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video upload by TronixSynth
"I've started making custom platform/bases for the synth circuits I make. Here is the Phase3 MIDI Synth with a newly designed base/platform, made with a Sience Labs LongMill cnc machine." You can find a demo of the Phase3 here.
"Experimental MIDI controlled FM synth (frequency modulated synthesis, same synthesis method used in classic synths such as the Yamaha DX7, early 90's sound cards and arcade video games).
Can be used with PC or Mac MIDI software such as Max/MSP, Ableton, Pure Data, and any hardware/keyboard with standard MIDI output (MIDI controller).
"Used DX7S in very good condition, this unit includes a power cable, an original hard shell case, and a DX7S ROM cartridge.
Even with it's god-tier status in the 80's synth world, the Yamaha DX7 and its counterparts still remain reasonably priced (all things considered). Don't let the word digital throw you off, these things are truly starting to become cult classics. This DX7S may not be as iconic as the DX7 it succeeded, its upgraded 16 bit digital to analogue converter and doubled memory capacity make it a solid upgrade from the original. The synth works well and its Taco Bell bell sounds even better than you remember! As with any vintage/used device, this synth has some minor scuffs and scratches present. Its overall condition is quite good however with very little wear and tear (not major dents or plastic knockout and almost no signs of play wear to speak of). The DX7 family definitely won't stay this cheap for long, so get them while they're hot!"
Click the auction link on top when you get there for additional listings.
"Here is a very rare and amazing FM 'package' to sell All have been recently serviced (DX7 +TX816 new batteries, total TX816 internal power supply recap), MINT DT-7 D-tronic, 5 rare Cartriges for DX7 and DX1/DX5 ! and very usefull 8 voices Yamaha mixer MV-802 to have a perfect control of each of 8 TX816 modules (professional XLR-6.35mm jack cables included)"
"Both units are preowned. Both units are in incredible condition. Each comes with the original PSU.
In a world where fury once ruled their independent hearts, T1 and D-2000 have forged an electrifying bond that transcends their explosive tempers. Once two of the angriest souls around, they discovered that beneath the surface of their rage lay a profound connection. Together, they channel their frustrations into a unique form of expressive tube warmth—Their voices resonate with a powerful mix of raw energy, screaming passion, and valve-charged melodic noise. In their whirlwind of emotions, they’ve found happiness not in calming the storm alone, but in celebrating it together.
The Metasonix T1
is incredibly rare. With only ten ever made, this unit is number 2.
From the Metasonix T1 owner's manual:
The T1 is our FLAGSHIP instrument! Our best/worst! It is an intentionally primitive device, using late 1950s technology for the entire signal path. Do not expect it to sound or behave like a Moooooog! Do not expect it to sound or behave like a copycat machine trying to sound like a Mooooooooooooooog! Do not furiously twist the knobs in search of the 1980s DX7 tone. F*** you and f*** the 1980s! Oh, and PS: there are no presets!
Metasonix - D-2000
WARNING: this is an extremely abnormal product . If you purchased it expecting to get 'TR606-like' or 'vintage-like' drum sounds, you will be sorely disappointed. WARNING: The D-2000 is NOT a 'Linndrum' or a 'TR606 simulation' or a sample playback device! Do not expect it to sound or behave like a classic drum machine or a real drummer! Do not expect it to sound or behave like a machine trying to sound like a drummer! It is ABNORMAL. It does NOT behave like other music products. Also, please do not power it up, experiment for a few minutes, and then quickly contact us, claiming it is 'broken' or 'bad'. Each new D-2000 was tested at the factory very carefully. Many of our past products were often returned with a warranty claim that they were 'broken'. And most such 'broken' units turned out to be working perfectly. We will publicly mock anyone who returns a working D-2000 claiming it is 'broken'. The D-2000 contains five drum 'voices', which use vacuum tubes, plus a monophonic mixer also using a tube. Pushbuttons are provided to trigger each of the drum sounds. The mixer also has a CV input that can be used to completely mute the output if desired. At the far right of the panel is an 8hp space for a Eurorack synthesizer module."
"It was an honor for me to interview John Chowning who is directly responsible for the way we create music today in every genre! His visionary ideas have profoundly shaped contemporary music creation, including the integration of computers, AI, digital synthesis, sound sharing, and surround sound.
He stands as a monumental figure in 21st-century music, renowned for his pioneering contributions as a composer, musician, and educator. As the founding director of the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, Chowning made groundbreaking strides in the field. His historic discovery of FM synthesis not only became one of Stanford’s most valuable patents but also paved the way for Yamaha’s DX7 synthesizer through their licensing of FM sound synthesis technology.
Another important aspect of Chowning's work is the simulated motion of sound through physical space creating an illusion of a continuous 360-degree space using only four speakers. John’s boundless curiosity and groundbreaking achievements have established him as a bright shining beacon of inspiration for musicians everywhere.
00:00 - Cold Open
00:42 - intro
02:27 - Read to Discovery
06:15 - Stanford & Early Electronic Music
14:26 - Discovering FM Synthesis
19:25 - The FM Enlightenment
23:14 - Yamaha DX7
31:09 - Synclavier VS Yamaha
36:02 - FM Made Simple
43:04 - The Power of Timbre
51:09 - Where are we now?"
"So, here we are. Me and you, together in this very moment.Thank you for reaching this point. You make it all worth while. The music on this album, was written/recorded in the last 4 years. Everything ,except mastering, was done in my home studio in LA. To sculpt the atmosphere you are listening to I used various synths and efx. All hardware. Clicks & pops, mis-timed midi messages, live mistakes and other things :) It’s all on it. For few good reasons. It’s how the hardware I own, sounds. It’s how I play my instruments, sounds. From the computer that records the audio to the end of the FX chain.
The machines have character. I hope their character gets delivered to your ears with these recordings.
Instruments: Novation Summit, BC Deckards Dream MKII, Roland Juno 106, Roland JX-3P, Yamaha DX7, Jomox Alphabase Drum Synthesizer, Custom Eurorack System, Coffee. FX: Strymon Big Sky/Timeline, OTO Machines BIM/BAM/BOUM, Hologram Electronics Microcosm, TC Electronics Hall Of Fame 2/Helix Phaser, Coffee. Recording Hardware: PC Desktop/Windows 64 bit, Quad Core 4.0 MHZ, 32 GB RAM, 5TB SSD Combined, MOTU 828es/16A/Midi Express, Furman Power Conditioner, Roland Gold Instruments Cables, Coffee. Recording Software: Reason 12, Coffee."
The above is a walkthrough of a Stanford CCRMA open house from Thursday the 16th by supporing member SynthAddict. Take a look at what he walks into when he enters the building. A Yamaha GS1 with working voice programmer. The GS1 was the first commercial FM synthesizer released in 1980, three years prior to the DX7. John Chowning, discoverer of FM synthesis performed that night. According to SynthAddict: "The Chowning curated show last night was very eye opening - so much cool electronic music even going back to the 60s and it was digital."
And below :) "Today I got a shot of the Yamaha power synth stack in the lobby, with the best baseball cap on top. 😀"
Synth Addict
Update: looks like the stream was here: https://ccrma.stanford.edu/live/. It's not working for me at the moment, but feel free to check and comment if it works for you.
"Please join us while we explore the infamous, but actually quite venerable Moog Memorymoog synthesizer. As is widely recognized, the Memorymoog was developed too late and was rushed to the market. By 1982/83, the era of extremely expensive flagship analog polysynths being ubiquitously adopted by professional musicians and studios was coming to an end. Synths like the Sequential Prophet 5, Oberheim OB-X/Xa, & Roland Jupiter 8 had dominated the market, but new digital technology - both in synthesis and sampling, was quickly gaining a substantial foothold in the music industry. The Memorymoog was notorious for reliability issues right out of the box while innovative instruments like the Yamaha DX7 were cheaper, much more reliable, and had a unique new sound.
In hindsight and considering the analog renaissance we've expereinced of late, one can evaluate the Memorymoog from a different and more forgiving perspective... It sounds absolutely fantastic and offeres an incredibly unique & fat tone relative to competetive products of both its era and modern times. Additionally, once a competent technician has sorted common issues with the power supply/fan, connectors, etc. the instrument can be quite reliable from a functionality and tuning standpoint.
The audio is DIRECT, with a just a touch of OTO Bam reverb added on an aux bus - You are hearing the raw audio as it comes directly from the synthesizer. There is NO EQ, Dynamics, etc. Listen on good headphones or monitors!
Thank you so much for watching! This channel is a passion project. These videos are recorded off the cuff. We are just two hobbyists who share a deep passion for synthesizers."
"This is an especially cool unassuming black rectangle from the 80’s. There are tons of those, and I contend they’re all good in their own way, but this one is notable. Not just for being Yamaha’s first foray into the sampler game, but for offering a very wonderful niche possibility: what if you could run any sound you could think of through the grimy, grungy DX7 converters? If you’re like me, you love the sound of primitive digital & analog circuitry colliding. The TX16W is great because it’s one of the last 12-bit samplers before the sea change to 16-but. As such, it’s as lo-fi, crunchy, and gritty as you could hope, but with the Typhoon OS, it’s powerful & versatile enough to still be useful in a modern studio. Check it out! If it’s good enough for Aphex Twin…
This TX16W, in addition to the standard refurbish job I do, is tricked out as all heck. New blue display (which was hard to get a good picture of), Gotek floppy emulator running Flashfloppy, upgraded op-amp in the output… oh, and the new full memory upgrade retrofit to bring the total potential sample RAM up to the max 6Mb. The power supply was rebuilt, the gremlins were evicted, every nook & cranny cleaned, and retouched solder joints all over. This wonderful anachronism will keep rocking for another 40 yrs.
The sale comes with the sampler, a power cord, a Sandisk Fit with every TX16W sound library disk I could find, and my guarantee as a trained gear tech."
"The synthesizer has been fully serviced: all keyboard contacts have been cleaned, all capacitors have been replaced, and the power supply has been adjusted.
Elektronika EM - 05 is a polyphonic strings/piano EMI. It has 2 sound types: orchestral and piano. Keyboard's range is 5 octaves. The instrument has a black metal case. Controls on the front desk change sounding during playing. There is a possibility to connect an external sustain's pedal.
Controls:
Pitch, level, orchestral (ON, level, decay 2-3), unison (ON 1-2), piano (1/2/3), vibrato (ON. depth, frequency). Back desk: connector (220V), output, input for pedal. Sustain pedal suitable for Yamaha DX7.
Output - 1/4 jack
The supply voltage of the unit - 220-230V/50Hz. For use it with 110/127V, a voltage converter is necessary/ not added.
To commemorate the 40th anniversary of the launch of the Yamaha DX7, Sound On Sound podcaster and music technology journalist, Rob Puricelli, reflected on the history and legacy of this game-changing instrument.
Rob was also joined on stage by celebrated FM programmer from America, Dr. Manny Fernandez, who demonstrate the impact of FM synthesis and how it has been implemented over the last four decades using a range of classic and modern FM synthesizers on stage.
There was also a demonstration of the Yamaha Computer Assisted Music System (Y-CAMS) which wowed audiences with the power of an FM-based, MIDI connected suite of tools."
"Try patching in the DAW on Aalto Modular Soft Synth VST today.
Free demo download at madronalabs.com
FM SYNTHESIS!
By using two simple waveforms — one, as the audible 'carrier' whose frequency is modulated by the other (our LFO) — we can create harmonic or inharmonic tones using very rapid vibrato, based on the frequencies of these waveforms and the depth of the modulation.
FM synthesis was first discovered in the 1960’s by an ex-GI turned artist, John Chowning, who was initially scorned by his academic composer peers for his desire to make music with an //inhumane//computer. The speed by which a computer can modulate a waveform created new sounds beyond the capabilities of acoustic and analog instruments: the birth of a new sound! ✨
We can thank FM synthesis for the sounds of the 1980’s w the popularization of the Yamaha DX7 which allowed FM synthesis to infiltrate video games, movie soundtracks, and of course the power ballads! (Take My Breath Away! Take On Me!)
You can try FMing on Aalto w a free demo download at madronalabs.com ///
// What FM sounds will you make on Aalto?
Aalto: A Modular Synthesizer for Your Computer (Space Kit!)
"Madrona Labs makes Modular Synthesizers for Your Computer. Try a free demo-download of Aalto at madronalabs.com || This patch preset is called Space Kit-- Aalto comes with a ton of preset patches made by synth wizards from around the world so that you can go modular today, even if you're still learning.
Aalto's complex oscillator and lopass gate modules are a modern take on Don Buchla's classic West Coast designs. Aalto's advanced capabilities make it an endless playground for the seasoned modular synthesist, while its accessibility and ease of working in the DAW makes it a perfect launching point for those new to modular.
If you want to learn how to patch in the DAW and get those modular sounds at a fraction of the price of a hardware rig, try Aalto, by Madrona Labs.
"Limited Edition
Aenaos Analog Guitar Synthesizer by TSL Studio Equipment
100% Handmade Pure Analog Synthesizer with Point To Point Construction.
You can make any audio signal to be analog synthesizer with this device.
It has:
- Freq Filtering Knob
- Frequency Control Knob
- Analog Passive Eq with Bass and Treble Baxendall
- Master Out Volume Control
- Rotary Switch with Wavefoarm Options
Its True By Pass and Working with 9V Dc Power Supply
"Appropriately, FM60P is the sixth NYZ release to focus directly on FM synthesis, and the first six-operator variant of the FMX0P releases (which was incidentally also the first conceptual iteration of the sub-series of FM synth works, despite being released this far down the line). Given this provenance, those familiar with FM synthesis might assume Burraston would begin a six-operator exploration with the ubiquitous Yamaha DX7 - perhaps the most iconic FM synthesizer of all time - but instead, he's taken a different tack entirely, and opted to use a modern machine - the Kodamo EssenceFM, a megalith of FM processing power with a mind-numbing 300 operators available within its outwardly unassuming racked interface - albeit acting in an ascetic sense by limiting himself deliberately to only six operators. Longtime Psoma listeners will also note a referential connection with PMFM, a prior release that also utilized the EssenceFM in its construction.
On a technical level, FM60P manifests itself through the arcane pathways of Burraston's cellular automata research, which informs both the sequencing information sent into the synthesizer, and the microtuning of the voices also. Beyond this initial working ethos, the designs and numerical relationships of the operators' ratios have been arranged with the use of three different sets of Fibonacci number sequences, as well as tuning dispositions referencing Alain Daniélou's Harmonic Division of the Octave. Fibonacci freaks will be pleased to know that this arrangement of operators will form intricate setups of Golden Ratio based FM timbres.
For many listening and reading, these points of reference may have no meaning whatsoever, and we here at Psoma would like to offer the consolation that there is no right or wrong way to listen to or interact with any sound matter found in our catalog, or anywhere else for that matter. It could even be said that part of our initiative in publishing works such as these is defined by a desire to simply introduce more challenging and concept-driven music into the world, in order to bring new and stimulating experiences to people who are both familiar and unfamiliar with the deeper details of sound itself.
So what does that leave us with then? The sound of FM60P could be described as a chiming din of glassy tones playing in serpentine unison with sub-bass hum - but this is only a small prologue of two minutes, quickly pulling back the curtain to reveal a massive hour-long drone wall, presented in Burraston's characteristic style of rippling heavily modulated swaths of energy, underpinned by a more midrange foundation of a pulsing alien plinth. Filter sweeps reveal many more dimensions to the layers that are not initially obvious, bringing incessant bass tones and arpeggiator-like sections into focus before the wavering sea reclaims them.
Burraston's music is unlike anything else in the space it is able to inhabit, simultaneously sounding artificial and unnatural to an almost impossible degree, while also functionally conveying itself in elemental and naturalistic ways. Everything is an object, an outline, a weather system or a color, each possessing a specific set of attributes that communicate synaesthetically with the listener, as temperatures and spatial indicators, rather than confining themselves to much more arbitrary traditional sensations.
NOTE: After some confusion from listeners, we'd like to make clear the fact that all NYZ/Noyzelab catalog releases at Psoma are available ONLY as abridged digital versions for name-your-price/free download, and in their full unabridged editions as physical CD-Rs. There is not an unabridged digital version of anything from NYZ at Psoma, and the physical editions do not ship with unabridged digital versions either (that is, if you do not count the digital music present on the compact discs). For listeners only interested in unabridged digital versions, we encourage you to visit noyzelab.bandcamp.com to purchase those directly from NYZ, or even better, subscribe to his Bandcamp output and just get everything."
"Continuing from SEM with his exploration of GForce software instruments, Burraston builds a wall with the Oddity3, an expansive modern iteration of the ARP Odyssey that includes several new additions and functions. ODT3 consists of two such instances of the Oddity3 to accomplish the wide stereo image, both focusing on the 4035 ladder filter from the short-lived Odyssey mark II (only one of three filter types present within the softsynth). Landing somewhere on the map between the Cell Meditations and the subharmonic hums of TESCO SYNFETIX, ODT3 pulses in shallow waves that betray the depth beneath their softened surfaces. Close listening yields wondrous results, especially in headphones, as the swirling mass of the frequency spectrum slowly rises like a shipwreck called back to shore. Almost imperceptibly, the true substance of this piece is revealed in microscopic increments, until it overtakes the senses and surrounds everything, filling the air with vibrating particulate and soporific electricity, glimmering like a portal to an adjacent dimension."
It looks like the rumors were wrong on this one - no AN-X engine. Instead we get the AWM2 (Advanced Wave Memory 2) sample and synthesis engine, and a pure FM-X (Frequency Modulation) engine.
"Check out the compact, lightweight MODX+ synthesizers, designed to help you take control of your sound and stand out on every stage, studio or stream.
MODX+ is powered by the same innovative technologies found in our flagship MONTAGE synthesizer including the AWM2 (Advanced Wave Memory 2) sample and synthesis engine and a pure FM-X (Frequency Modulation) synth engine for amazing sound playback and complex sound design.
MODX+ Motion Control brings the sophisticated automation of music production to live performances by giving you simultaneous control of up to 128 parameters. So you can shape live sound like a conductor commands an orchestra."
SOUND
The most important element of any instrument is the sound. MODX+ makes all elements of your music sound amazing. MODX+ uses the same technology that powers the flagship MONTAGE: 128 notes of AWM2 (Advanced Wave Memory 2) sample and synthesis polyphony for stunning emulative acoustic instruments, synth sounds and drums. MODX+ also features 128 notes of FM-X (Frequency Modulation) polyphony - a unique, expressive, highly-programmable synthesis technology for dynamic, electro-modern music creation.
The AWM2 engine is exclusive to Yamaha synthesizers and offers much more than just sample playback. Each of the 16 AWM2 Parts feature eight programmable synthesizers with 18 different filter types, amplitude, pitch and filter envelope generators, nine LFOs, 3-band EQ and a dedicated dual insert effect with Virtual Circuitry Modeling.
The FM-X engine: Everything you love about the iconic DX7 meets the latest Yamaha innovations. FM-X produces classic ‘80s or cutting-edge EDM synthesizer sound with incredible dynamic range, power and fidelity. MODX+ goes well beyond the capabilities of the original DX7 with an 8-operator FM architecture, 128-note polyphony, many filter types and more. All with Motion Control for ever-evolving and changing textures to create sounds no one has ever heard before.
256-NOTE TOTAL POLYPHONY
MODX+ features 128-note stereo AWM2 polyphony and 128-notes of FM-X polyphony. Due to the unique architecture of MODX+ and MONTAGE, this polyphony is always available without latency or compromising other features.
Smart Morph enables morphing between FM-X sounds. Its sophisticated A.I. algorithm creates an interactive morphing map from up to eight FM-X sounds. You can “play” this map from the touchscreen or use the Super Knob to move between two points. The result is a staggering number of interesting and interactive new sounds.
"Synthesized is a two day festival celebrating the computer and synthesiser - and how the two technologies grew up together.
The two technologies have crossed paths many times since the CSIRAC mainframe played the "Colonel Bogey March” in 1951. The mighty Fairlight CMI, the PPG and the humble Dragon 32 both share the same processor - as do the Moog Source, Prophet-5 and the ZX Spectrum.
By 1990, the Atari ST found its way into almost every recording studio. Technologies from the flagship Yamaha DX7 and Roland D-50 found their way into almost every PC sound card of the 1990s. Today, modern computers can emulate almost any classic synthesiser with near perfect accuracy.
Without computers we wouldn’t have FM, wavetable, additive and phase distortion synthesis - or even be able to save the sounds on our analog synthesiser.
This year it's a special celebration - MIDI, the protocol that allows our synthesisers and computers to talk to each other, is 40 years old this year. We'll be demonstrating the power of this little five-pin cable that all electronic musicians know and love by showing a range of MIDI equipped computers.
It's with much sadness with note that Dave Smith, a key player in the development of MIDI and founder of Sequential Circuits and designer of the groundbreaking Prophet-5, has recently died at the age of 72.
Over the years we've were lucky enough to have a Fairlight CMI, a PPG Waveterm and a Greengate DS4 together in the same room. We even had Colin Holgate from Greengate and John Molloy from 80s band Mainframe to demonstrate it to us.
This year we hope the event will be even bigger, even better, even noisier and will have more wonderful synthesisers for everyone to see and use! While we're waiting to confirm exhibitors for this year - and to get you all in the mood - here's some pictures from the last event."
Note seeing a link for the patches. Check with SynthaTone on YouTube if interested.
"Roland JX-3P Organ, Pan Flute, Saxophone and Brass Section preset patch demo. These patches are examples from a soon-to-be-released sound set that will be available at an affordable price.
These patches can be loaded into a stock JX-3P from a cell phone headphone jack to the input jack of the Tape Memory interface on the back of the synthesizer. An old phone that you have but no longer use makes a great dedicated storage device that you can always have hooked up for easy access. This is a good workaround if your JX-3P has a dead battery and you want to load sounds until you get the battery replaced.
These patches can be programmed manually into a Kiwi-3p KiwiTechnics or River Creative Technology (Organix) modified unit or a Roland Sound Cloud ACB VST instrument using the included data chart decoded from the tape memory audio file.
The JX-3P has a 3rd memory bank with 16 additional presets in the Service Mode. This memory is shared with the Sequencer and is overwritten when a sequence is written. However, if you write a short sequence of no more than 32 steps, it will still be there after you write patches into the 3rd memory bank.
Service Mode is accessed by pressing and releasing the Tape Memory button, then while pressing and holding patch button 4, pressing and releasing the Tape Memory button again. An alternative method is to press and hold patch button 4 when the JX-3P is switched off and then switching it on.
The JX-3P factory presets only hint at the sonic possibilities of this instrument. With the same basic sound as the Jupiter 8, I have found that the JX-3P's only real limitations are the shared envelope generator, and lack of a 2' pitch for the oscillators even though there is a button available for it, something that is found on the Jupiter 6 and Jx-8P. There are workarounds to these limitations that can still enable the creation of fun-to-play sounds reminiscent of the Yamaha DX7 and the Roland D-50. I have come to believe that the JX-3P really should have been named the JX-6, with the JX-8P designated JX-6A or JX-8 if it were upgraded to 8 note polyphony.
The soundtrack for this video was produced in Reaper with the plugins MT Power Drum Kit 2 for percussion and Sanford Sound Design Reverb for ambience. The JX-3P was recorded live in monophonic audio. The music is an original composition."
"Roland JX-3P Saxophone, Brass Section, Pan Flute and Organ custom preset patch demo.
The soundtrack for this video was produced in Reaper with the plugins MT Power Drum Kit 2 for percussion and Sanford Sound Design Reverb for ambience. The JX-3P was recorded live in monophonic audio. The music is an original composition."
"One of the keyboards I can hardly imagine ever getting rid of, been meaning to do a bit on it for awhile but could never find the right angle, it just does so much.
Watching now, after rendering, the zoomed in view of the controls is a bit out of focus, if I plan on doing that, I'll look into my options to record in a higher quality on the camera.
I left in more than normal flubs, because they're funny.
Following up soon with a less-talking walkthrough of the built in prophet patches, stay tuned.
This was the 4th attempt at recording this, trying to tighten it up each time, and its STILL 40 minutes and I feel like there was plenty left out.
I still don't feel like I gave ring mod a fair shake, and there's an insane diversity of analog patches I didn't have time to demo.
A few things I should've highlighted but didn't:
-Oscillator sync -The insane range available on the second oscillator -LFO shapes and their insane range -The dx7 imitating power of combining FM with extremely high LFO rates -Loads of others
I intentionally left out the other products in the Lead line, there are enough differences that I would rather not touch on it without first hand experience.
"Something About Us" // Live Looped Daft Punk Cover
"'Something About Us' off of Daft Punk's 'Discovery'' has always resonated with me.
I view it as a truly timeless love song, and is one of the tracks that proves that the duo was so much more than dance music.
Bit unusual content for me, so as a compromise I'll talk about the gear involved.
Drums are samples on the mpc, first chords are the Yamaha Reface CP on its wurlitzer sounds, controlled with part D of the Nord Lead 2 which is programmed to make no sound.
This is routed through the Mpc 1000, running jjos, receiving multi timbral midi, so different midi channels in, get routed to different tracks on the mpc.
Each of the other 3 synth parts are from the nord, you'll see my left hand quickly change parts (b, c, a) throughout.
I mute the drums for a bit on the mpc, and other parts at the end.
Appreciate the watch, back to more educational synth content on Sunday!"
"Here is a rare chance to get an classic FM synth with a killer internal "E" Upgrade.. this DX7IID is in perfect working condition and as you can see it looks amazing as well. E adds lots of features that takes the DX7 into a new expansive territory. Several more banks added, a sequencer, a filter type real time modifier is available via the Data Sliders and so much more. On top of the sounds on the included cartridge, there are 2 banks of 64 patches plus and extra bank 3 and bank 4 that are blank so that you can load or store your own. The only thing to note is that there was a tear in the power cable which was re-set and repaired. Just stating for full disclosure."
