Rare Waldorf pastel Orange XT and pastel Yellow Q. Shots pulled via these auction. BTW, check out the comments of this post if you are even thinking of bidding on one of these rare gems.
Sunday, April 01, 2007
Just in Time for Easter
Rare Waldorf pastel Orange XT and pastel Yellow Q. Shots pulled via these auction. BTW, check out the comments of this post if you are even thinking of bidding on one of these rare gems.
Roland MKS-80 and MPG-80
Title link takes you to shots pulled via this auction. Somewhere between the Jupiter-6 and Jupiter-8.BTW, don't forget to check out Matrixsynth-b.
Dynacord ADD-two
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Details:
"A must-have for any serious producer. This unit cost $5,000.00 when purchased new in the 1985. Almost impossible to find, very rare. Apparantly it has Analog synthesizer features like VCO's & LFO's in it so that you can change the drum sounds and patches and is highly editable .... very RAW ! ! Just to give you an example.. the very desired ADD-ONE sold for $4,000.00 new ... which is probably inferior to this one seeing this one sold for $1,000.00 MORE. I only have the info below on it and most of it is in a foreign language. On the same line as Roger Linns MPC's and the EMU Sp12 and the drum machines but apparantly much more superior and sought after."
Babblefished via synrise.de:
"Dynacord ADD Two * Dynacord ADD Two * Dynacord ADS ADD-TWO/pole spl exp 5800 (1988) The ADD-TWO appeared as 16-kanalige 16-Bit-Version of the ADD-ONE with Samplingfrequenzen from 22,05 to 44.1 kHz. The basic version is equipped with two MByte memory, can be supplemented however on up to eight MByte. The strength the D/A transducers might be, which, as already work in the ADS/ADS k, with 20 bits. The rack equipment needs two HE in the rack and beitet the following rework possibilities: two LFOs, three VCF envelopes, volume, panorama, Feinverstimmung, per channel a Digitaldelay (!), and with a 16-stimmigen toner generation (= 16 channels). Once exemplary the modulation matrix is mentioned - a feature, which from Marcus Ryle (NEARLY FORWARD DESIGN, development team at among other things this equipment, as also at the ALESIS QUADRASYNTH) comes and of it in e.g. the UPPER HOME XPANDER and MATRIX-12 to the employment came for the first time: Modulation matrix ADD-TWO Sources of modulation Modulation goals Note NUMBER Pitch Velocity Panning release Velocity Volume Pressure Send 1 volume Modulation Wheel Send 2 volume Pitch Bend Wheel SAM-polarize SELECT Sustain pedal SAM-polarize start Envelope 1 Envelope 1 Attack Envelope 2 Envelope 1 Decay Envelope 3 Envelope 1 Sustain Decay LFO 1 Envelope 1 release LFO 2 Envelope 1 amplitude Ramp generator Envelope 2 Attack Random generator Envelope 2 Decay Trigger rate Follow Envelope 2 Sustain Decay MIDI CONTROLLER A Envelope the 2 releases MIDI CONTROLLER B Envelope 2 amplitude Pedal 1 Envelope 3 Attack Pedal 2 Envelope 3 Decay - Envelope 3 Sustain Decay - Envelope 3 release - Envelope 3 amplitude - LFO 1 speed - LFO 1 amplitude - LFO 2 speed - LFO 2 amplitude"
via this auction
Details:
"A must-have for any serious producer. This unit cost $5,000.00 when purchased new in the 1985. Almost impossible to find, very rare. Apparantly it has Analog synthesizer features like VCO's & LFO's in it so that you can change the drum sounds and patches and is highly editable .... very RAW ! ! Just to give you an example.. the very desired ADD-ONE sold for $4,000.00 new ... which is probably inferior to this one seeing this one sold for $1,000.00 MORE. I only have the info below on it and most of it is in a foreign language. On the same line as Roger Linns MPC's and the EMU Sp12 and the drum machines but apparantly much more superior and sought after."
Babblefished via synrise.de:
"Dynacord ADD Two * Dynacord ADD Two * Dynacord ADS ADD-TWO/pole spl exp 5800 (1988) The ADD-TWO appeared as 16-kanalige 16-Bit-Version of the ADD-ONE with Samplingfrequenzen from 22,05 to 44.1 kHz. The basic version is equipped with two MByte memory, can be supplemented however on up to eight MByte. The strength the D/A transducers might be, which, as already work in the ADS/ADS k, with 20 bits. The rack equipment needs two HE in the rack and beitet the following rework possibilities: two LFOs, three VCF envelopes, volume, panorama, Feinverstimmung, per channel a Digitaldelay (!), and with a 16-stimmigen toner generation (= 16 channels). Once exemplary the modulation matrix is mentioned - a feature, which from Marcus Ryle (NEARLY FORWARD DESIGN, development team at among other things this equipment, as also at the ALESIS QUADRASYNTH) comes and of it in e.g. the UPPER HOME XPANDER and MATRIX-12 to the employment came for the first time: Modulation matrix ADD-TWO Sources of modulation Modulation goals Note NUMBER Pitch Velocity Panning release Velocity Volume Pressure Send 1 volume Modulation Wheel Send 2 volume Pitch Bend Wheel SAM-polarize SELECT Sustain pedal SAM-polarize start Envelope 1 Envelope 1 Attack Envelope 2 Envelope 1 Decay Envelope 3 Envelope 1 Sustain Decay LFO 1 Envelope 1 release LFO 2 Envelope 1 amplitude Ramp generator Envelope 2 Attack Random generator Envelope 2 Decay Trigger rate Follow Envelope 2 Sustain Decay MIDI CONTROLLER A Envelope the 2 releases MIDI CONTROLLER B Envelope 2 amplitude Pedal 1 Envelope 3 Attack Pedal 2 Envelope 3 Decay - Envelope 3 Sustain Decay - Envelope 3 release - Envelope 3 amplitude - LFO 1 speed - LFO 1 amplitude - LFO 2 speed - LFO 2 amplitude"
Roland SVC-350 Analog Vocoder
Title link takes you to shots pulled via this auction.
Note the seller also has a Harmony SVC-650 up for auction. The images are horrid, so I only grabbed the one below. According to the seller this is a clone of the SVC-350.
Messe 2007 Video via Sequencer.de
If you ever wanted to be a fly on someone's shoulder walking around the Frankfurt Musikmesse, here you go. Title link takes you to a post on sequencer.de with a link to the video. The modular goodness starts about four minutes into the video. Note that the video is 90M and Moogulator of sequencer.de has asked us to not dowload the video, but just stream it by clicking on the video link and watching it. Cwejman modular pictured.
VCF
flickr by Ricardipus."Detail of the fluorescent displays from my Akai AX80 synthesizer. "VCF" stands for "Voltage Controlled Filter", in this case a 24dB / octave resonant filter on a Curtis CEM 3372 chip. Eight of them, in fact. "
More Musikmesse Pics
Title link takes you to a few more shots. Arturia Origin pictured. via sequencer.de.
Elton John MOOG Realistic MG-1 Advert
via Megamule who also notes: "I love my MG-1. Even after acquiring a Voyager, I kept mine around because it is a great performance synth. Another bit of MG-1 trivia. I read in TapeOp mag that all the synth on Ween's "Mollusk" album was done on their producers MG-1."
A4: a better form factor for modular synthesizers?
Rick Jelliffe sent me a link to an article he wrote on O'Reilly Digital Media which proposes a new form factor for modular synthesizers. The form factor? A4 - the standard size for a sheet of paper outside North America and the Phillipines. The article is in response to Grant Richter of Wiard calling for the use of different materials for modular faceplates to cut down costs (see this post). Title link takes you to full article. The following is an excerpt:
"But for the rest of us, Grant is entirely right, but it is more than just the cost, it is also the time delay and logistics and also the lack of flexibility that causes users problems. Why is it that we currently have the several dozen different form factors for synthesizer modules?
I think there is another way to approach the issue that solves several other problems, especially for the new and DIY maker: adopt A4 (the paper size used outside North America and the Philippines) as the standard size for module front panels. 210 x 297 millimeters or 8.27 x 11.69 inches.
The first question that probably will pop up is Rick are you insane? A4 is about the same size as US letter paper, surely that is way too big? Plus it isn’t an even multiple of any of the current standard sizes…what gives?
Well, lets start off by redefining the problem. DIY people need to buy the expensive panels because they don’t have the skills or tools to cut and make decent panels themselves. But buying in a good-looking panel has a hidden cost: it makes it difficult to evolve and experiment with the module, in particular with anything that requires new knobs, lights or jacks: so new functionality has to go into a new module, which then needs a new panel. Plus if spend your cash on panels, you don’t have a brass razoo for other modules: there is a substitution cost. So Grant is right that the cost of panels is a disincentive to purchasing panels, but it is also a disincentive to incrementally evolving them."
"But for the rest of us, Grant is entirely right, but it is more than just the cost, it is also the time delay and logistics and also the lack of flexibility that causes users problems. Why is it that we currently have the several dozen different form factors for synthesizer modules?
I think there is another way to approach the issue that solves several other problems, especially for the new and DIY maker: adopt A4 (the paper size used outside North America and the Philippines) as the standard size for module front panels. 210 x 297 millimeters or 8.27 x 11.69 inches.
The first question that probably will pop up is Rick are you insane? A4 is about the same size as US letter paper, surely that is way too big? Plus it isn’t an even multiple of any of the current standard sizes…what gives?
Well, lets start off by redefining the problem. DIY people need to buy the expensive panels because they don’t have the skills or tools to cut and make decent panels themselves. But buying in a good-looking panel has a hidden cost: it makes it difficult to evolve and experiment with the module, in particular with anything that requires new knobs, lights or jacks: so new functionality has to go into a new module, which then needs a new panel. Plus if spend your cash on panels, you don’t have a brass razoo for other modules: there is a substitution cost. So Grant is right that the cost of panels is a disincentive to purchasing panels, but it is also a disincentive to incrementally evolving them."
zorlon cannon demonstration
YouTube via meatlog.
"test of a voltage-controlled audio noise / pseudorandom gate generator module inspired by the atari 8-bit computer's sound generation algorithm"
The Havestman
Korg M1 Synthesizer
Korg M1 Synthesizer - Part One
Korg M1 Synthesizer - Part Two "Plus 1" Expansion
YouTube via williamenroh.
Korg M1 Synthesizer - Part Two "Plus 1" Expansion
YouTube via williamenroh.
Matrixsynth by Johan
Click the image for a bigger shot. Via Johan of random voltage. Guess the synth.
Pretty damn cool. Thanks Johan! BTW, I make this my new wallpaper. It looks great centered on black.
Descent - Parallax
YouTube via hamsterdunce, aka Dave of umop and The Packrat.
"Original song - get CD on umop.com! More progressive rock ultra wanky horse puckey for you."
Ensoniq FIZMO
Title link takes you to shots pulled via this auction. This one almost went up on Matrixsynth-b, but I really like this shot. I remember when the FIZMO came out. It bombed because people were expecting it to sound like an agressive analog style synth, because of all the knobs. It doesn't emulate analog well at all. Why? Because it's a transwave synth which was Ensoniq's rendition of wavetable synthesis. The oscillator sources were what they called transwaves which you could sweep through in time. It made for some interesting textures. FIZMO was an appropriate name as it was definitely capable of some fizzy sounds. For an example of an oddball FIZMO sound, check out this post. When I first ran across it, it reminded me a bit of a drawn out pad in the same vein of COIL's After the Snow. If you ever plan to own a FIZMO, be sure to read this. If you don't you might find yourself with a dead FIZMO.Previous FIZMO posts
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
