"Refurbished Korg Wavestation A/D. Looks like it had been considered a parts unit at one point, but it only needed some TLC to get back into shape.
Upgraded LED, white-on-black display looks great on this unit. LED also has a much nicer response time when switching patches or editing patches and performances. Glorious wavetable sound from the DAC (same as Kurzweil K2000's).
Cleaned up inside and out. Still has marks here and there from some neglect (see photos), but functionally as good as ever."
'Tiptop Audio’s Z-DSP is a cartridge-based open source digital sound processing and effects generating platform for your modular synthesizer. Lush audio processing, greater stereo depth and a unique set of digital synthesis is what the Z-DSP is all about.
The Z-DSP has a stereo digital sound processor with 24-bit sampling, 15kHz of bandwidth, voltage-controlled parameters of stereo feedback, program switching, DSP parameters, equal power crossfading dry/wet mixing, as well as sequential program control switching and a clear display – all in Eurorack format. A dedicated clocking input for the DSP chip does wonders to passing sound by bending the algorithms in an unexpected way, a hardware technique computer plugins can’t do and is unique to the Z-DSP.
In a recent update, the Z-DSP (NS) got an all new design of its analog circuitry, contributing to a lower noise signal path, clearer sound of the entire frequency range, lower distortion and better immunity to noise emitted by other modules sharing the same power supply. A new analog dry/wet circuit has been implemented to remove the 3db gain drop when the mix knob passes through the center of the dial making the use of this function more practical in a live application. A reverse polarity protection has been added as well. The new front-panel matches Tiptop’s colorful design, and a single printed circuit board and surface mount technology improve reliability during production and use. The powerful Z-DSP engine remains the same as the original Z-DSP module and all cards are compatible across both versions."
"This is a multitrack using just the Kiwi-3P expanded JX-3P.
The upgrade just transforms the synth into something new.
I spend most of my tweaking time with this synth.
Kiwitechnics did a great job on this one.
I'll leave a link here for more info on the now(!) discontinued update. In this video there's a Roland TR-505 that makes the drums."
"Vintage Moog Minimoog Model D - One Original Owner now selling. I bought the Minimoog in about 1977 or 1978 New from Naperville music in the western suburbs of Chicago. The Serial # looks like it is Serial # 10460. However, the serial number stamp is very light and it may be 10468? This instrument has been stored for about 40 years in a custom travel case. I have loved this instrument, but it was rarely played the first few years I owned it and then locked away ever since. I have tested the operation and all keys, oscillators, pots, filters, switches and wheels are working properly.
There is a cosmetic issue with the right side and the rear of the walnut case. The foam in the travel case degraded over 40 years and bonded with the lacquer finish on the cabinet. I removed as much of the foam as possible manually. Then I tried a bit of soap and water to remove the remaining foam from the finish. When this did not work, I tried some lemon oil and that softened the foam embedded into the lacquer. I then attempted to use a plastic card to remove some of the softened foam off of the wood finish but it appeared that the laquer was also coming off. Rather than continue attempts to remove the foam and damage the finish I have left it as is."
"128 voice polyphonic synth, (4-layer voices). 24 bit effects with wet/dry mix. Multi-channel arpeggiators. Sequencer can store over 300,000 notes. Full MIDI capability. Multi-function controllers. Velocity and pressure sensitive pads. 1024 presets, (512 factory, 512 user). 3 user-upgradeable sound SIMM sockets. SIMM modules can be 16 or 32 MB."
"I´ve recorded short demos of the Korg Kross 2, using the internal sequencer for bass and step sequencer pattern, factory drum track pattern, playing pad and lead live using a combi patch in sequencer mode. I´ve used my own patches.
You might think that creating music and visuals collaboratively in real time would be the domain of experienced coders and algoravers, but as we found at Sónar+D – the sister event to Sónar's long-running Barcelona music festival – it doesn't have to be that way.
There, Spanish startup Soundcool gave us the lowdown on how its system of modules – controllable via phones, tablets and even Microsoft's Kinect and forthcoming Hololens – could make musical collaboration an accessible reality for the masses."
"I've just received my Thermae! It's a wonderful box, I haven't been able to stop playing since it arrived. I thought this was a good example of how it's so much more than just a delay pedal - it adds a whole new range of musical possibilities to your instruments. Can't wait to try it on... everything! :)
Video recorded with iPhone 7. Audio recorded with UFX1204 in 'standalone' mode, recording directly to USB HDD.
This Volca FM patch is by Oscillator Sink"
"After spending some time with Maths and realising how powerful it was, I had the idea of making a track using nothing but it. This is the first time I've made and edited a 'music video' like this and I'm happy with how it turned out!
I've added some compression, EQ, delay, and reverb to the recorded parts, as well as a touch of stereo widening. Most parts have also been quantised.
HOW IT WORKS:
- The 'Both' inputs for controlling the rise/fall times of the LFOs can track 1V/Oct, meaning you can play them on a keyboard. The problem is that they only track accurately at low pitches and go flat at higher pitches; to combat this I sent extra keyboard CV to the rise/fall times and tuned them to stay roughly in tune over half an octave or so. I had to then carefully use the pitch wheel on the Microbrute to tune each note I played individually. The highest notes (mainly the 'soft plucks' and 'high texture') had no chance of being playable; I tuned them so that 2 or 3 random notes would be in tune, and then stuck to those. This is why in the video I appear to be playing notes on the keyboard that don't correspond to the pitches.
- By sending pitch CV through one of the Maths channels (1 or 4), you can add glide with the rise/fall times.
- By sending audio through one of the Maths channels (1 or 4), you can get 'filtering' effects and waveshaping.
- By offsetting the audio with channels 2 and 3, and taking the sum output, you can change the timbre of the sound. Using this and the 'filtering' method, you can get various different synth timbres.
- You can offset the audio so much it becomes silent; using an envelope to move between how offset the audio is you can fake a VCA, and get volume changes over time like on a normal synth.
Some of the patches, like the snare, rely on you finding sweet spots so be warned that you might not be able to recreate them accurately."
