"Showing a typo on the overload circuit board inside a Roland SH-1 that we are restoring for a customer. I'm sure the Overlord would be pleased."
Note the space between OVER and LORD, hence the typo in the title of this post. Maybe Roland meant if an overload happens here it's all over, synth lord.
"This is a one owner Sequential Circuits MultiTrak Synthesizer in very good condition. It is a vintage analog six voice synth with programmable filters, envelopes, modulation capabilities and built-in sequencing. It has MIDI In and Out. The 6 voices each have their own output or you can use the 2 main outputs. It has a brand new internal battery, all pots have been and all Factory Sounds have been restored. There is some normal cosmetic wear and small scratches. The unit is fully functional and sounds great. The synth comes with its original manual, MIDI guide, power adapter and a CD with the Factory Sounds."
"http://www.uvi.net/beathawk
BeatHawk is an inspiring new iPad app designed to allow you to create music on the go. sample, record and create on the go!
more info @ Fluxwithit.com"
"Quick demonstration of how to create a simple polyrhythm pattern using a Moon Modular 569 step sequencer (and other similarly capable step sequencers too)"
"This video is an overview of the analog and digital features of the avalon. The analog features are covered first, followed by the pattern writes modes of the sequencer."
Basically the "kick drum" is the Tone Controller in self-oscillation. The "kick" occurs via CV-A from the VMS. Also you can add shuffle and swing to the beat by offsetting the stages in a repeating pattern of CV-B on the VMS controlling the time. Midway through the video I reset the CV-B stages to 0 so you can hear a normal "beat" without shuffle. The "snare" and hi-hat sounds are the actually the same source sound but with the high-pass filter creating the hi-hat and the low-pass filter creating the snare. The snare/hi-hat tone is the Complex Oscillator being FM'd by itself and also by the Harmonic Oscillator, all square waves. Finally, the snare/hi-hat output went to a Roland RE-20 delay (which I turn on and off in the video) and the kick goes straight into the soundcard."
"This thing came out sometime in the 80s and is in near perfect condition. It comes with the hand held mic/controller, breath controller adapter, power supply and an extra voice cartridge. To explain it a little more it has MIDI in/out so you can control external MIDI instruments or the internal 4 operator FM sounds (almost a DX7). There is a drum machine, a multi track sequencer and a couple of built in FX. Tap tempo button and some auto accompaniment. I'm guessing it was an attempt at a karaoke home synth or something. These things are pretty rare and it's worth it just for the voice to MIDI function alone. This unit is also in amazingly perfect condition. The extra pop screen hasn't even been opened."
"This jam was recorded spur of the moment more to showcase how well the Rhythm Wolf plays with distortion than to jam out a kewl track. The Drums are recorded with no external fx, but with plenty of the built in distortion. The bass line is being processed by the DOD Death Metal Distortion pedal, one of the most brutal distortion units ever made."
"THE STUDIO ELECTRONICS BOOMSTAR MODULAR MODSTAR—A SOUND SYSTEM THIRTY YEARS IN THE MAKING: 1985 to 2015
TONE AND TRADITION are the Boomstar Modular Modstar's foundation and purpose. Big tone, pure tone, historically accurate, classic, warm and fat 5U modular tone, in two compete synthesizer expressions: Seito, the compact, 1st class patching powerhouse, and Sensei, the three filter Master Control System—all wrapped up in Pittsburgh Modular’s rugged Move 104, and 108 cases, respectively. Make noises or notes; leave the planet—Milky Way even, or stay in town and put your good foot down on some bass and lead bounce necessities. Play or stray—you'll find your Modstar way.
THE BOOMSTAR MODULAR SYSTEM realizes the seemingly inevitable eurorack sprawl of our semi-modular BOOMSTAR desktop synth, consisting of 14 modules that dramatically open up the root level programming and sound sculpting of that lush and potent, and already flexible Boomstar sound.
What makes it tick: Let’s tick ‘em off: Class A 5089, 3003 and AMP *, rugged through-hole construction, discrete circuitry, hand-matched transistors in the filters and amplifier, multi-filtered, hand-crafted, Premium Quality Analog sound. We’d like to think we’ve learned a few things bringing the MIDIMINI, SE1-X, ATC-X, polyphonic CODE Omega synths, ModMax pedals, C2s, Pre2, and Slate Pro Audio Dragon & Fox to market, and the air waves worldwide.
Our Boomstar Modular System’s 5089 circuit mirrors faithfully the filter design from the Minimoog—it is not a style; it’s not a type, not reminiscent of, not vintage inspired—it is the analog sound standard manufactured anew, and how we love it so. Apply the same thinking to our 4075, 3003, and SE80 filters vis-à-vis their originals, and you’ve caught our drift; OSCILLATION and AMP modules also resonate with the Mini’s timeless designs, functionality, and gorgeous, gleaming sound—modernized and reimagined by the maestro Tim Caswell himself, but we’re just getting started here; the SEM filter is on deck.
We hope you are as thrilled with your purchase of the complete system/individual modules as we are with our partnership with PITTSBURGH MODULAR, and the final through-hole designs which flowed from the first Nicol/St. Regis Beer Summit at Winter NAMM 2013. The MODSTAR module breakdown upshot: Filters, Oscillators, and AMP are built by SE, and the intoxicating remainder by our good friends and exceedingly savvy business partners at PGH—without whose invaluable, real world/walking the streets of Euroland insights, experience, and deep resources, this project would have faded to grey. A tip of the SE chapeau to Richard Nicol, Perry, and the full-strength, generally less-weathered outfit at P. M. And to our direct sales and Guru-in-Chief, Geoff Farr, who relentlessly hounded us St. Regis bros—“When are the euro modules going to be ready to ship?” “Can I get a single Boomstar Modular filter pic?” You definitely put on your red shoes...
* Our Class A circuits draw more current from the +12 rail than from the -12 volt rail. If the system power supply is under-sized, hum or buzz may be heard. In that case, larger filter capacitors and/or a larger power transformer will be needed. The 4075 draws equally from both rails, and is more immune to hum."
"Some clips from the analog synth workshop with Henrik Munch on DIEM, using a couple of his Roland System-100M modular synthesizers and some photo- and theremin control voltages."
"the BME-700 from its PHATT side -- triggered with a Nord G2 step sequencer. Kenton Midi translated it into CV/gate.
to satisfy the urge for phatt material asap I used looped archive footage. And the publishing miniature 22 (another Minitaur clip) has been postponed for the moment."
"The 5K jam... volca keys is kind of centre in this one. Pushing it through the strymon with some nasty evil long delays and reverb through the t-resonator... Super chilly and soft.. 90bpm gives it a cinematic feel to it all.
As always, no multitracking.. all is recorded live on 2-track (zoom q4)
note; A couple of the cams have some really bad angles and focus, need to work on that, so sorry... well, i hope you can enjoy it anyways, just listen to the audio :)
Gear used, Roland aira TR-8, system-1, elektron analog four, korg volca bass x2, volca keys, ms-20 mini, novation mininova
techno !
drums from tip top audio
metal : basimilus iteritas
some dual borg filtering
reverb from the octatrack
Verbos modular live techno 03
Published on Feb 7, 2015
"verbos complex oscillator + verbos dual 4 pole + make noise echophon + make noise erbe-verb.
I had a super deal on the erbe-verb @ detroit modular ; love it !"
"It's not a new synth -- it's seven! Korg's amazing new Prophecy offers analogue and FM synthesis, and physical modelling, and still costs under £1000. Unsurprisingly, SOS staff have been dying to review one ever since it was unveiled at this year's Frankfurt Musik Messe. Lucky man GORDON REID won the toss...
This is the story as it was told to me... In 1987, the former Sequential Circuits design team (responsible for classics such as the Prophet 5 and Prophet VS) began working for Korg. The company immediately bundled them out of sight, locked them in a room full of computers and said "design something for us". Locks were locked, bolts were bolted, and most people forgot that they had ever existed.
Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was a timorous knock from inside. Locks were unlocked and bolts were drawn. When the door was opened, a pasty-faced individual peeked out, blinked in the light, and said, "We've designed something. It's called a Wavestation". "What does it do?" asked the guys from Korg. "Well, it's sort of a wavetable synthesizer, with vector synthesis, and wave sequencing". "Not bad" said the guys from Korg. "Now get back inside and design something else".
Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was another timorous knock from inside. The door was opened, and an even pastier-faced individual peeked out, blinked in the light, and said "We've designed something else". "What does it do this time?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And it can be programmed to handle any new synthesis techniques that may come along in the future... and it does them all simultaneously. We've called it the Open Architecture Synthesis System, or OASYS for short."
The executives at Korg were delighted, and instead of shoving the team back into their room, bought them dinner at an expensive Japanese restaurant. But there was a problem. At £10,000, the OASYS was expensive. Very expensive. So Korg turned to the developers and said, "Sorry guys, we've got to put you back in your room. We need something cheaper, something that will appeal to the average musician. Something, to be blunt, that we can sell in the mass markets."
Months passed. Every day somebody from Korg would shove some food and water through the hole in the door. Then, quite recently, there was a knock from inside. An extremely pasty-faced individual peeked out and said, "We've done what you asked". "What does it do?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And, before you shove us back in the room... it does all that for less than £1,000." Thus did the Prophecy, as they say, come to pass.
OUTSIDE AND IN
Externally, the Korg Prophecy is a light but robust 37-note monosynth with a velocity- and aftertouch-sensitive keyboard. The styling is, to my eyes, new and refreshing, although a few people have commented on its similarities to the Yamaha VL1... A 2 x 40-character backlit LCD dominates the control panel, and is surrounded by buttons to the left and right, and knobs underneath. Conventional modulation and pitch-bend wheels, plus the 'log' (a combined mod-wheel and pressure-sensitive ribbon controller), round off the package. Most people will either love it or hate it. I love it...
Round the back, you'll find the inevitable MIDI In, Out and Thru, alongside inputs for an expression pedal, an on/off (sustain) foot-switch, and a socket for an EC5 MIDI controller. This can be used for patch selection when your hands are otherwise occupied. There's also a socket for a RAM card that will store arpeggiator patterns as well as patches. And, finally, there are the stereo audio outputs.
Internally, the Prophecy is just a computer, although it boasts no fewer than five processors. Three of these are the Texas Instruments TMS57002 DSPs used in the Korg G-series effects. The other two are for housekeeping: an NEC V55 looks after the user interface, key-scanning, and display, and a Toshiba H8 (which I've never heard of) looks after the three DSPs."
TONE AND TRADITION are the Boomstar Modular Modstar's foundation and purpose. Big tone, pure tone, historically accurate, classic, warm and fat 5U modular tone, in two compete synthesizer expressions: Seito, the compact, 1st class patching powerhouse, and Sensei, the three filter Master Control System—all wrapped up in Pittsburgh Modular’s rugged Move 104, and 108 cases, respectively. Make noises or notes; leave the planet—Milky Way even, or stay in town and put your good foot down on some bass and lead bounce necessities. Play or stray—you'll find your Modstar way.
THE BOOMSTAR MODULAR SYSTEM realizes the seemingly inevitable eurorack sprawl of our semi-modular BOOMSTAR desktop synth, consisting of 14 modules that dramatically open up the root level programming and sound sculpting of that lush and potent, and already flexible Boomstar sound.
