System-100M

flickr by zubibaja.

Check out the other pics as well.

What You See When You Die

Maybe this synth obsession is not worth it after all. Title link takes you there [or click here]. Via Xavier.
A little Jean-Jaques Perrey for you.

New genoQs OS and Website

"Dear all,
some time has passed since we brought to you version 1.0 of the Octopus OS. Response has been tremendous, and we have been quiet since. So have been most of you, playing your machines, as it turned out. And rightfully so!

In case you were wondering about us.. we were busy doing some homework in the background. And finally, we are now ready to present you our latest achievements!

1. NEW WEB PRESENCE
We have completely redesigned our web page. Same place, different look!
We are far from done, but this structure enables us to grow more easily.

2. NEW FORUM
The new page incorporates a new forum engine.
We will not move contents from the old forum into the new one, but let
us know if you find that something should be carried over and we will work
out a solution.
The user access information is not carried over either, so you need to
re-register to use the new forum. Sorry for any inconvenience this may pose.

3. IMMEDIATE DELIVERY
We have significantly cut our delivery lead time for Octopus.
For all practical purposes, one can say that Octopus is now available
without any wait!

4. FACE LIFTED DOCUMENTATION
We have re-formatted the Octopus documentation, and hope that you will
find it more easy to read. We have also isolated out the tutorials, to make
them easier to handle and hopefully multiply in the near future.
Separate PDFs in A4 and Letter versions will appear shortly, watch the space.

5. OS UPDATE
Finally, the release of a new OS version!
OS 1.02 is primarily a maintenance release, but does bring you a few goodies:
. Multi-track MIDI recording
. Channel pressure is now part of the implementation
. Pitch bend is processed in 14 bit resolution
. Throughput of MIDI data when recording
The update to 1.02 is recommended for all users.

We hope you enjoy the new artifacts, and as always, we much look forward to your comments and feedback.

Until then, happy sequencing!


Gabriel + Marcel"

Christine Ott and the Ondes Martenot

The woman playing the Ondes Martenot in this Radiohead video is Christine Ott. Title link takes you to her home page.

















Via Yusynth

Wooden_Box_Music_

YouTube via cretin4321. http://cliplead.blogspot.com/

Oberheim MC-3000

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Does anyone remember when these came out there was supposed to be a version with the M1000 engine in it? I forget if it was the MC-3000 or one of the other controllers. Would have been nice.... Also anyone know if this was before Viscount?

Details:
"The hammeraction is absolutely comfortable and covers the range of fast soli and pianistic demands. Answay it exceeds the current cheap USB-Controllers from China by far.

MC 3000 is a "state of the art" professional Master Keyboard, able to manage 128 MIDI channels on 8 out ports. Equipped with an 88 weighed keys "Hammer-action" keyboard , the instrument is able to store 1024 user programs. For an optimal "real time" controlling, MC3000 provides 8 sliders, 3 wheels and 8 pedals where each-one can be assigned to a specific Control change meassage and to a specific keyboard zone (8 Keyboard zones + 8 auxiliary zones are available) Concerning the MIDI programming capabilities MC 3000 features 48 User Program Change tables plus 16 presetted, a completely programmable MIDI patch bay (where the configuration can be stored on each program) and 128 different user "chains" of programs.

* 88 keys with velocity
* very comfortable hammeraction with aftertouch
* large graphical and lighted LCD display (240x60)
* 1024 user programs
* 8 splits/layers
* 48 patches for program-changes
* 16 preset/48 user aftertouch curves
* sysex-editor with learn-function
* 8 programmable realtime-sliders
* 8 programmable pedal-inputs
* RS-232 port for serial computer mouse
* programmable midi-patchbay/merger with 8x Midi OUT/2x Midi IN/2x Midi THRU integrated
* extensive and very easy to handle midi-routings
* size:1285x370x130 mm
* weight: 28 kg"

CLICK FOR MORE »

Radiohead Pyramid Song Live (perfect audio)

YouTube via fabiocchi. Another great find by AudioLemon.
The track features the Ondes Martenot. Before seeing this I always though Radiohead only used the Analog Systems French Connection (previous posts including video).

Kermit The Frog SK-1

Well, actually it's the EP-30, but... if you have to have Kermit on your synth...

"We've talked about the SK-1 -- Casio's highly successful sampling keyboard -- before. The SK-1 was a bit toylike thanks to its size, but it offered a lot of surprisingly professional features. Those more advanced facilities are stripped away in the EP-30, a more clearly toylike keyboard - but it's the only keyboard I know of that features Kermit the frog in top hat and tails."

Title link takes you to the rest of the post and another image on Retro Thing.

My Synthesis Technology - MOTM User Blog

K2K Koos wrote in letting me know about his blog, My Synthesis Technology MOTM Analog Modular Synth. As the name implies, K2K Koos writes, "it is mainly dedicated to MOTM synths, and specifically my own experiences in building one, as well as MOTM news, and related items." I'm subbed.

ARP Odyssey

Title link takes you to one more shot via this auction.

Pixelh8 - Music Tech Major Update

YouTube via Hiddenfortress. via Sendling.
"GOTO [link] to reserve a cartrideg :)"

FAUST (1971, rare footage documentary)

YouTube via plateformes. Sent my way via Yves of Yusynth.
""Rare footage courtesy of this past year's mindblowing WDR-TV German rock documentary" Faust jamming in the studio, 1971".

Features the ARP 2500 which unfortunately not played.

Theremin Cats

Title link takes you to the post on CatSynth.com with more info on this shot and a video of another cat playing the theremin.

Steiner Parker Synthacon

YouTube via matrixsynth

A new vid sent my way via vgermuse.

The grizzly bear of synths.

You can see the previous Synthacon vids here:
Steiner Parker Synthacon (with RC-20 Loop Station) live
Steiner Parker Synthacon (with RC-20 Loop Station) live 2

MOOG Minimoog Model D

Title link takes you to shots via this auction.

Analogue Miniature 16

flickr by danmcp.

"105x80x65mm

Hand-made cardboard model.

For sales enquiries please contact purpleowl [at] primus.com.au
These are however one-offs and are sold on a first come first served basis.

View the full set."

Oscilloscope Test2

YouTube via verstaerker.
"routing the Cwejman Lfo Output to the second Oscilloscope Input"

comunque (terrazzo live)

YouTube via jumpstartz.
"jocker and carlo castellano performing "comunque" live. (feat. carletto) this song is dedicated to m. and d. thank you, really."
Guess the synth.

Oberheim OB-X

Title link takes you to shots via this auction.

PROTOTYPE sintetizzatore analogico 2 ottave

via this auction. Details: "Analog VCO termo (x2 ) with square/saw wave, everyone with LFO triangle/up/down wave, rate and out level. Moulation FM / EXP Sync VCF , with EG ( adsr with level control), LFO tiangle/up/down wave ,rate and out level, frequency, resonance ( MiniMoog filter 24 db, completely transistorized ). VCA with EG ( adsr ), with volume control, GLIDE and GATE manual/ keyboard control. NOISE generator with pink / white and out level ( behind ) out BF and out stereo headphone, 220v cable. (the CV IN is not inserted, but possible)"

via Tim g.

MOOG Rogue in orig. box!

Title link takes you to shots via this auction. Title is via the auction.
Details:
"The Rogue, a "Miniaturized, cost-cutting successor" to the Moog Prodigy, is a 2-VCO, monophonic synthesizer with a 2-1/2 octave, 32-note (F-C) keyboard. Both VCOs are tunable to three octaves by a common switch. In addition, VCO2 is tunable via a knob to anywhere between a half-step below to an octave above VCO1. There is also a single switch that selects the waveform for both VCOs. A three position switch syncs VCO2 to VCO1. It can be hard synced or contoured synced, where the amount that VCO2 is synced to VCO1 is controlled by the envelope generator. The mixer section allows both VCOs and the noise generator to be mixed together, with a slider controlling each level. The mixer can be pushed to overdrive (distort) the waveforms. The filter section features variable keyboard tracking controlled by a knob, and sliders for the cutoff frequency, emphasis (resonance), and envelope amount. It also has "the pitch and mod wheels up above the keyboard, not to the left of it, along with a fine tune knob and a glide (portamento) knob." The Rogue has a single envelope generator for attack and decay, that switches to activate the sustain mode. There is also a switch that selects how the envelope affects the VCA. It can be set for either contour, keyed, or bypass (which was a simple organ-style gate)."

MOOG Music Inc.
Buffalo, N.Y. 14425
MADE IN U.S.A.

Buchla 218 VC-able Portamento

via vtl5c3 on electro-music.com:
"Last night I finally tested the slew circuit that I cloned from the Buchla 218 keyboard. I'm happy to say that it works. I've posted the schematic and a couple of sound samples below. I may have to do a bit of fine tuning... if nothing else I will try smaller cap values, since it's pretty easy to get way too much portamento going."

Demos at the post.

Cyclus Sequencers

Remember this post? I didn't realize it was designed by Cyclus and not Spectral Audio. Title link takes you to the Cyclus website. Currently it links to the Spectral Audio site. Bookmarking the site to check out later.

via Suit & Tie Guy

Thoughts on the genoQs Octopus

In the comments of this post, eric f wrote some notes on the genoQs Octopus. I asked him if I could put them up as a separate post and he gave me the ok. Here they are. Enjoy: "I *adore* the Octopus. The interface looks intimidating and, if you read the manual, it sounds intimidating, too. Quite the contrary... in practice learning to read the LEDs is very simple. You very quickly learn what mode you're in from the distinctive LED patterns in the grid without referring to the circle (see the manual, though it doesn't really do the idea justice).

Ease of use: The Octopus is easily the most intuitive sequencer I've used, hardware or software, for building great patterns once you have it set up (MIDI channel-wise and in terms of base track pitch). In terms of building a monophonic, single track melody, it's not as straightforward as the P3, but moving into multitracking, it more than makes up for this.

What it does best: I intuited this from the manual and am thrilled with the results, having bought it without using one before... You have ten tracks on a page, each assignable to its own MIDI channel (or the same MIDI channel as another track). Let's say you have four monophonic instruments each on its own channel and the current page is dedicated to a single chord structure within a single musical bar. I can assign four tracks to one channel (with a different base pitch for each), two to another, two to another, and one to the last track. Now I can arpeggiate the notes on each instrument among the base pitches (adding chromatic alterations per step on a track, where required) and explore the various inversions of the vertical harmony over the time of the bar.

This is amazing. On almost any other sequencer, you have to leave one track, go to another, remember from memory what notes were where, and then compose the harmony.

In other words, you can use the Octopus for polyphonic and multi-timbral arrangements in a visual and immediately interactive fashion, something I've never really seen before. The results have been very insteresting and once I get my MOTM-650's power supply and Bridechamber cabinet, this plus my modular will be very interesting indeed.

Once the aforementioned module and cabinet arrive, I'll send Matrixsynth some serious synthporn.

The caveats I'll add are that the Octopus does three things poorly (in my estimation). First: If I want to quickly put together a melodic line in one voice, know the notes I want, the P3 just cannot be beat. Second: The P3 is the *master* of evolving sequences and unpredictability. This is a tricky thing (parameters must be carefully pre-programmed and possibly filtered by a MidiSolutions-type box) in a harmonically complex environment, but is great for longform pieces (eg, live ambient, which I haven't actually done). Third: The Notron separates CCs from the clock step better than the Octopus and as such is better (I've heard) at being used as an independent voice modulator for a well-CC-mapped VST. But I use all analog/hybrid equipment, so it's not such a concern.

Ok, long, verbose post. I set up an email address if anyone is curious in asking Octopus-related questions: eulersid (dash) octopus (at) yahoo (dot) com. I'm not a shill for genoQs or Analogue Haven or anyone else. It's a fascinating piece of kit with relatively little first-hand info out there and the folks who run their forum are bad about approving memberships. I'm also interested in tips and thoughts on it as well.

cheers,
eric f"

Another Mess

This one via vgermuse.

Spot the synths.

Roland MC-4

Click here for three scans via Kenneth Elhardt including data sheets.

my sp is nice y'all - Beastie Boys Flickr Set

flikr by Oscilloscope Studios.

"this is one of my machines...it's a great machine...my sp1200 will take over the world one day...but for now it's out at jean's patio getting my computer a cherry coke.... "

This is actually from the Beastie Boys flickr set for their current tour.

A-114 Ring Modulator

flikcr by stretta.

Title link takes you to more module shots.

Update: the modules are up for auction here.

Connemara

flickr by doris.

"kylemore abbey chapel"

Guess the KORG.

Analogue Synth Jam

YouTube via analoguecrazy4.
"Here is my first track.

Gear used:
CS-40M - Lead
SH-09 - Bass
R8 - Drums"

Groovey.

Synton Fenix

via this Craigslist post, listed at $5500.

"This synthesizer is a rare collector's item, only *75* are known to exist.

You can learn more about the Fenix at the official Synton web site."

via brian comnes

Mess

flickr by E d e n.

Guess the synths. Title link takes you to some of the answers.

Happy Ghost

Title link takes you to a video sent my way via LDT.

"LDT: Korg Sigma, Korg EA-1, Korg MicroKorg, Boss Giga Delay, Electro-Harmonix LPB2ube, Zoom MRS8, assembled and rendered with Acid Pro and Sound Forge."

Effector 13 Improbability Drive Demo + Registry

YouTube via plexuss. via a post on Zerosum Inertia that was actually in response to the Poll on synth demos. The post had the following to say:
"I was happy to see that 57% of 577 votes wanted to hear what the gear sounds like as apposed to hearing music made with the synth. I like both, however What someone else does with gear isnt what Im going to do with it most of the time, so why should I care what kind of music they make?"

Details on the video via plexuss:
"http://www.musicofplexus.com The ID is processing a drum and bass line from an electribe SX. only a bit of reverb and echo are added towards the middle. There is a guitar demo later on. Apparently only 15 of these were made, according to E13 directly so if you have one post a comment!"

AnaMaria - DJ Series

flickr by lowfreq.

KORG Microcontrol

Serge Modular

Click here for shots via this auction.

Details:
"SMOOTH FUNCTION GENERATOR, NOISE SOURCE, DUAL ANALOG SHIFT REGISTER, DUAL UNIVERSAL SLOPE GENERATOR, DUAL PHASER, UNIVERSAL EQUAL POWER AUDIO PROCESSOR, TIMBRAL OSCILLATOR, PRECISION VCO (TWO OF THESE), WAVE MULTIPLIER, VARIABLE Q VCF, DUAL TRANSIENT GENERATOR, DUAL AUDIO MIXER, TOUCH ACTIVATED KEYBOARD SEQUENCER.

Serge gets its name from Serge Tcherepnin (pronounced "Cher - epp - nin"), a multitalented composer and electronic designer born of Russian-Chinese parents and raised in France. Self-taught in electronic design and circuit building, Serge enjoyed doing 'junk electronic' projects early on, making tape compositions using various electronic noisemakers cobbled together out of transistor radios and the like.

After studying music and physics at Harvard and Princeton, he taught music composition at the California Institute of the Arts. This was the early 70's, the heyday of Moog, ARP, and Buchla synthesizers. Calarts had a few Buchla-equipped studios. These were expensive, highly sought-after instruments, kept under lock and key. Getting studio time on one at Calarts meant being either a recognized staff composer or someone who maneuvered themselves into favor. The Buchla, ARP, and Moog synthesizers were interesting in their way, but could be improved upon. They were both expensive and bulky, a system with a decent number of functions could take up a whole wall in a small room. Serge and students Rich Gold and Randy Cohen wondered what they could do about this. After kicking around some ideas, they decided they were going to do their own synthesizer.

The first modules were designed, soldered, and built at Serge's home in what was essentially a kitchen tabletop operation. Before long, the word got out to other professors, students, and musicians about this new synthesizer. They wanted a piece of the action. Serge set up a strange sort of guerrilla manufacturing operation at Calarts on a second-story courtyard balcony. People paid $700 upfront for parts, worked on the 'assembly line' soldering and building modules, and eventually got themselves a six-panel system. Somehow, the Calarts administration either didn't find out or wasn't too bothered by this.

Another interesting player in this drama was composer Morton Subotnik, a professor at Calarts. He had a long association with instrument designer Don Buchla in the early 60's, the two of them collaborating on fundamental aspects of synthesizer design. When Mort spoke, Don listened. Serge caught on to this, and sought to woo Morton away from the Buchlas, but that was difficult. Eventually, Serge did build Mort some custom equipment.

In the 70's Serge collaborated on the design and construction of TONTO, a large polyphonic modular system. TONTO had the ancestry of many early Serge designs, some packaged behind faux-Moog front panels, including the NTO.

Serge eventually quit teaching and began to build synthesizers more seriously, using the first designs as a springboard. The Serge company was started in 1975, in the West Hollywood area, then headed north to San Francisco's Haight Street a few years later. It was always a humble bohemian concern, running more on enthusiasm and the love of making music than money and hardheaded business sense. Business tapered to a trickle in the middle 80's, and Serge, to support his family, started doing various outside electronic consulting projects. In 1992 Serge decided to move back to France. It was at this point that he sold the closely-guarded circuit designs to longtime associate Rex Probe, who then founded Sound Transform Systems. Production record keeping was pretty informal; it's estimated that "hundreds" of Serge systems were produced in the early years.

Today, Serge is again doing musical composition and is involved in helping Russian Jews move to Israel.

As Moog was a powerful East Coast influence that inspired ARP and Polyfusion, Buchla was the West Coast influence on Serge. Several Buchla designs, including the use of touch sensitive nontraditional keyboards, sequencers, random voltage generators, function generators, and matrix mixers found their way into Serge's repertoire. But that's not to say that Serge is merely a Buchla clone. Serge made many unique contributions, including the wave multiplier module, and some ideas were taken to new heights. Serge's oscillator designs have extraordinary accuracy and stability, especially considering their discrete nature. His philosophy of allowing the easy interplay of audio, control, and trigger signals, combined with the use of banana plugs, makes these systems wonderfully flexible.

There's no denying the amazing staying power of the Serge designs. Largely because of the development of convenient microprocessor-based keyboard synths, the 80's were a nasty time for analog synthesizer makers, practically all of them throwing in the towel. Serge's business slowed way down but never completely went out of production. With the recent clamoring for analog gear fueling successful production, Rex Probe and Sound Transform Systems look poised to carry the cream of analog modular music synthesis over the threshold of the 21st century, into their fourth decade of realization.

Sound Transform Systems has done a great job of continuing the analog modular lineage. Most of the traditional Serge modules are there, a few old ones were dropped, a few new ones added. The details are constantly being improved in many visible and invisible ways. They are still laboriously handmade, though the entire build process has been improved. Turnaround time has been improved from several months to 'just a couple'. All the components are top notch. The panel graphics and layout of many of the modules have been redesigned to make them more compact while keeping or improving the functionality. The circuit designs on many modules have been updated."

Doepfer Modular

Title link takes you to shots via this auction.

Details:
"A-190 MIDI TO CV CONVERTER, MC01 MASTER CLOCK, BD88 BASS DRUM, A-112 SAMPLER, A110 VOLTAGE CONTROLLED OSCILLATOR (TWO OF THESE), A-118 NOICE SOURCE, A-117 DIG SOURCE/808 SOURCE, A-121 VCF2, A-123 VCF4, A-120 VCF1, A-180, A-181, A-138 MIXER, A-114, A-115, A-116 WAVEFORM PROCESSOR, A-140 ADSR, ENVELOPE GENERATOR (TWO OF THESE)."

Be careful with the rest of the description on this one. It's pulled from VSE and features more modules than what's actually up for auction.

Yamaha EX1 SN 5012

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Anyone know more about these? Where they purely organs or did they have any synth capabilities? Do not confuse the EX1 with the mighty GX-1 analog monster or the FX1 FM monster. The auction details claims, "Successor to the famed, GX-1, this organ was very similar in many regards and originally cost $35,000 when new in 1977!" In look yes, in anything else? If you know feel free to comment.

CLICK FOR MORE »

100 Patches for the Casio CZ-101

via this auction.

MoogulatoR

MoogulatoR of sequencer.de just put up a ton of music on his MoogulatoR site. To keep this on topic and about a specific synth or synths, many of the tracks feature only one synth including the Waldorf XT and Roland SH-5.

Virus TI Polar Flickr Set

Click here for the full set sent my way via Jyoti Mishra.

Making the Andromeda A6

A great thread is up on the VSE Forums on the Alesis Andromeda. I know the threads expire there, so I'll grab some of the most interesting bits here. DB below is David Bryce who worked on the Andromeda. I remember when all of this was happening. Mike Peake was on sonic states the-gas-station and AH. The guys behind the Andromeda really loved synths and they respected the rest of us enough to frequently pulled us in for feedback on the design of the synth. It was as if they were one of us, and in reality they were and still are. Mike Peake stayed active in the synth community and as you can see from this thread, David Bryce is still very active. You have to love a company that does this. Great people make a great company. I personally think Alesis has been one of the better synth manufactures to date. The Andromeda, ION and Micron, and the Fusion have all been pretty amazing synths. The price points for what you get compared to what else is out there is astounding when you think about it. Do take the time to check them out. The Andromeda is a 16 voice analog with a huge modulation matrix, dual filters, built in step sequencer and much, much more. And it sounds pretty amazing imo. Whenever I think I've heard it all, someone makes a demo that showcases a completely new character of the synth. BTW, are there any other poly analogs with 16 or more voices other than of course the fully polyphonic boards using divide down technology?

Alesis A6 Andromeda, Now where did that come from? (title of VSE thread)
---------------
CTB wrote:
Our very own Dave Bryce, who sometimes posts here and works for DSI, was involved in the A6 project. Perhaps he would be the one to ask. Smile

DB:
Actually, we just got tired of people complaining that the QS synths had no resonant filters, so we decided to make something that did. Very Happy Cool

Making Andromeda was really the culmination of a dream for a bunch of us who had grown up with the older analog synths. We had spent years working on sample based stuff, and Erik and Rob Rampley got Alesis founder (and major engineer geek) Keith Barr drunk one night and talked him into letting us make an old school American power synth. Keith actually designed Andromeda's ASICs himself, if memory serves.

One of the back stories was that we were fought tooth and nail by Alesis' sales and marketing VP at the time, who thought we were out of our minds. He once told me we'd be lucky to sell 50 total units. Guess he may have been wrong. Shocked Idea

If anyone has any specific questions, I'll do my best to answer if I can remember. That was a while ago...

StepLogik wrote:
I'm shocked that the marketing group fought you

DB:
It wasn't the marketing group. I was the marketing manager of the synth division, and I was certainly behind it. It was the VP.

,
Quote:
seems like they would want to distinguish Alesis from the "workstation hell" of that era.

DB:
Not just workstations - it was VA synths, too. We figured making a Real Actual Analog synth would catch some people's attention (as Bitexion correctly surmised).

Plus, we were tired of hearing that we weren't a real synth company despite the fact that our ROMplers (especially the QS8) were outselling just about everything else at the time...but there were folks who kept telling us that ROMplers aren't real synths...so we made a real synth. Idea

That seemed to do the trick... Laughing

cbjlietuva wrote:
so maybe i can get my question amswered here:

does the Andromeda have Polyphonic Aftertouch?

DB:
The short answer would be no.

theglyph wrote:
Dave, the one major question I have had and the one thing which has kept me from pulling the trigger on an A6 purchase is what will the status of the A6's ASICs be in the future? CEMs and SSMs were used in several synths from many manufacturers so those chips were manufactured to some degree in surplus as we see today (although they ain't cheap Crying or Very sad). Did Alesis make sure that the IC manufacturer made enough chips to fulfill any future failures or is the well not so deep?

DB:
Alesis is the chip manufacturer...I mean, they don't own the foundry where the chips are physically made, but they do everything else. Consequently, there's no way we can know how many of them Alesis has made/wants to make...

...unless they want to tell us, of course... Wink

Soundwave wrote:
Few questions;

Is the A6 still in production and will it remain so for the foreseeable future?

Will the support continue for the machine i.e. OS updates/fixes?

Are the first, more expensive Alesis A6’s different in any way than the later Numark ones that are apparently now made in the far east as some claim the earlier Alesis ones sound better?

There are rumours that some of the people behind the A6 were also involved in the Xpander/Matrix12 is this true?

Will there ever be an analogue successor or derivative or the A6 as the VA market has kinda reached a standstill now?

DB:
I can only answer two of those questions becuase I haven't worked for Alesis for about seven years, so I have no idea what their current plans are.

Marcus Ryle, who founded Line 6, was one of the guys responsible for the XpanderMatrix 12. He and his team had a lot to do with a bunch of Alesis products including the ADAT and the QS synths...but they had nothing to do with Andromeda.

There are a few "rev 2" Andromedas that were only used during beta. They are slightly different from the production models, but the OS in them is different enough that you can't transfer programs between, them, so they can't really be directly compared....nor, if you could, is there actually any point in doing so. Howver, all the production models are (AFAIK) exactly the same...."
-------------------------------------------------------------------------------

And that's it as of the time of this post. Check out the VSE thread for updates. I'll try to update this post with the historical bits so we don't lose them. Image via this post.

Cwejman Workshop + 3 New Modules

Title link takes you to the post in German or you can click here for an English translation via Google.

New Modules translated from the post:
1) Noise module (NS-4)
The module produces genuine similar noise in white, for pink and red. In addition offers it SAM-polarize + Hold and a lying processor, with which itself Coincidence tensions with Glide to adjust leave. That SAM-polarizes + Hold can also independently of the noise to be used and has even an input automatic controller for external signals. The S+H - Rate, as well as the lying processor leave themselves by button or CV steer, the S+H Triggger entrance serves for Synchronisation and processes signals of all kinds.

2) quadruple VCA (VCA-4MX)
This module contains 4 identical spanunngsgesteuerte amplifiers, for Audio, as well as for CV-signals are suitable. By altogether 8 out of courses one receives a very flexible module, because beside the four single exits there are 2 sum exits (4 in 1), one normally and one inverted, as well as 2 further sum exits (1+2 in 1 and 3+4 in 1). Thus that can Module either as Quad Attenuaror (weaken who), as 4in1-Mixer, or as two separate 2kanal-Mixer to be used. Like always with Cwejman are clay-technical components of higher To quality, rush is quasi not measurable.

3) INSERT module (INS-2MX)
This module serves for grinding in external effect signals similarly a Aux way in a mixer and all two times.

Sagittarius 1994 Lemaril video

YouTube via studio35d.
"In 1994 I created a track that I called 'Sagittarius'. As an experiment, I also created a video for the track. The video is a live performance with additional footage (for different cam-angles) and effects.

The main instrument you hear on the track is the Yamaha SY77. Other synths such as Pro-One and Mono/Poly were used for additional effects and sequences. Rhythm sounds are short samples of analog synth sounds on the DSS1.
Sequencing was done on Amiga500 with Music-X software.

I didn't have any editing facilities for video available at the time, except for this fantastic [Insert] button on my VCR. You could add footage over your main video track, without erasing the original sound, which was cool. Drawback: Once you messed up, you had to cover it up with something else that lasts a little longer.

The video contains some flaws, which I preferred not to edit, just to keep it as original as possible."

If you like this, also see these previous posts.

MOOG Taurus

Title link takes you to shots pulled via this auction.

Details:
"From a 1980 Moog Flyer
The Moog Taurus Pedal Synthesizer lets you make music with your feet while your hands are busy playing keyboard, guitar, or drums. The Taurus has three programmed voices and a voice that you can program completely In performance you can select a Moog voice or your voice instantly The Taurus is a variable synthesizer that features two audio oscillators to create phasing effects, parallel intervals, and rich percussion sounds. In addition, functions like glide, decay and pedalboard octave may be switched by foot during performance. And its five octave range makes Taurus more than a bass instrument. Add another dimension to your control over sound-add a Moog Taurus 1 pedal synthesizer.

TAURUS FEATURES
Three pre-programmed synthesizer voices: Bass, Tuba, and Taurus
· One fully programmable voice. You create the sound and pre-set it yourself.
· Five octave range-16' 8' 4' 2' and 1'
· Foot sliders for loudness and tone color variation.
· Ultra stable oscillator design: less than one cent (0.06%) short term drift, less than two cents (0.18%)
long term drift.
· Electronic preset selectors. Presets never have to be cancelled.

Introduction
THE MOOG TAURUS IS A FOOT-CONTROLLED PEDAL SYNTHESIZER COMBINING THE FEATURES OF A
SYNTHESIZER-GOOD SOUND AND VERSATILITY-WITH FOOT CONTROLLED SOUND MODIFIERS AND
PRESETS.

THIS VERSATILE MUSICAL INSTRUMENT OFFERS THE CAPABILITY OF PRODUCING TRADITIONAL OR
NEW SOUNDS, INSTANTLY SELECTABLE FROM THE FOOT-CONTROLLED PRESETS. ONE OF THESE
PRESETS IS FULLY PROGRAMMABLE SO THAT THE PLAYER MAY SET UP A "SOUND" AND GET TO IT
INSTANTLY.

TO PROVIDE MAXIMUM PROTECTION, THE UNIT IS ASSEMBLED IN A RUGGED WOOD AND METAL
HOUSING.

Description
The basic functions of the Taurus Synthesizer (see accompanying block diagram) are programmable. That is, values of the various parametersthat are used to control the details of a sound are determined either by the internally fixed values (for the three fixed presets) or set by the player accessible controls (for the VARI ABLE preset). In normal usage, the VARIABLE preset is set up prior to performance using the VARIABLES controls in the control box. During actual performance, the player selects one of the four presets instantly by depressing one of the four PRESETS foot-buttons. These four PRESETS are mutually exclusive, that is, only one preset may be ON at any one time.

The basic tone sources are two voltage controlled oscillators (A and B). Two basic pitch controls are used for fine tuning the instrument. First, the TUNE control is used to set the pitch of both oscillators to the desired reference, such as another instrument being used simul taneously. The BEAT control is used to make fine adjustments in the relative pitch of the two tone oscillators (by modifying the "B" tone source pitch). In addition to these basic tuning controls, the "B" tone osciliator pitch in the VARIABLE preset mode may be varied over a greater than one octave range by adjust ing the OSC B FREQ control. The relative pitches of the two tone sources are internally set for the three fixed presets.

The entire instrument may be shifted either up or down one octave by use of the OCTAVE foot-button. As the OCTAVE foot-button is successively depressed, the instrument tuning changes by one octave; an indicator light shows that the instrument tuning is in high range. For the three fixed presets, the OCTAVE button switches the instrument between the 16' and 8' ranges. When the instrument is in the VARIABLE mode, a manual OCTAVE slide switch in the VARIABLES control box may be used to select three pitch range positions (LO-MED-HI). These three positions correspond to a 16' or 8' range for the LO position, an 8' or 4' range for the MED position, and a 4' or 2' range for the Hl position. The "B" oscillator range extends to 1' with the OSC B FREQ control positioned all the way up.

The instantaneous pitch of the instrument is controlled not onty by the OCTAVE and fine tuning controls, but also by a GLIDE control and GLIDE foot-button. The glide effect is a smooth transition in pitch between successive notes. The GLIDE foot-button operates in a manner similar to the OCTAVE foot-button in that the glide effect can be alternately turned ON and OFF, the ON state indicated by the GLIDE light being ON. The amount of glide effect is determined by the GLIDE slider in the VARIABLES control box. The player may thus set up the amount of desired glide effect using the GLIDE slider and then use the GLIDE foot-button to switch the effect in or out.

The two tone sources are combined in different amounts in the mixer. In the three fixed presets the amounts are internally set, while in the VARIAB LE MODE the relative amounts of the "A" and "B" tone sources appearing in the final output are determined by the B-MIX-A control in the VARIABLES control box.

The output of the mixer is applied to the voltage controlled filter which may be used to provide either dynamic or fixed timbre modification. Whenever a note is depressed, a filter contour signal is generated, successively opening and closing the filter. The amount of opening and closing the filter is determined by the CONTOUR AMOUNT slider. The rate at which the filter is opened is determined by the CONTOUR ATTACK control slider while the rate at which the filter is closed is determined by the CONTOUR DECAY slider. These contour controls determine the characteristics of the dynamic aspect of the filter function. The effect of the filter is determined by the settings of the contour controls and by two other controls (CUT-OFF and EMPHASIS). The cutoff frequency is the filter characteristic which is "moved" by the contour signal. The initial cutoff frequency is determined by the FILTER foot-slider and by internally preset values for the three fixed presets. For the VARIABLE preset, this initial filter cutoff frequency is determined by the FILTER foot-slider and by the CUT-OFF control in the VARIABLES control box. For example, using the VARIABLE preset with the CONTOUR AMOUNT control set all the way down, the tone color may be changed but not dynamically, by either the FILTER foot-slider or the CUT-OFF slider.

The EMPHASIS control varies the amount of peaking of the filter. That is, the intensity of the frequency components of the tone generators which lay near the filter cutoff frequency is emphasized to a degree determined by the EMPHASIS control.

The output signal from the voltage controlled filter is applied to the voltage controlled amplifier (VCA). The VCA serves the function of "turning on and turning off" the sound. This articulation of the signal is caused by the VCA contour generator. The rate at which the sound is "turned on" is called the attack time. This attack time is internally set for the three fixed presets and is set by the ATTACK control in the VARIABLES control box for the VARIABLE preset. The sustained loudness of a preset is called the SUSTAIN LEVEL. The SUSTAIN LEVEL is determined by an internally preset value for the three fixed presets, and by the SUSTAIN LEVEL control for the VARIABLE preset. In addition, the overall loudness is determined by the LOUDNESS foot-slider. The manner in which the sound dies out or decays is determined by two functions. If the DECAY light is ON, the sound dies out at a rate determined by the DECAY control in the VARIABLES control box for the VARIABLE preset. If the DECAY light is OFF, the sound dies out immediately when the note is released (no decay).

The output of the VCA is applied to the OUTPUT LEVEL rotary control on the inset rear panel. The OUTPUT LEVEL control is used to match the signal level of the Taurus to the amplifier. GeneralIy, the OUTPUT LEVEL control will be set so that the maximum desired loudness for any preset is achieved when both the LOUDNESS and the FILTER foot-sliders are in their uppermost positions. When using the TAURUS with a bass amplifier or similar musical instrument amplifier, plug the TAURUS into a high level amplifier input, and set the amplifier volume control one-third to one-half of the way up. Then set the OUTPUT LEVEL control on the Taurus rear panel for the desired volume range.

The Taurus may be operated using either a 115 or 230 volt line voltage.

(From 1978 Norlin Music Taurus Pedal Synthesizer Owners and Service Manual)

Check out these sites!!!
http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Moog/Taurus/25/1
http://web.archive.org/web/19991002101508/http://umbc7.umbc.edu/~rous/taurus.html
http://www.oldtech.com/synth/MoogTarus12.html
http://www.soundonsound.com/sos/1995_articles/jun95/moogtaurus.html"

Chroma Polaris

Title link takes you to shots via this auction.

Another in the funky keys category. Suddenly the Polysix with reverse keys is actually looking good to me. What's odd is the auction doesn't mention the keys. Anyone know anything about them?

Pearl Syncussion SY-1

flickr by gargar1974.

"The Pearl Syncussion SY-1. One of the coolest drum synthesizers ever. Two independent channels with capable of making weird noises, eighties toms and the baddest kick drum you've heard."

Click here for a larger shot.

AH Bay Area 2007

"Thanks to Gino Robair, we've once again set a location and date for the AH Bay Area gathering in California. September 9th at the 21 Grand in Oakland, more info forthcoming as we get closer, so save the date if you think you want to attend.

http://www.fdiskc.com/ahcali/

You've probably seen the pictures from our previous installments, so you know it's always a good time.

-Brandon"

Steiner Parker Synthacon Demo via REwire

mp3 here

via REwire.

"I made a demo of my Synthacon, which I won after you posted the auction a few weeks ago (Thanks!).

This is a 2:57 song/demo using just the Synthacon for all sounds including drums which I sampled and sequenced. I knew this was the choice for Industrial style sounds and it does not disappoint. In the picture, the little Doepfer mixer module perched on top I use to scale the CV to play it at 1v/Oct. The Synthacon has multiple inputs on the back allowing me to modulate many of the functions with modular envelopes and synced LFO's to expand on it's own two envelopes and allow the third oscillator to be used for pitch rather than as an LFO. The Multi Filter, one of the most popular cloned ones, is what makes this rip but the stable edgy oscs are half the equation."

Oberheim OB-X Filter Modification

via Magic Smoke Electronics, here.