 1685, figlio di un noto compositore napoletano ne eredita le influenze della scuola omonima, diventata famosa per le particolari soluzioni armoniche, e che si protrae fino ai giorni nostri vantando esponenti di spicco quali Nino D'Angelo, Gigi D'Alessio, Mario Merola ecc. La sua predisposizione musicale è evidente anche in tenera età, tuttavia l'animo mediterraneo prende spesso il sopravvento portandolo a frequentare personaggi poco raccomandabili e luoghi di dubbia moralità. La passione per il gentil sesso poi lo rende tristemente "famoso": taluni narrano che abbia avuto più di 500 amanti, altri dicono addirittura 600, anche se personalmente ritengo che la ragione stia nel mezzo. Indubbiamente amatore di fama internazionale, soleva comporre dei brani per omaggiare le fanciulle che conquistava; nel giro di pochi anni si ritrovò sommerso di spartiti musicali, senza ricordarsi a chi erano dedicate le composizioni. Di certo non nutriva stima nei confronti delle donzelle, spesso le maltrattava e di norma le chiamava tutte con l'appellativo "oh sonataaaa!!!". Da qui nacque l'idea di catalogare queste composizioni e recarvi sopra un numero preceduto dall'appellativo e talvolta dall'iniziale del nome della donna cui era dedicata la composizione. Il resto è storia nota. Morì a Madrid nel 1757, in seguito a un regolamento di conti, per mano del marito di una delle sue molte amanti. Buon ascolto.
P.S.: i puristi perdoneranno l'armonizzazione con progressioni per quinte e ottave."
Googlish: "Not having heard from the family of John Sebastian, I am going to offer you a personal "review" of the sonata in question, by the Neapolitan Domenico Scarlatti (contemporary organist at Arnstadt), performed strictly at the harpsichord Waldorf. A little 'history: Scarlatti was born in 1685, the son of a famous Neapolitan composer inherits the influences of the school of the same name, became famous for the unique harmonic solutions, and that continues to this day boast of leading figures such as D'Angelo, Gigi D'Alessio Mario Merola etc.. His musical arrangement is also evident at an early age, but the heart often takes over the Mediterranean bringing unsavory characters to attend and places of dubious morality. The passion for the fairer sex, then sadly makes it "famous" tell us that some have had more than 500 fans, some say even 600, even though I personally think that the reason lies somewhere in between. Undoubtedly, a lover of international fame, he used to compose songs pay homage to girls who conquered; within a few years he found himself inundated with musical scores, without remembering those who were dedicated to the compositions. Certainly did not hold high regard of the maidens, often mistreated and called them all under the title "Oh sonataaaa !!!". What emerged was the idea of cataloging these compositions and go over a number preceded by the appeal from the initial and sometimes the name of the woman who was dedicated to the composition. The rest is history. He died in Madrid in 1757, following a settling of scores, by her husband of one of his many mistresses. Happy listening.
PS: the purists will forgive the harmonization with progressions by fifths and octaves."
3) Allegro - dalla VI sonata per gravicembalo di Pier Domenico Paradies
"Eccomi di nuovo qui! Dopo un periodo di intensa quotidianità ho sentito la necessità di appropriarmi di qualche minuto di relax... di uno stacco... un intervallo... Quale miglior occasione per riproporre l'Allegro della sesta Sonata - nota anche come Toccata, data la forma musicale - adeguatamente (spero) trascritta per il mio gravicembalo Waldorf? I molti perdoneranno le consuete progressioni, in disaccordo con la "rigidità" dell'Armonia pre-romantica, causate dalle 3 voci più percussioni a sostegno della melodia originaria, ma la necessità di sfruttare a pieno le potenzialità dello strumento in questione richiede alcune licenze. Taluni perdoneranno altresì l'eccessiva velocità nell'esecuzione; l'intento era quello di abbreviare i tempi d'esecuzione dato che trattasi di Toccata e com'è ben noto a tutti, toccate eccessivamente lunghe possono provocare seri danni alla salute, dalla miopia all'assoluta cecità! E io già ci vedo maluccio...
Alcune note biografiche sull'autore della composizione: Pier Domenico Paradisi nasce a Napoli nel 1707. Noto criminale appartenente alla famiglia dei Paradisi, dopo una vita di eccessi e crimini nel 1746 fu costretto a trasferirsi a Londra a causa delle continue rivalità tra i clan camorristici cui faceva parte, ove si spacciò per insegnante di clavicembalo e canto sotto il nome di Paradies, in modo da celare le sue origini malavitose. Nel 1770 ritornò in Italia e quivi morì nel 1791 nella sua casa a Venezia dopo un terribile agguato tesogli dal clan degli Scarlatti. Buon ascolto."
Googlish: "Here I am again! After a period of intense daily life I felt the need to take a few minutes of relaxation ... of an ex ... a range ... What better opportunity to present the Allegro of the Sixth Sonata - known as the Toccata, given the musical form - properly (I hope) I transcribed for harpsichord Waldorf? I forgive a lot of the usual progressions, disagree with the "aggressive" pre-Romantic Harmony, 3 caused by percussion voices in support of the original melody, but the need to fully exploit the potential of the instrument in question requires some licenses. Some also forgive the excessive speed in execution, the intent was to shorten lead times, and Toccata in question because it is well known to all, touch too long can cause serious damage to health, from myopia to 'absolute blindness! And I see we have this lily ...
Some biographical notes about the author of the composition: Pier Domenico Paradisi was born in Naples in 1707. Belonging to the family of known criminal havens, after a life of excesses and crimes in 1746 was forced to move to London because of the continuous rivalry between Camorra clans which he belonged, where he posed as a teacher of harpsichord and singing under the name of Paradise , so as to hide its origins underworld. In 1770 he returned to Italy and there he died in 1791 at his home in Venice after a terrifying ambush by the clan of tesogli Scarlatti. Happy listening."
"Brief demo of some upcoming tech. More info at http://www.muffwiggler.com/forum/viewtopic.php?t=40589"
"we're announcing a (yet-titled) module for eurorack... a NES controller to eurorack modular synthesizer interface!
Core Features:
Socket for a NES controller
Dedicated gate outputs for up, down, left, right, A, B
Turbo / Retrigger A lovechild of classic game controller turbo, and "retrigger" (think: Machinedrum). Awesomely, it can be driven by gates from within the module, or any other external gate sources via patching.
One More Thing... A sweet but yet-public feature that special stage designed, which will put the start and select buttons to use, and involve output of continuous non-gate signals
this is a collaborative design - the module's functionality, personality, and balance are the result of our combined experience and brainstorming. furthermore special stage is doing the code and circuit design, and I'm doing panel design and layout.
we're announcing in order to find out how many people are interested in this. we're both pretty busy, so it is entirely possible we'll only do a single run of this and then call it a day. if you want one, now is the time to let us know!"
