Via the seller: "Estate Sale purchase. Rare JEN SM-2007 VINTAGE ANALOG SYNTHESIZER. Unit powers on but otherwise untested. I do not know how to operate the functions on this machine, and can not verify that everything is working. Therefore it is being sold AS IS."
"The Crumar General Development System is a very rare late 1970s digital synthesizer based on the Bell Labs Digital Synthesizer, also known as the Alles Machine.
It might better be known by it's little brother, the Digital Keyboards Synergy. I'm fascinated by this machine since 7 or 8 years meanwhile, since i read about it in Mark Vail's Vintage Synthesizers book. One day, i want to have it replicated on a firmware basis running on a suitable micro.
A bit more than a year ago, i sort of accidentally bought this keyboard from eBay, missing the point that it might be hard to impossible to get the main unit for it. As the offer appeared several times from the seller before, i might not have been the only one.
But if i botch it, i'll fix the situation and not cowardly step back from the purchase. I mean. How hard can it be to make this a MIDI controller?
Really - not that hard. The "communications protocol" consists of several signals controlling some counters that control some multiplexers and a ramp ADC, not so difficult. It's a bit like a serial datastream for the keyboard and PWM for the potentiometers. But why not do it completely right and also support the other direction, adding MIDI to a Crumar GDS? So i took some more care analyzing the host-side interface circuitry to understand it and implement exactly the same signal behavior here.
So technically, this interface intercepts the keyboard and potentiometer lines using SPI DMA for the keyboard bits and timer PWM/capture for the potentiometer data. If the interface runs in master mode, there is another timer-controlled DMA generating the control signal stream, otherwise, this comes from the GDS and is just passed through.
The front panel LEDs, based on a ICM7218, are also intercepted, so i use externally-triggered timer controlling GPIO DMA to read the host writes into a MCU buffer, extract the LED data and forward this to the output code, which writes them to the keyboard. I can switch to internal LED control easily this way without losing host LED changes.
All this is based on a STM32F103RCT6 running at 72MHz. There is not even interface circuitry as the signal drivers in the STM32 are strong enough for the TTL receivers, the inputs already have schmitt-triggers, it just fits between the cable.
So far, everything basically works, basic MIDI support is there, now it's time to complete the configuration by SysEx and by the keyboard controller itself, implement firmware update via SysEx, add the USB MIDI support, make the 4 LEDs show some useful status information, but all this is just software.
The hardware is now completed and tested - which was the main purpose of this video, while showing you another not so common DIY hack."
Crumar GDS MIDI interface testing
Published on Jul 30, 2015 Michael Kukat
"Another video about the Crumar GDS MIDI interface.
This time, both interfaces are in use. One is running in master mode, sort of emulating a real GDS (just the scan processor, not the synth), the other one in slave mode, working as a GDS MIDI interface.
The purpose was to test if everything works as intended, as it already did on the breadboad.
Controlling the Korg Gadget on the iPad with a Crumar GDS keyboard - fun :)
In the second part, i try to describe a bit how the interface between the GDS main unit and the keyboard works and how i hook into this communication to implement the interface. The DK Synergy works exactly the same way, it even has nearly the same pinout, just number of keys and pots differ. My interface board could also be used in a DK Synergy."
1. The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)
"A non-stop DJ Continous Mix featuring some of the greatest and most popular Soundtracks from the early 90s Old School Amiga Demos.
Playlist:
0:05 "Deep Space" by Greg (from "Odyssey" by Alcatraz, 1992)
0:45 "Stardust Memories" by Jester (from "World of Commodore" by Sanity, 1992)
4:15 "Part6" by Greg (from "Odyssey" by Alcatraz, 1992)
6:35 "Hyperbased" by Firefox & Tip (from "Enigma" by Phenomena, 1991)
11:19 "Checknobankh" by Laxity (from "Desert Dream" by Kefrens, 1993)
14:25 "Elysium" by Jester (from "Elysium" by Sanity, 1991)
17:50 "Vite and Plack" by Virgill (from "Interference" by Sanity, 1993)
21:41 "Part3" by Greg (from "Odyssey" by Alcatraz, 1992)
23:21 "Overload" by Firefox & Tip (from "Voyage" by Razor 1911, 1991)
29:30 "Nagual Dance" by Jugi (from "Paradigma" by Complex, 1993)
33:35 "Demomodul#3" by Laxity (from "Desert Dream" by Kefrens, 1993)
37:55 "Cyberride" by Jester (from "Extension" by Pygmy Projects, 1993)
42:16 "A nice Day for a Walk" by Julius / Mad Freak (from "3D Demo II" by Anarchy, 1992)
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Published on Jul 20, 2015
"This SX-64 is forsale on ebay. The music you hear was generated by this SX-64 in real time recorded directly from the stereo output." Update: Be sure to listen in stereo! There are different things happening on each channel on this one.
This listing is for a modified Commodore SX-64 Executive Portable Computer
It has the following modifications:
JiffyDOS (a switch on the back allows you enable CBM DOS or JiffyDOS v6.01)
SID2SID (This allows two MOS Technology SID chips to be installed version 6581)
Ray Carlsen's reset circuit
A 3.5mm stereo (SID1 and SID2) audio jack next to the JiffyDOS switch.
What it included in this listing:
Commodore SX-64 with the modifications listed above
A prophet-64 catridge (Sequencer, TB303 clone, Drum machine and Mono synth)
A Messiah cartridge with midi (Sequencer, TB303 clone, drum machine, mono synth and wave player)
Commodore SX-64 manual
Commodore 1351 mouse
A small project box with a Sequential PROPHET nameplate and 4 pots mounted for use with Prophet-64 and Messiah
The little Prophet 4 pot controller box works in conjunction with the keyboard to let you
select various functions and then tweak sounds in real time. They can be used mainly with
the TB303 clone (bassline) and the mono synth and the drum machine.
It has one epoxy repair where the keyboard cable connects. The repair is solid."
Playlist:
1. The Arp Family of Synthesizers. Demonstration Record. - "Music and narration by Roger Powell (Utopia). Starting with a clip with the Who, demonstrating how Pete Townsend used the Arp on Who's Next. Eva-Tone Sound Sheet."
2. THE ARP 2500 & THE ARP 2600. Demonstration record. Side 1. - "Narration and music by Roger Powell."
3. THE ARP 2500 & THE ARP 2600. Demonstration record. Side 2 - "By Harry Coon & Roger Powell."
4. ARP Soloist. Demonstration record. Side 1 - ""Dave Fredericks plays the amazing ARP Soloist. It's a one man band!"
"The Dynabeat was sold as a kit with an assembly time about 35 hours. 'The Dynabeat's sound are produced by phase-shift oscilators, in some cases combined with multivibratord and diodes. They are extremely lifelike and make anyone who ever dreamed of being a drummer really sound like one.' 1968 price: $139,50.
'The authentic sounds of rhythm instruments to accompany your organ playing.'"
Schober Dynabeat Part 2. Demonstration Record 1968
1. Guitorgan B35, MCI/Steiner Synthesizer, Bassmate. Demo Record. 1981. Side A - "MCI presents the Guitorgan. As demonstrated by Bob Wiley. Also featuring the Bass Mate. Side 1 Model 340. Side 2 Model B300"
2. Guitorgan demonstration record. Side 2
3. Guitorgan B35, MCI/Steiner Synthesizer, Bassmate. Demo Record. 1981. Side A - "Instruments featured: B35 Guitorgan, MCI/Steiner Guitorgan Synthesizer. ABC-1. Bassmate II. The Money Makers from MCI, Inc. Waco, Texas"
4. Guitorgan B35, MCI/Steiner Synthesizer. Bassmate. Demo Record. 1981. Side B
"DX7 Sound Sensation.
1. Bell, female voice (2). 2. Bagpipe, snare drum, footsteps (3). 3 Stardust (1). 4. Harp, cello (2). 5. Electric guitar (2). 6. Church organ (1). 7 Violin (1). 8. Train, banjo, fiddle, honky-tonk piano (4). 9. Volcano (1). 10 Pan-flute, timpani, shimmer, chinese organ (4). Number in parentheses indicate the number of overdubs used for the corresponding voice. The entire recording was made with a single Yamaha DX7."
Yamaha DX7. Demonstration Record 1983. Side: B
Published on Nov 17, 2013
"1. Vibe, wood bass, sax, snare drum, bass drum (5). 2. Strings, female voice (2).
3. Steel drum I, steel drum II (2). 4. Accordion I, accordion II (2). 5. Marimba (1).
6. Strings, glitter (2). 7. Grand prix (1). 8. Harpischord, strings, soft piano, female voice, baroque trumpet (5). Number in parentheses indicate the number of overdubs used for the corresponding voice. The entire recording was made with a single Yamaha DX7."
This appears to be the first one ever posted on MATRIXSYNTH.
"First time on Ebay an extremely rare Soviet vintage analog electronic drum synthesizer "POLYGON UDS". It is an "offspring" of infamous "Marsh UDS" which differs only by different casing (Poligon is a rack) and all inscriptions in English. Intended to be an export device for western market. It is a powerfull 5 channel analog drum synthesizer, produced in the USSR in 1980s. It has 5 identical channels (which can be used & edited freely, inscriptions like "snare", "bass" e.t.c. are just nominal). On every channel you can change: trigger signal sensitivity, base tone pitch, HF or LF, glissando, noise/tone ballance, noise decay, click, channel's volume. Each channel has trigger Input on a standart 1/4 mono Jack for 5 pads. It can be triggered from any drum pads like classic Simmons or modern Roland\Yamaha or any audio source - line outs of the drum machine or soundcard or CV Gate etc. The module has two stereo Outputs (1/4 Jack) ballanced & unballanced and one mono Headphone Output (1/4 Jack). This is an armoured antitank piece of gear and the sound it produces is very unique! Can synthesize huge pallete of sounds - from modern punchy BD & SD to classic 808 or 909 subs or claps e.t.c.."
Here's something you definitely don't see everyday. The Ionic Performer was essentially a clone of the EMS SYNTHI in keyboard form. The buttons take the place of the pin matrix found on the EMS SYNTHI & VCS3. See the Ionic channel for previous posts, and the Ionic Performer website for more.
Video description: "Demo of the Ionic Performer Synthesizer (1973 floor model from Ionic Industries) made for a person interested in obtaining it from me. It's unscripted, so, you know. More info, demos, historical info, etc., on my Ionic Performer website."
Ionic Performer Synthesizer: How to Unstick Keys
Published on Jun 24, 2015
"This quick video was made for a person interested in obtaining this Ionic Performer from me. It is a fixed-camera video just to help him out, so forgive the occasional off-screen moments."
"Demonstration of the third version of Rhythmicom built by Leon Theremin at Moscow State Conservatory in early 1960-s. The first Rhythmicon was developed by Leon Theremin for Henry Cowell in 1932. It was the first rhythm machine ever built."
"The Rhythmicon was never mass-produced. Only three models were ever made. One of them has been lost to the sands of time – depending on whom you ask, it was either tossed in the trash by a janitor at Columbia University or disposed of by staff at Stanford’s psychology department. Another model was last seen in storage at the Smithsonian Institution.
As for the third Rhythmicon – a Russian model built out of junk parts by Theremin in the mid-’60s – it’s currently in safe keeping at the Theremin Center of the Moscow Conservatory.
It’s a very nice noise machine.
Andrey Smirnov, an artist, curator and instrument collector, got his hands on this smaller, DIY version of the Rhythmicon and refurbished it in 2004. Speaking by Skype from his home in Moscow, he says the machine is still in working order, though it usually requires a tune-up before you turn it on. But like most Rhythmicon experts, he believes this contraption is more valuable for its novel mechanics than for its potential as an actual musical instrument.
'You can’t start the rhythm from the first measure. It’s always on,” he says, noting that it’d be highly impractical to perform with live. “It’s a very nice noise machine.'
The Rhythmicon is universally regarded as the world’s first drum machine, but technically it’s not a “drum” machine. As opposed to other early devices, like the Chamberlin Rhythmate (introduced in 1957) or the Wurlitzer Sideman (1959), it doesn’t play beats according to typical time signatures. Instead it offers up a series of complex rhythmic pulses, each playing at a different pitch and each corresponding to different ratios from the harmonic series."
Vintage Digital Synthisizer 1977 Published on Jun 15, 2015 urcich
Roger Powell at 5:22. Further below is a video of Laurie Spiegel playing the synth. See the Bell Labs channel label at the bottom of this post for more.
It's fascinating to hear what the initial intent of this synthesizer was.
via Hal Alles on the Synergy list:
"Since a few people have expressed interest, I posted a video on youtube of a demo using the synthesizer I developed at Bell Labs.
This demo was made as a backup for a live demo for the celebration of the 50th Anniversary of Talking Motion Pictures.
Hence the references to the movie industry.
The live demo was done on the stage at the Palladium in Hollywood in 1977, so the backup was never shown.
It started life as studio video tape made a few days before the show, converted to 16 mm film, then later to VHS tape, then to DVD, and finally the digital version posted.
Very few people have seen this – I did not have a copy until 1995.
Hal Alles"
Laurie Spiegel plays Alles synth - temporary replacement
Uploaded on Apr 27, 2009 Laurie Spiegel
"This 1977 tape is one of the earliest examples of purely digital realtime audio synthesis. It manages to achieve an analog synth sounding quality, but it is entirely digital synthesis and signal processing.
The interactive software I wrote and am playing in this video recycles my keyboard input into an accompaniment to my continued playing, which is why I called it a "concerto generator". I use part of one of the keyboards for control data entry, and the small switches upper right to access pre-entered numerical patterns. The sliders are mainly pre-Yamaha FM synthesis parameter controls, for the number of harmonics and amplitude and frequency of the FM modulator and carrier that constituted each musical voice.
Until they restore the copy suffering from data corruption please look at this copy instead.
Comments can continue to be left on the original's page where there have been many views and comments views, here:
Update via Spiegel's Reflections in the comments: "I've posted some additional info about the synth Hal Alles built that's featured here along with a link to more technical info. See my extended comment near the bottom of this page":
"I never heard this called "Alice" till the last couple years. Don't know when that name first surfaced.
A correction: This was at the time considered the world's first ***realtime*** digital (not "additive") synthesizer. Yes, it could do additive synthesis but was quite flexible as to how the oscillator could be used. I used them as FM pairs, with both the modulator and carrier of each FM pair being additive, with the number and amplitude of their harmonics controlled by the slide pots. (This video of me playing it shows is a rare example of pre-Yamaha DX-series FM synthesis.) The breakthrough was to do digital synthesis in realtime so it could be interactive. Prior to this technology, digital computers were not fast enough to produce audio in real time and it was not possible to do digital audio interactively.
There were 72 slide pots. (72 oscillators were mentioned above instead). The number of oscillators depending on how the components were programmed to interconnect. For the specifics of its synthesis architecture, please see Hal Alles's paper describing the system in Computer Music Journal, Vol. 1 #4, which you can find on my website at http://retiary.org/ls/obsolete_systems/Alles_synth_1977.pdf
The system was not dismantled as it says here, but donated to the Oberlin College Music Dept. For all I know it is still there. I'm not sure why Gary Nelson and the group there were not able to get it running. I had heard that it was dropped during the move, but alternatively, we programmed it remotely from (if I remember right) an LSI 11/45 computer in another part of the Labs. I don't know to what extent it could be programmed independently of an external computer with a compiler etc. installed, so that might have been a major hurdle for them. This was 1977 at Bell Telephone Labs, so the purpose of the system was never to make a marketable music system but to develop and test the new designs of its components, and I was under the impression a bunch of new patents resulted, The ideas built into this instrument were not lost to music though. Crumar created various synthsizers based on its internal architecture. I think (but am not sure because I never had direct experience with them) that those included the Crumar GDS and Synergy.
From the liner notes of my 'Obsolete System' cd:
This composition was commissioned by Bell Labs and the Motion Picture Academy for the 50th anniversary of talking pictures. Working with the Alles synthesizer, with its extensive array of input and output channels for control, was a real pleasure after years of GROOVE's extreme restrictions. The interactive software I wrote for this composition recycles the player's keyboard input into an ongoing accompaniment. However, writing the software from a remote DEC PDP-11 computer [..] in the new "C" computer language still undergoing frequent change, within a still-experimental UNIX operating system, without the control inputs or sonic output, under a tight deadline, while the Alles synthesizer hardware was still under construction, turned out to be quite an adventure.
It's also not necessarily true that only 1 composition survives from this instrument. Roger Powell also composed something on it I believe, though I don't know if he finished or recorded it. And I have a couple of reel-to-reel tapes I recorded on it that I haven't listened to since then (1977). It is possible that something on one of those open reels might be worthy of being considered additional music. At some point I will work up to transferring them to digital and find out."
"This video documents the fifth installment of the Experimental Sound and Improvisation evening here in Yangon .
It is titled Noise Above Yangon as it was held on the roof of the Pansodan Scene Gallery on the 26 of April 2015 .
As usual, we had guests from abroad and this time we had a pleasure to listen to Phu Pham and Tri Minh, both from Hanoi, Vietnam and Mono-Poly, aka Dennis Verschoor from Rotterdam, The Netherlands.
The local performers where Darko and Ko Jeu under the Burmelange name, Kavas, Slyne Mon and me, Rastko.
It was a demanding technical setup with a sudden monsoon rain and electricity everywhere where it is not supposed to be but suddenly the skies cleared up and we have begun to play inspired by the great city beneath us.
I wish to thank the people working at the Pansodan Scene for helping us with the setup and for hosting our event on their roof top.
Furthermore, a big thank you to the wonderful audience who came to listen to us and to Michael Åberg for filming the event.
We dedicate this video and event to Yangon the city we love.
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Formant Musik-Synthesizer #2 Demo-Tape 1978 (German)
Uploaded on Jul 27, 2011 MonoThyratron
Part 1 had embedding disabled. You can find it here. I found this video after seeing the auction listing for the tape below. I'm guessing this is the same, but of course I have no way of knowing for sure. If you know feel free to comment. Below is the video description in Googlish, followed by original German. It was massive so I opted to put it with the pics.
Cool little bit of obscure synth history you don't see everyday.
Googlish description for the video above (original German after the dotted line break below):
"For educational purpose only!
This demonstration was part of the band, published by the publishing house Elektor book "Formant music synthesizer" (1978) will be presented operation and sound examples of Formant -.. Part 2/2
"The synthesizer is even for many experienced musicians a difficult instrument whose musical dimensions are in contrast to the conventional instruments is often not readily recognizable.
That an intensive study of this unusual musical instrument worth, takes the reader to the formant series hardly proven to be. After the positive reactions to the formant by readers and also by the music trade press, the following setting examples and musical hints supplement the formant series into a single unit.
By the way can also be used in an appropriate form to play the other synthesizer most tips for the synthesis of realistic instrument sounds. Specifically, the highly detailed settings described the resonance filter that play a central role in generating credible timbres, can basically for any electronic musical instrument very use to the advantage of the sounds produced.
The setting examples are divided into two main parts: First, it is important to learn how to operate the individual formant modules properly and exhausts its possibilities. This saves the less experienced formant owners that first game attempts to exist alone. The given guidance, transporting the player in a relatively short time in the position of having independently over the sonic possibilities of his instrument.
The second main part describes combinations of basic settings that make it possible to create differentiated instrumental sounds with the formant. Thus, for example, describes the settings for the sound producing a wooden flute, a trumpet, a trombone, a tuba, a vibraphone, string instruments, a clarinet, a bassoon, an oboe, a flute, a piano and so on in detail and illustrated by Einstellskizzen. An important role is played by the resonance or formant filtering education that includes an important and, audible 'improving sound shaping. The numerous tips that are presented here, can be easily used for other synthesizer and in general all electronic musical instruments.
Finally, it is explained briefly what benefits eg a Miniformant and polyphonic playing mitsichbringen. Using the manual you get to know the formant better. The settings described contribute also the handwriting of the author '. They are therefore not to be regarded as the only true, but to fuel creative doing. About own sound discoveries the joy is greater than on predetermined settings. "
Source: C. Chapman, music with the synthesizer, setting examples and tips for playing music with Formant, in: Formant music synthesizer, Elektor Verlag Gangelt 1978, p 80
ISBN 3-921608-10-4"
"This is an unused 'Loyal Order of the Wogglebug' patch from Wiard synthesizer company. Has been in an envelope untouched for over ten years. Cool piece of modular synth memorabilia."
"VINTAGE COMPUTER ANALOGUE SYNTHESIZER COMMODORE SX-64 SID PROPHET MIDI CONTROLLER
"First time on Ebay an extremely rare Soviet vintage analog electronic drum synthesizer "POLYGON UDS". It is an "offspring" of infamous "Marsh UDS" which differs only by different casing (Poligon is a rack) and all inscriptions in English. Intended to be an export device for western market. It is a powerfull 5 channel analog drum synthesizer, produced in the USSR in 1980s. It has 5 identical channels (which can be used & edited freely, inscriptions like "snare", "bass" e.t.c. are just nominal). On every channel you can change: trigger signal sensitivity, base tone pitch, HF or LF, glissando, noise/tone ballance, noise decay, click, channel's volume. Each channel has trigger Input on a standart 1/4 mono Jack for 5 pads. It can be triggered from any drum pads like classic Simmons or modern Roland\Yamaha or any audio source - line outs of the drum machine or soundcard or CV Gate etc. The module has two stereo Outputs (1/4 Jack) ballanced & unballanced and one mono Headphone Output (1/4 Jack). This is an armoured antitank piece of gear and the sound it produces is very unique! Can synthesize huge pallete of sounds - from modern punchy BD & SD to classic 808 or 909 subs or claps e.t.c.."
Googlish description for the video above (original German after the dotted line break below):
