Wednesday, September 26, 2012
10-Let's jam again ! Korg MS-20 sequenced by Plogue Bidule
Published on Sep 26, 2012 by GruithuisenCityMan
"Korg MS-20 Series :
Ten ways to have fun with a Korg MS-20
1-Basic Plogue Bidule polysynth passing through the filters of my Korg MS-20
2-Korg MS-20 acting very strange
3-Duophonic Korg MS-20
4-Duophonic Korg MS-20 (2)
5-Korg MS-20 complexely arpeggiated by Plogue Bidule
6-Korg MS-20 arpeggiated - Filters's resonance only !
7-FM-like sounds with a Korg MS-20
8-Crazy feedback loop with a Korg MS-20
9-Let's jam ! Korg MS-20 sequenced by Plogue Bidule
10-Let's jam again ! Korg MS-20 sequenced by Plogue Bidule
Hello ! My name is Frederic Gerchambeau. I have made this movie and this music. The music has been made in one take using a Korg MS-20, Plogue Bidule and Audacity. Enjoy !"
An Interview with Jon Appleton - One of the Creators of the NED Synclavier
via Astronauta Pinguim where you'll find the full interview.
"APPLETON - I have the first and the second Synclavier but I don't play them. I am not sure they work. Sydney and Cameron and I developed the instrument first from something called The Dartmouth Digital Synthesizer. It was my conception and their design..."
Check out the "all-star" pic below. You should recognize some of the names. Peter Zinovieff was he man behind EMS. Via Fabricio Carvalho on The MATRIXSYNTH Lounge
Remember you can find all interviews featured on the site via the Interviews label below.
Mirador
Mirador from NormanBates on Vimeo.
"a super simple oscillator -from nicholas collins book- a 4093 chip with 2 ldrs, reading some videos of my likes collection. The first two from Guido Corallo, and the last one by Moritz Uebele. The three videos were originally silent. Sorry about the really poor quality, got to compress too much the original video to be able to got it under the 500mb restriction for the non plus like me.
un oscilador recontra simple del libro de Nic Collins, un 4093 con dos ldrs, pegado al monitor, "leyendo" algunos videos de mi colección de favoritos. Los dos primeros de Guido Corallo, y el tercero de Moritz Uebele. Los 3 videos eran originalmente mudos. La calidad deja bastante que desear, pero es que tuve que comprimirlo demasiado para que me quede en los 500 mb de límite para los no plus."
EMW WCS-1 Synthesizer
Published on Sep 25, 2012 by psprojectbrazil
"Playing the EMW WCS-1 synthesizer module using a microKorg and a reverb from a Behringer mixing console."
http://www.electronicmusicworks.com/
Synthesizing the Sound of Cloth, Garments & Fabrics
Motion-driven Concatenative Synthesis of Cloth Sounds (SIGGRAPH 2012)
Published on Jun 19, 2012 by DougLJames
Clothing sounds synthesized using the approach from our SIGGRAPH 2012 paper, and PhD thesis work by Steven S. An.
http://www.cs.cornell.edu/projects/Sound/cloth/
Steven S. An , Doug L. James, and Steve Marschner, Motion-driven Concatenative Synthesis of Cloth Sounds, ACM Transactions on Graphics (SIGGRAPH 2012), August 2012.
Abstract: We present a practical data-driven method for automatically synthesizing plausible soundtracks for physics-based cloth animations running at graphics rates. Given a cloth animation, we analyze the deformations and use motion events to drive crumpling and friction sound models estimated from cloth measurements. We synthesize a low-quality sound signal, which is then used as a target signal for a concatenative sound synthesis (CSS) process. CSS selects a sequence of microsound units, very short segments, from a database of recorded cloth sounds, which best match the synthesized target sound in a low-dimensional feature-space after applying a hand-tuned warping function. The selected microsound units are con- catenated together to produce the final cloth sound with minimal filtering. Our approach avoids expensive physics-based synthesis of cloth sound, instead relying on cloth recordings and our motion-driven CSS approach for realism. We demonstrate its effectiveness on a variety of cloth animations involving various materials and character motions, including first-person virtual clothing with binaural sound."
via Engadget
Precomputed Acceleration Noise for Improved Rigid-Body Sound (SIGGRAPH 2012)
Published on Jun 19, 2012 by DougLJames
"Acceleration noise sounds synthesized using the method from our SIGGRAPH 2012 paper.
http://www.cs.cornell.edu/projects/Sound/impact/
Jeffrey N. Chadwick, Changxi Zheng and Doug L. James, Precomputed Acceleration Noise for Improved Rigid-Body Sound, ACM Transactions on Graphics (SIGGRAPH 2012), August 2012.
ABSTRACT: We introduce an efficient method for synthesizing acceleration noise--sound produced when an object experiences abrupt rigidbody acceleration due to collisions or other contact events. We approach this in two main steps. First, we estimate continuous contact force profiles from rigid-body impulses using a simple model based on Hertz contact theory. Next, we compute solutions to the acoustic wave equation due to short acceleration pulses in each rigid-body degree of freedom. We introduce an efficient representation for these solutions--Precomputed Acceleration Noise--which allows us to accurately estimate sound due to arbitrary rigid-body accelerations. We find that the addition of acceleration noise significantly complements the standard modal sound algorithm, especially for small objects."
Published on Jun 19, 2012 by DougLJames
Clothing sounds synthesized using the approach from our SIGGRAPH 2012 paper, and PhD thesis work by Steven S. An.
http://www.cs.cornell.edu/projects/Sound/cloth/
Steven S. An , Doug L. James, and Steve Marschner, Motion-driven Concatenative Synthesis of Cloth Sounds, ACM Transactions on Graphics (SIGGRAPH 2012), August 2012.
Abstract: We present a practical data-driven method for automatically synthesizing plausible soundtracks for physics-based cloth animations running at graphics rates. Given a cloth animation, we analyze the deformations and use motion events to drive crumpling and friction sound models estimated from cloth measurements. We synthesize a low-quality sound signal, which is then used as a target signal for a concatenative sound synthesis (CSS) process. CSS selects a sequence of microsound units, very short segments, from a database of recorded cloth sounds, which best match the synthesized target sound in a low-dimensional feature-space after applying a hand-tuned warping function. The selected microsound units are con- catenated together to produce the final cloth sound with minimal filtering. Our approach avoids expensive physics-based synthesis of cloth sound, instead relying on cloth recordings and our motion-driven CSS approach for realism. We demonstrate its effectiveness on a variety of cloth animations involving various materials and character motions, including first-person virtual clothing with binaural sound."
via Engadget
Precomputed Acceleration Noise for Improved Rigid-Body Sound (SIGGRAPH 2012)
Published on Jun 19, 2012 by DougLJames
"Acceleration noise sounds synthesized using the method from our SIGGRAPH 2012 paper.
http://www.cs.cornell.edu/projects/Sound/impact/
Jeffrey N. Chadwick, Changxi Zheng and Doug L. James, Precomputed Acceleration Noise for Improved Rigid-Body Sound, ACM Transactions on Graphics (SIGGRAPH 2012), August 2012.
ABSTRACT: We introduce an efficient method for synthesizing acceleration noise--sound produced when an object experiences abrupt rigidbody acceleration due to collisions or other contact events. We approach this in two main steps. First, we estimate continuous contact force profiles from rigid-body impulses using a simple model based on Hertz contact theory. Next, we compute solutions to the acoustic wave equation due to short acceleration pulses in each rigid-body degree of freedom. We introduce an efficient representation for these solutions--Precomputed Acceleration Noise--which allows us to accurately estimate sound due to arbitrary rigid-body accelerations. We find that the addition of acceleration noise significantly complements the standard modal sound algorithm, especially for small objects."
Kraft test drummie & Robert Plant Touch Interface
Kraft test drummie & Robert Plant from NormanBates on Vimeo.
Circuitbended toy with 4 drum sounds, changed the buttons contacts to car antenna and metal sponges -the idea is from Mateo Carabajal- playing along with a 555 osc -drawdio style- on a Plectranthus australis (aka dollar plant)"
You can find additional pics here.
Vintage 360 Systems Keyboard Mellotron Chamberlin
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
See the seller's other items for more.
"This is a rare one: a 360 SYSTEMS Keyboard. It was the first manufactured Rompler - a ROM-based memory that stored samples, just like a Mellotron or Chamberlin but without the tapes. It's very similar in sound, however, I know as I own both Mellotrons and Chamberlins.
Each sound starts and stops immediately like those tape instruments and has about 8 seconds of length; they were definitely using the new technology of the era to try to replace the Mellotron! This does have some extra features though, like transpose, a Mod wheel to add Vibrato, you can stack 2 sounds on top of each other, or split the keyboard. It's sexy looking and perfect on top of a 400 Mellotron, with an old Minimoog on top, as it has a flat top for stacking keyboards!
SOUNDS: Each sound was a set of chips you bought from the company, no stock sets. Some of them were VERY expensive and some were less so. Strings were the most expensive and desirable, which are included here. This keyboard has the following sounds installed (quite a good, useable set, more than typical on these).
FLUTE
NYLON GUITAR
ELECTRIC BASS
CLARINET
OBOE
LOW STRINGS
FRENCH HORN
BRASS
SAX1
SAX2
BACH TRUMPET
STRING SECTION
All these sounds are demonstrated on a clip I just recorded today - you can hear them- I tired to link here to SoundCloud but ebay will not let me. Look for a link there maybe, or send me a message; I'll send you the audio link.
The last sets you hear there (after the strings) are stacks - two sounds layered together. These really have a great sound, I've used it on tons of records, especially the French Horn sound, which is amazing."
See the seller's other items for more.
"This is a rare one: a 360 SYSTEMS Keyboard. It was the first manufactured Rompler - a ROM-based memory that stored samples, just like a Mellotron or Chamberlin but without the tapes. It's very similar in sound, however, I know as I own both Mellotrons and Chamberlins.
Each sound starts and stops immediately like those tape instruments and has about 8 seconds of length; they were definitely using the new technology of the era to try to replace the Mellotron! This does have some extra features though, like transpose, a Mod wheel to add Vibrato, you can stack 2 sounds on top of each other, or split the keyboard. It's sexy looking and perfect on top of a 400 Mellotron, with an old Minimoog on top, as it has a flat top for stacking keyboards!
SOUNDS: Each sound was a set of chips you bought from the company, no stock sets. Some of them were VERY expensive and some were less so. Strings were the most expensive and desirable, which are included here. This keyboard has the following sounds installed (quite a good, useable set, more than typical on these).FLUTE
NYLON GUITAR
ELECTRIC BASS
CLARINET
OBOE
LOW STRINGS
FRENCH HORN
BRASS
SAX1
SAX2
BACH TRUMPET
STRING SECTION
All these sounds are demonstrated on a clip I just recorded today - you can hear them- I tired to link here to SoundCloud but ebay will not let me. Look for a link there maybe, or send me a message; I'll send you the audio link.
The last sets you hear there (after the strings) are stacks - two sounds layered together. These really have a great sound, I've used it on tons of records, especially the French Horn sound, which is amazing."
Vintage Oberheim Logo Sticker
via this auction
See the seller's other items for more.
"This is an old (80s?) era sticker from OBERHEIM, maker of wonderful analog synths! It's their OBIE logo character, about 6-7" across maybe. I put "used" as it's not perfect, but almost new. Never been peeled or stuck on anything though!! Perfect for your OB-X OB8 OBXA or SEM Expander rig!!.."
My girlfriend is programming the Roland TR-909, making a House beat
Published on Mar 26, 2012 by HotMusic1
With a synth cat.
"More TR-909:
http://www.facebook.com/ricklampe
http://soundcloud.com/ricklampe-1"
SEQUENTIAL CIRCUITS Prophet 5 v3.3 w/MIDI & Extended Memory Bank SN 3625
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
SN 3625
"Synth was purchased from Main Drag Music in Williamsburg, Brooklyn after full check up and minor refurb by their amazing tech, Takeshi. The synth was previously owned by the musician Joy Askew, who played with such artists as Peter Gabriel, Laurie Anderson, Joe Jackson, and others. Many of her presets are still on the synth! In addition to the standard 8 banks/8 presets = 64, the 3.3 upgrade gives this Prophet 5 TWO MORE BANKS OF 64 PRESETS EACH. That is a whopping 192 presets!. Accessible by holding down bank button while pressing preset button 2 OR 3. The MIDI on this synth is flawless and works perfectly. BRILLIANT with hardware or software arpeggiators. All hardware - knobs, switches, LED, etc - works perfectly. Wood and all surfaces are in excellent shape."
via this auction
SN 3625
"Synth was purchased from Main Drag Music in Williamsburg, Brooklyn after full check up and minor refurb by their amazing tech, Takeshi. The synth was previously owned by the musician Joy Askew, who played with such artists as Peter Gabriel, Laurie Anderson, Joe Jackson, and others. Many of her presets are still on the synth! In addition to the standard 8 banks/8 presets = 64, the 3.3 upgrade gives this Prophet 5 TWO MORE BANKS OF 64 PRESETS EACH. That is a whopping 192 presets!. Accessible by holding down bank button while pressing preset button 2 OR 3. The MIDI on this synth is flawless and works perfectly. BRILLIANT with hardware or software arpeggiators. All hardware - knobs, switches, LED, etc - works perfectly. Wood and all surfaces are in excellent shape."
1983 POLYPHONY Magazine Featuring Clear Gleeman Pentaphonic Larry Fast Synergy
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"POLYPHONY Magazine was a promotion of PAIA synthesizers. In this issue are the Gleeman Pentaphonic clear (cover only) Larry Fast of Synergy and Peter Gabriel, EH advert, PAIA pedals + others! In pretty good condition, not perfect but only slight wear overall."
via this auction
"POLYPHONY Magazine was a promotion of PAIA synthesizers. In this issue are the Gleeman Pentaphonic clear (cover only) Larry Fast of Synergy and Peter Gabriel, EH advert, PAIA pedals + others! In pretty good condition, not perfect but only slight wear overall."
1981 POLYPHONY Magazine Featuring Bode E-Mu Korg PAIA
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"POLYPHONY Magazine was a promotion of PAIA synthesizers. In this issue are the Bode Phaser ad, EMU history and the Audity, ProOne and computer interface, build your own oscillator, etc etc etc. In pretty good condition, not perfect but only slight wear overall..."
via this auction
"POLYPHONY Magazine was a promotion of PAIA synthesizers. In this issue are the Bode Phaser ad, EMU history and the Audity, ProOne and computer interface, build your own oscillator, etc etc etc. In pretty good condition, not perfect but only slight wear overall..."
Original Minimoog OWNER'S MANUAL
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"This is an original 1970s Owner's Manual for the Moog Minimoog. You probably already know how to work the synth, but it's great for the weirder stuff, like how to run guitars and things through the Minimoog! Or the calibration information, so you can tweak and tune it. Not too hard, once you know the tricks. In rough shape, this has both frayed edges and some stains from coffee or water on the pages. BUT none of the information is hard to read or use..."
via this auction
"This is an original 1970s Owner's Manual for the Moog Minimoog. You probably already know how to work the synth, but it's great for the weirder stuff, like how to run guitars and things through the Minimoog! Or the calibration information, so you can tweak and tune it. Not too hard, once you know the tricks. In rough shape, this has both frayed edges and some stains from coffee or water on the pages. BUT none of the information is hard to read or use..."
Vintage original EML101 synthesizer owner's manual
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
See the seller's other items for more.
"This is an original Owner's Manual for the classic EML101 analog synthesizer. It's a good-sized book, about 8.5"x11". It is in very good shape, almost new but with the name "Burger" written on the cover. Inside are all the basics, and some things beyond - like how to interface the model 200 with the 101. It's about 70 pages in total, with both instructions, diagrams, and patch sheets in the back..."
via this auction
See the seller's other items for more.
"This is an original Owner's Manual for the classic EML101 analog synthesizer. It's a good-sized book, about 8.5"x11". It is in very good shape, almost new but with the name "Burger" written on the cover. Inside are all the basics, and some things beyond - like how to interface the model 200 with the 101. It's about 70 pages in total, with both instructions, diagrams, and patch sheets in the back..."
Electronic and Experimental Music by Thom Holmes
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
See the seller's other items for more.
Electronic and Experimental Music
Technology, Music, and Culture
Third edition
"This is a great book, now considered one of the standard educational tomes on the subject. Thom Holmes book is hardcover, slightly used. Inside is an entire overview of the history, to the present. Both great photos and detailed diagrams. Pretty easy reading, not too technical, but some great detail on the topics..."
Buchla and EMS Synthi 100 in the pics.
Link to this posted added to the Synth Books list.
via this auction
See the seller's other items for more.
Electronic and Experimental Music
Technology, Music, and Culture
Third edition
"This is a great book, now considered one of the standard educational tomes on the subject. Thom Holmes book is hardcover, slightly used. Inside is an entire overview of the history, to the present. Both great photos and detailed diagrams. Pretty easy reading, not too technical, but some great detail on the topics..."
Buchla and EMS Synthi 100 in the pics.
Link to this posted added to the Synth Books list.
A Bibliography of Electronic Music from 1967
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
See the seller's other items for more.
"This is a very rare book in Eletronic Music history. It was published by University of Toronto Press; this University was the home of Hugh LeCaine, Myron Schaeffer, and Gus Ciamaga - hugely significant pioneers of this music.
Myron and Gus were the first to hear/see Bob Moog's first synthesizer, and commissioned the first EVER Moog filter to be built. This book was begun about the same time, as a project to document the then-new world of Electronic Music. It has hardcover, clothbound, over 100 pages. It's dense but a great resource - for articles and records that existed at the time."
Link to this posted added to the Synth Books list.
via this auction
See the seller's other items for more.
"This is a very rare book in Eletronic Music history. It was published by University of Toronto Press; this University was the home of Hugh LeCaine, Myron Schaeffer, and Gus Ciamaga - hugely significant pioneers of this music.
Myron and Gus were the first to hear/see Bob Moog's first synthesizer, and commissioned the first EVER Moog filter to be built. This book was begun about the same time, as a project to document the then-new world of Electronic Music. It has hardcover, clothbound, over 100 pages. It's dense but a great resource - for articles and records that existed at the time."
Link to this posted added to the Synth Books list.
'74 ARP 2600 VINTAGE ANALOG SYNTHESIZER SN 0040
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"ARP 2601 analog synthesizer with 3620 keyboard. This is an early serial #(2601-0040). This model according to the serial number has the MOOG designed filter although I have not opened it up to check the board..."
via this auction
"ARP 2601 analog synthesizer with 3620 keyboard. This is an early serial #(2601-0040). This model according to the serial number has the MOOG designed filter although I have not opened it up to check the board..."
WMD Geiger Counter Eurorack Module with Original Box
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
See the seller's other items for more.
"The Controls:
The Geiger Counter may seem overwhelming, but once broken down, the controls are quite logical.
Gain:
Low settings provide clean tones with no distortion at all, while high settings will brickwall your signal for great sustain. Use the Gain control as a coarse setting for getting the desired tone from the selected wave table.
Tone:
The Geiger Counter's tone control blends muffled low-mids with chimey and clear upper mids and highs providing a very large range of sounds in junction with the Gain. All the way down and the sound is muffled and grungy with little upper harmonic content. The middle range is smooth and full bodied. The top range cuts the lows completely for only upper harmonic content. Use the Tone to fine tune the sound of the wave table.
Tone Enable/Disable:
This switch removes the tone control from the preamp circuit. The tone control sucks some volume from the gain, and this allows the pure ultra hot signal to go directly into the Wave Table. If a very clean tone is desired, set to Disable and adjust the gain to get the right amount of breakup. For most wave tables, disabling the Tone will produce completely different sounds by brickwalling to the extremes of the tables faster.
Direct In/Level:
The direct input allows a signal to be injected directly to the Geiger Counter's digital heart and bypassing the preamps coloration.
Sample Rate:
Controls the length of the samples your signal is converted into. Full up and the Geiger Counter samples faster than a CD. Dial it down a little and you'll lower the fidelity and frequency response, adding overtones and difference frequencies. Down a little produces some very nice chimey clean tones. Down more and higher notes disappear into difference frequencies, all the way down to 280Hz. The sample rate is sort of like a flange whammy.
When the LED is Red, the Sample Rate is in fine mode where the range is limited to the upper end.
The CV input and attenuator are only active when a cable is plugged into the CV jack. When CV controlled, the Sample Rate knob selects the center frequency about which the CV signal moves. When the LED is Green, the Sample Rate knob is logically ANDed with the CV signal, producing some interesting sounds as the CV changes.
Bit Depth:
This controls the finer details of the signal. All up and your signal is represented by the full 8 bits. Each step down cuts the resolution in half, adding quantization error distortion, all the way down to 1 bit making a nasty square wave from a once clean tone. This produces a lo-fi gated distortion sound.
The LED when Green engages Mask mode where your signal is logically ANDed to the 8 bit number produced by the Bit Depth knob. This produces uneven gaps in your signal for some interesting distortion sounds.
The Bit Depth CV and level control is only active when a cable is plugged into the Bit Depth CV input. The Bit Depth knob then controls the center frequency. However, unlike the Sample Rate control, the bit depth can wrap around the edges of the control if the CV signal is larger than the range allows for.
Wave Table:
This knob and display select the wave table to run your signal through. The wave table stage takes your signal and destroys it with math. This produces some incredible sounds. The wave tables are organized so that a more extreme version is typically found one up from the current one.
There are 252 wave tables in all, each with different harmonic content.
The display is in HEX, displaying the numbers 0-9 and the letters A-F. Don't be alarmed, it actually makes remembering your desired wave table easier! The wave table is remembered when the pedal is turned off.
The Wave Table CV input is similar to the Bit Depth's.
The CV signal is only active when a cable is plugged in.
The Wave Table will wrap around the end points 00 and FB.
The center is set by the WaveTable knob."
See the seller's other items for more.
"The Controls:
The Geiger Counter may seem overwhelming, but once broken down, the controls are quite logical.
Gain:
Low settings provide clean tones with no distortion at all, while high settings will brickwall your signal for great sustain. Use the Gain control as a coarse setting for getting the desired tone from the selected wave table.Tone:
The Geiger Counter's tone control blends muffled low-mids with chimey and clear upper mids and highs providing a very large range of sounds in junction with the Gain. All the way down and the sound is muffled and grungy with little upper harmonic content. The middle range is smooth and full bodied. The top range cuts the lows completely for only upper harmonic content. Use the Tone to fine tune the sound of the wave table.
Tone Enable/Disable:
This switch removes the tone control from the preamp circuit. The tone control sucks some volume from the gain, and this allows the pure ultra hot signal to go directly into the Wave Table. If a very clean tone is desired, set to Disable and adjust the gain to get the right amount of breakup. For most wave tables, disabling the Tone will produce completely different sounds by brickwalling to the extremes of the tables faster.
Direct In/Level:
The direct input allows a signal to be injected directly to the Geiger Counter's digital heart and bypassing the preamps coloration.
Sample Rate:
Controls the length of the samples your signal is converted into. Full up and the Geiger Counter samples faster than a CD. Dial it down a little and you'll lower the fidelity and frequency response, adding overtones and difference frequencies. Down a little produces some very nice chimey clean tones. Down more and higher notes disappear into difference frequencies, all the way down to 280Hz. The sample rate is sort of like a flange whammy.
When the LED is Red, the Sample Rate is in fine mode where the range is limited to the upper end.
The CV input and attenuator are only active when a cable is plugged into the CV jack. When CV controlled, the Sample Rate knob selects the center frequency about which the CV signal moves. When the LED is Green, the Sample Rate knob is logically ANDed with the CV signal, producing some interesting sounds as the CV changes.
Bit Depth:
This controls the finer details of the signal. All up and your signal is represented by the full 8 bits. Each step down cuts the resolution in half, adding quantization error distortion, all the way down to 1 bit making a nasty square wave from a once clean tone. This produces a lo-fi gated distortion sound.
The LED when Green engages Mask mode where your signal is logically ANDed to the 8 bit number produced by the Bit Depth knob. This produces uneven gaps in your signal for some interesting distortion sounds.
The Bit Depth CV and level control is only active when a cable is plugged into the Bit Depth CV input. The Bit Depth knob then controls the center frequency. However, unlike the Sample Rate control, the bit depth can wrap around the edges of the control if the CV signal is larger than the range allows for.
Wave Table:
This knob and display select the wave table to run your signal through. The wave table stage takes your signal and destroys it with math. This produces some incredible sounds. The wave tables are organized so that a more extreme version is typically found one up from the current one.
There are 252 wave tables in all, each with different harmonic content.
The display is in HEX, displaying the numbers 0-9 and the letters A-F. Don't be alarmed, it actually makes remembering your desired wave table easier! The wave table is remembered when the pedal is turned off.
The Wave Table CV input is similar to the Bit Depth's.
The CV signal is only active when a cable is plugged in.
The Wave Table will wrap around the end points 00 and FB.
The center is set by the WaveTable knob."
Bleep Labs Nebulophone Synthesizer
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
http://bleeplabs.com/nebulophone/
"The Nebulophone is an Arduino based synth with a stylus keyboard.
- Eight waveforms
- Light controlled analog low-pass filter with five adjustable LFO LED modes.
- Perfect tuning across six octaves.
- Adjustable temperment and key.
- HYPERNOISE 30XX mode.
- Six arpeggio modes with adjustable rate.
- Programmable sequencer to easily make your own arpeggios right on the Nebulophone.
- Portamento with three speed settings.
- Infrared control of arp rate with other Andromeda Space Rocker and some Gieske devices.
- Open-source Arduino code and hardware"
via this auction
http://bleeplabs.com/nebulophone/
"The Nebulophone is an Arduino based synth with a stylus keyboard.
- Eight waveforms
- Light controlled analog low-pass filter with five adjustable LFO LED modes.
- Perfect tuning across six octaves.
- Adjustable temperment and key.
- HYPERNOISE 30XX mode.
- Six arpeggio modes with adjustable rate.
- Programmable sequencer to easily make your own arpeggios right on the Nebulophone.
- Portamento with three speed settings.
- Infrared control of arp rate with other Andromeda Space Rocker and some Gieske devices.
- Open-source Arduino code and hardware"
Korg Electribe SX ESX-1 SN (21)00013627
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Korg Electribe SX ESX-1 Sequencer Synthesizer Sampler Drum Machine
Features Vacuum tubes (Valve Force Circuitry)"
The Klirrfaktor: Rubicon II (Intellijel Rubicon)
Published on Sep 26, 2012 by TheKlirrfaktor
"All sounds from Intellijel Rubicon autoplaying in this patch. I only used the 8 outs & some sequencing, envelopes, vca. No further FX, oder filter. Dynamics on the master ;) Later I'll upload a little demo of this great VCO... More @ http://www.klirrfaktor.com"
Cgs serge programmer sequencer tests
Published on Sep 26, 2012 by LowGainElectronics
"Continuing my tests on the programmer sequencer. I got the sequential switches working. Here is a 3 note by 4 step sequence of the make noise DPO"
Raspberry Pi Synth Control Panel
Stepped Tone Generator with LFO
Stepped Tone Generator with LFO / part 1
Published on Sep 26, 2012 by vcs3dreams
Sonic Architecture
https://www.etsy.com/listing/110542380/stepped-tone-generator-with-lfo-noise
Published on Sep 26, 2012 by vcs3dreams
Sonic Architecture
https://www.etsy.com/listing/110542380/stepped-tone-generator-with-lfo-noise
Finished Beat707 Build by xtrmnt
"I thought I would pass along some photos of my completed Beat707 in it's Front Panel Express paneled Hammond case. And a HUGE thanks to Altitude for providing me with the FPE panel files. The only FPE panel file he did not provide was the side plate with the Midi ports. I had this custom made by FPE."
via William Kalfelz on The MATRIXSYNTH Lounge
KORG4play
ublished on Sep 26, 2012 by FSK1138
"DS10+ on 3dsxl x3 and one 3dsxl with delay from behringer virtualizer pro
4x euroed monotribes
and a little taste of WMD GWS
wave sequenced with snazzyfx ardcore
then running thur Pulp Logic primitive
and filtered with monotron -e
not used in the video KORG MS20LC x5 (one unit is in table top form )"
Monotribe Improv (Raw Audio)
Published on Sep 26, 2012 by godmadeusfonky
"Monotribe recorded through Monotron Filter. Raw Audio, no effects or mastering.
www.gmufrecords.bandcamp.com
God Made Us Fonky Records ©"
monotribes on eBay
Casio VL-5 Tone with original barcode reader, box, case, and manuals
TRAX RetroWave R-1 MIDI-Controlled Analogue Synthesizer
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via this auction
"The TRAX RetroWave desktop monosynth was designed for musicians who want the immediacy and warmth of classic analogue sound, created by a real analogue instrument, as opposed to a digital system or computer emulation. This compact unit is great for use in studios, with your home computer, in live performances, and for creating sound effects for film, TV and theatre.
Features
True analogue oscillators, filter, sample and hold, noise generator, VCA and signal path
Easily recreate classic analogue synth sounds using knobs and switches
Built-in MIDI to CV, 5V gate and velocity converter, 1V/octave CV response
Inputs and outputs via robust 1/4" jack sockets
Built-in overdrive circuit for grungy distortion effects
No menus, no software, just switch on and play
Unique retro styling
Patching
The comprehensive "pot and switch" patching system allows you to set up sounds without recourse to endless menu screens. This way, you create electronic music the way Carlos, Tomita, Jarre, Perrey and all the other pioneers did in the early days of sound synthesis.
Extra patches can be easily achieved if needed, using the supplied short patch leads.
Connect any keyboard or sequencer with a 5-pin DIN MIDI out socket to the R-1's MIDI input socket, and you have an complete analogue synthesizer system for live gigs and recording. Add a USB to MIDI lead for computer control, and the possibilities are endless - live performance play-along with recorded music, complex and rapid sequences, etc.
The Internal Modules
1 x Voltage-Controlled Oscillator (VCO), true analogue, with 1 volt/octave response. Features square, ramp, triangle and sine outputs. The square wave may be pulse-width modulated by other internal modules (low frequency oscillator 2, ADSR sweep), or the wave shape can be altered by hand or an external source, for dynamic searing leads and amazingly fat bass lines.
Frequency modulation comes from 2 x LFO's, sample and hold, ADSR sweep or external source, either separately or all together. An octave selector switch and master tune control give you flexibility when playing along with other instruments, and can be used to give pitch shifting effects while playing.
1 x MIDI/CV and Gate Converter. 12 channels to choose from, instantly selectable via an easy-to-use rotary switch. CV, gate (+5V), and velocity output jacks are provided, so that the R-1 can drive other analogue equipment. Glide control for "Rick Wakeman" style blurring of one note into the next.
1 x 24dB/octave, Four-pole Voltage-Controlled Filter (VCF), low-pass, with 1 volt/octave response. Create all those classic dynamic filter sounds, including auto-wah, ADSR sweeps and keyboard CV tracking. Cut-off frequency can be modulated by LFO 2, ADSR, sample & hold, MIDI velocity, or external signal, together or separately.
The filter can also be put into oscillation mode to track the MIDI CV output, effectively acting as a second VCO. Comprehensive signal input mixing combines VCO, sub-octave 1, sub-octave 2, noise and external input to give a composite filter signal.
2 x Low-Frequency Oscillators (LFO), with triangle and square outputs. Wave shape controls to give ramp, sawtooth, and pulse variations - great for sirens, sci-fi sounds, trills and vibrato effects. Low (sub-audio) and high speed (audio) range switches give effects that vary from a subtle vibrato, through to a dirty hyper-modulation that will send the cat running for cover!
Each LFO has a clear, high-brightness yellow LED monitor, so you can see at a glance the running speed and approximate shape of the output waveform.
2 x Sub-Octave Generators, each with a square wave output. One octave below, and two octaves below VCO frequency. Fatten up the VCO output to give deep bass and organ-like sounds, with full level control of each sub-octave.
1 x Sample and Hold Circuit. Supplies random voltages, for programming the VCO and VCF. The random note effect is just the thing for creating a "psychotic" lead line, and the random VCF modulation will add some sparkle to any performance.
"The TRAX RetroWave desktop monosynth was designed for musicians who want the immediacy and warmth of classic analogue sound, created by a real analogue instrument, as opposed to a digital system or computer emulation. This compact unit is great for use in studios, with your home computer, in live performances, and for creating sound effects for film, TV and theatre.
Features
True analogue oscillators, filter, sample and hold, noise generator, VCA and signal pathEasily recreate classic analogue synth sounds using knobs and switches
Built-in MIDI to CV, 5V gate and velocity converter, 1V/octave CV response
Inputs and outputs via robust 1/4" jack sockets
Built-in overdrive circuit for grungy distortion effects
No menus, no software, just switch on and play
Unique retro styling
Patching
The comprehensive "pot and switch" patching system allows you to set up sounds without recourse to endless menu screens. This way, you create electronic music the way Carlos, Tomita, Jarre, Perrey and all the other pioneers did in the early days of sound synthesis.
Extra patches can be easily achieved if needed, using the supplied short patch leads.Connect any keyboard or sequencer with a 5-pin DIN MIDI out socket to the R-1's MIDI input socket, and you have an complete analogue synthesizer system for live gigs and recording. Add a USB to MIDI lead for computer control, and the possibilities are endless - live performance play-along with recorded music, complex and rapid sequences, etc.
The Internal Modules
1 x Voltage-Controlled Oscillator (VCO), true analogue, with 1 volt/octave response. Features square, ramp, triangle and sine outputs. The square wave may be pulse-width modulated by other internal modules (low frequency oscillator 2, ADSR sweep), or the wave shape can be altered by hand or an external source, for dynamic searing leads and amazingly fat bass lines.
Frequency modulation comes from 2 x LFO's, sample and hold, ADSR sweep or external source, either separately or all together. An octave selector switch and master tune control give you flexibility when playing along with other instruments, and can be used to give pitch shifting effects while playing.
1 x MIDI/CV and Gate Converter. 12 channels to choose from, instantly selectable via an easy-to-use rotary switch. CV, gate (+5V), and velocity output jacks are provided, so that the R-1 can drive other analogue equipment. Glide control for "Rick Wakeman" style blurring of one note into the next.1 x 24dB/octave, Four-pole Voltage-Controlled Filter (VCF), low-pass, with 1 volt/octave response. Create all those classic dynamic filter sounds, including auto-wah, ADSR sweeps and keyboard CV tracking. Cut-off frequency can be modulated by LFO 2, ADSR, sample & hold, MIDI velocity, or external signal, together or separately.
The filter can also be put into oscillation mode to track the MIDI CV output, effectively acting as a second VCO. Comprehensive signal input mixing combines VCO, sub-octave 1, sub-octave 2, noise and external input to give a composite filter signal.
2 x Low-Frequency Oscillators (LFO), with triangle and square outputs. Wave shape controls to give ramp, sawtooth, and pulse variations - great for sirens, sci-fi sounds, trills and vibrato effects. Low (sub-audio) and high speed (audio) range switches give effects that vary from a subtle vibrato, through to a dirty hyper-modulation that will send the cat running for cover!
Each LFO has a clear, high-brightness yellow LED monitor, so you can see at a glance the running speed and approximate shape of the output waveform.
2 x Sub-Octave Generators, each with a square wave output. One octave below, and two octaves below VCO frequency. Fatten up the VCO output to give deep bass and organ-like sounds, with full level control of each sub-octave.
1 x Sample and Hold Circuit. Supplies random voltages, for programming the VCO and VCF. The random note effect is just the thing for creating a "psychotic" lead line, and the random VCF modulation will add some sparkle to any performance.
Simmons Clap Trap
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
au.s (RSS)
"This one is in excellent cosmetic condition and working 100%. It has just come back from being serviced and needs nothing."
via this auction
au.s (RSS)
"This one is in excellent cosmetic condition and working 100%. It has just come back from being serviced and needs nothing."
DOEPFER DARK ENERGY
OCTAVE CATSTICK synth controller
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"ULTRA-RARE and fully working Octave-Plateau CATSTICK synth controller in amazing condition !
The original ad described it simply as :
"The better alternative to wheels, ribbons, pressure pads, knobs, sliders and pedals for any patchable synthesizer"
Built by OCTAVE-PLATEAU Electronics Inc. in New York City.
The unit runs on 110 volts and comes with an adaptor to make it work with European 220 voltage.
PATCHING
WHAT IS IT ?
The CATSTICK is a very powerful precision, spring-loaded joystick controller that lets one hand control four different modulation settings - 1 for each of the 4 joystick directions. By moving the stick off axis, combination modulations of different proportions are possible. When the stick is released, it springs back to its vertical, zero modulation position.
HOW DO YOU USE IT ?
For portable synthesizers, like the CAT, ODYSSEY or MINIMOOG - to quote a few - you can connect the CATSTICK outputs to the VCO, VCF or VCA inputs normally intended for footpedal controls. This lets you use the CATSTICK LFOs and control voltages to modulate the synthesizer as the joystick is moved. In patchable systems like the ARP 2600 or Modular MOOG, you can connect the CATSTICK VCAs in series with patchcords to allow real-time control of synthesizer patches.
WHO CAN USE IT ?
If you own a MINIMOOG, CAT, KITTEN, ODYSSEY, 2600, OBERHEIM, ROLAND, MODULAR SYSTEM or any other synthesizer with control voltage inputs, the CATSTICK is for YOU !
VERSATILITY
Included are 4 VCAs (each externally accessible), 2 wide-range LFOs with rate LED monitors, and a complete internal voltage processing system. The 20-jacks rear panel patch bay allows access to all of the internal control voltage signals and makes the CATSTICK a versatile addition for both performance-oriented and studio synthesis systems.
Not only the CATSTICK is a very powerful hands-on performance controller but it also is a very, VERY rare collector's item. You almost never see them for sale. So this is your chance to get hold of an exceptional piece of gear..."
via this auction
"ULTRA-RARE and fully working Octave-Plateau CATSTICK synth controller in amazing condition !
The original ad described it simply as :
"The better alternative to wheels, ribbons, pressure pads, knobs, sliders and pedals for any patchable synthesizer"
Built by OCTAVE-PLATEAU Electronics Inc. in New York City.
The unit runs on 110 volts and comes with an adaptor to make it work with European 220 voltage.
PATCHINGWHAT IS IT ?
The CATSTICK is a very powerful precision, spring-loaded joystick controller that lets one hand control four different modulation settings - 1 for each of the 4 joystick directions. By moving the stick off axis, combination modulations of different proportions are possible. When the stick is released, it springs back to its vertical, zero modulation position.
HOW DO YOU USE IT ?
For portable synthesizers, like the CAT, ODYSSEY or MINIMOOG - to quote a few - you can connect the CATSTICK outputs to the VCO, VCF or VCA inputs normally intended for footpedal controls. This lets you use the CATSTICK LFOs and control voltages to modulate the synthesizer as the joystick is moved. In patchable systems like the ARP 2600 or Modular MOOG, you can connect the CATSTICK VCAs in series with patchcords to allow real-time control of synthesizer patches.
WHO CAN USE IT ?
If you own a MINIMOOG, CAT, KITTEN, ODYSSEY, 2600, OBERHEIM, ROLAND, MODULAR SYSTEM or any other synthesizer with control voltage inputs, the CATSTICK is for YOU !
VERSATILITY
Included are 4 VCAs (each externally accessible), 2 wide-range LFOs with rate LED monitors, and a complete internal voltage processing system. The 20-jacks rear panel patch bay allows access to all of the internal control voltage signals and makes the CATSTICK a versatile addition for both performance-oriented and studio synthesis systems.
Not only the CATSTICK is a very powerful hands-on performance controller but it also is a very, VERY rare collector's item. You almost never see them for sale. So this is your chance to get hold of an exceptional piece of gear..."
1981 KORG Polysix PS-6 Analog Polyphonic Synthesizer SN 464316
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"1981 KORG Polysix PS-6 Analog Polyphonic Synthesizer w/hard case. Works perfect! One of those amazing pieces that looks like it came out of a time machine. All keys, buttons, LED's etc. function perfectly..."
Note the original batteries on the Polysix leak over time and do damage. If you ever pick one up, be sure to check it and replace it if it is the original. If you do have a damaged Polysix due to battery leak, check out Old Crow for a fix.
via this auction
"1981 KORG Polysix PS-6 Analog Polyphonic Synthesizer w/hard case. Works perfect! One of those amazing pieces that looks like it came out of a time machine. All keys, buttons, LED's etc. function perfectly..."
Note the original batteries on the Polysix leak over time and do damage. If you ever pick one up, be sure to check it and replace it if it is the original. If you do have a damaged Polysix due to battery leak, check out Old Crow for a fix.
Studio Electronics SE-1 SN C 3115
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"Fully working. Moog Clone. V.2.51"
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"Fully working. Moog Clone. V.2.51"
ROLAND Juno-60 Vintage Analog Polyphonic Synth SN 317184
Note: Auction links are affiliate links for which the site may be compensated.
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tokywax (RSS)
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tokywax (RSS)
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
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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
