"Vortices HiFi is a limited release version of the original Vortices. The HiFi version offers the same mixing topology without the tape compression, overdrive and high frequency roll-off. All inputs of the HiFi version are DC coupled, now allowing use as a full spectrum control voltage mixer in addition to audio. Featuring a total of 14 inputs and 7 outputs in a relatively compact 16hp form factor (18hp with VCA CV expander).
Vortices accommodates mono and stereo sources, broken respectively into two mix bus sections, providing separate mix outputs as well as a Master Mix split stereo output and a Master stereo jack output on the back of the module.
The separated outputs and auxiliary inputs are provided to accommodate effect chains, feedback patching and end of chain mixing solutions as well as general sound processing, panning and cross fading applications.
Auxiliary Mono mix inputs provide additional unity gain inputs to the mono and stereo mixers for summing external mixes, fx returns and other general uses.
The headroom of all final mix outputs is approximately 20Vpp before additional hard clipping of the summed mixes occur."
"Ring mod / wave shaper style card for the TipTop Z-DSP synth module. Coded 2017 - 2019 in spincad with some minor assembler tweaks afterwards, mainly for level/offsetting. Each algorithm has 3 pots that are acting as vca controls for L & R input level [pots 0 &2], and pot 1 is output level for both left and right channels. The feedback controls are also very useful in these algorithms for further altering sound/waveshape.
Generally I have been driving this from a pair of vco outputs and is very good at adding harmonics in the [so called] east coast style. I got the idea for having vca on the inputs from the Serge ring mod, which has vc for the X & Y input levels, although not the output. I got that from my Hinton Music Lab, although that also has centre zero pots for levels/gain; anticlockwise is inverting input gain, and clockwise is non-inverting [something I have been thinking of maybe trying]. Of course the programs can be used for drums, vocals etc.. :]
Program list [these are also included in the display text file] ==>
[note L = the left output signal]
0: X*Y | X+Y
standard ringmod multiplier and 2 channel additive mixer
1: X*Y | X/Y
multiplication and division using exponential and log functions
2: ABS[X]ABS[Y] | LX*Y
absolute value shaper / ringmod
if u find these progz useful please think about supporting my work either thru my bandcamp page:
https://noyzelab.bandcamp.com/
or thru paypal or get in touch via noyzelab [at] gmail [dot] com
if u program up blank cards with a view to selling them to people, likewise please consider getting in touch, sending me something or contributing to my research / time costs in some way & givin me a shout :]
"Realtime test after recently reconfiguring my custom pedalboard patch bay. Recorded on my iPad with no edits. Besides the Mellotron Micro Keyboard, the case is a modified MXC-008-10 mixer case from Audiopile.net and contains the following:
Right side:
Mackie 802-VLZ3 mixer and power supply
Keeley Electronics Fuzz Master pedal
Electro Harmonix Mel9 pedal (mellotron emulator)
Dunlop/MXR Octave Fuzz pedal
Mooer Ocean Machine pedal (reverb, delays, looper)
TC Electronic T3 pedal (modulated reverbs)
Strymon Engineering Zuma R300 power supply (for pedals)
Custom patch bay for pedals and mixer
The patch bay has Canare GS-4 cables soldered directly to the jacks with the other ends terminated with Squareplug SP400 Low Profile Flat TS plugs that connect to the pedals. The patch bay jacks are all normal'd together right to left, and by using patch cables I can easily reconfigure how the pedals are interconnected. The normal connections are:
Mixer EFX send - Fuzz Master - Mel9 - Octave Fuzz - Ocean Machine - T3 - mixer EFX returns*
but in this video I used the mixer insert for the channel the Mellotron is plugged into to connect to the Fuzz Master - T3 and then the rest is configured as:
Mixer EFX send - Mel9 - Octave Fuzz - Ocean Machine - mixer EFX returns*
*the jacks connected to the stereo mixer returns have a second set of cables that go to mixer input 7/8 and by turning up the Aux send for the channel I can create feedback."
"The K5000 was Kawai's top of the line music workstation digital synthesizer when it was released back in 1996. It's a bold and elegantly designed synth with a large LCD display, real-time controls and incredible sounds!
Programming sounds with the K5000 can be a breeze (once you learn how) although it has over 1,000 parameters per patch! That's plenty to play with. It combines additive synthesis and PCM sampled waveforms for you to layer and combine to design a whole range of sounds. Plenty of LFO modulation, filters and envelope controls allow you to shape and morph your sounds further. On-board multi-effects add the final touch of life to your sounds
In 1997 a rack-module version of the K5000 was released. The rack version shipped with Kawai's more stable OS 3.0 software. The latest is 4.03 and is free to upgrade via download from Kawai. The rack offers all the same power and flexibility as its keyboard counterparts. To get a more hands-on-knobs control of the K5000, we've included the Macro Control with this unit as well."
"With all the excitement generated by the new Oberheim teasers, I thought it might be fun to do a jam with some classic Oberheim sounds. But really, this is really just an excuse to use this ridiculously complex Eurorack / Pro 2 patch that I made. It's a 4-note paraphonic patch, with each VCO in the rack being modulated by a sine wave from the Pro 2 (each individual Pro 2 oscillator is sent out of CV Ports 1-4). I'm also running the VCO outputs back into the Pro 2's CV inputs to modulate each oscillator's frequency and get true cross mod. Then I've got 8 VCO outputs (4 sawtooth and 4 square wave) going into the G-Storm Electro XaVCF, an OB-Xa filter clone, which is in LP 2-pole mode. With all that signal going into it, it produces a heavily overdriven sound, even without the resonance cranked. None of the sound is coming from the Pro 2 as it just acts as a modulation source. Classic 80's Oberheim sounds are coming from the OB-6, obviously. On bass is the Roland JUNO-6, and the JX-3P gets pad duty. Everything gets a heavy dose of Audiothingies Doctor A delay and reverb, except for the drums, which run through the MIDIVERB II for that nostalgic 80's gated reverb (preset 31, if you're wondering).
I didn't rehearse this jam, just programmed a couple drum parts and went for it, staying in the key of C major the entire time, because the black keys are too hard to find in a jam for someone with my sub-par abilities. Also, having to use the octave keys on the OB-6 would throw another wrench in that I just can't really manage to deal with in a live situation. It's a shame, because the Eurorack patch sounds badass in F, hitting the bottom key on the Pro 2's keyboard. So if I had changed it up, it would have been going down to F and then coming back to C. Too advanced, I know.
Gear Summary
Modular: Eowave Titan Discrete Oscillators (x2), Roland System-500 512 Dual VCO, 530 Dual VCA, 540 Dual Env/LFO, 555 LAG/S&H, G-Storm Electro XaVCF and Spring Tank Reverb driver, modulated by the DSI/Sequential Pro 2
Synths: Sequential/Oberheim OB-6, Roland JUNO-6 and JX-3P
Drums: Roland TR-6S
Effects: Audiothingies Doctor A, Alesis MIDIVERB II"
"Mario and Wes reconnected last week to touch base about some Syntakt details that they didn't get to explore at launch !
After such an exciting week we decided to relax a bit and just have fun, we hope you're doing the same!
Make sure to check out all the Syntakt details here : https://bit.ly/3vRNHuO
"ARPchives LIVE! is back for another season! Join d'ARP and Shawn Johnson as they discuss wind controlled synthesizers, plugins, and the music of Brazil
Shawn Johnson is a synthesist/saxophonist whose influences include ambient, jazz, pop, rock, soul jazz and the warm tropical sounds of Brazil. His interest in electronic music production led to the creation of the All Things VST facebook group where all aspects of music creation using Windows, Mac, and iOS devices are discussed.
His love of synthesizers dates back to his earliest musical experiences with classic records by Elton John, Paul McCartney and Wings, Steve Miller Band, and progressive rock bands like Genesis, Rush, and Styx. While studying Music Education in college Shawn performed with local rock bands on saxophone and synthesizer. After relocating to the Chicago area, he gained additional experience performing acoustic jazz and Brazilian music for several years. He eventually became interested in home recording and synthesizer performance using the first wind controller he acquired in early 2018.
In addition to the demos and musical works published as a hobbyist musician on his own YouTube and Soundcloud sites, Shawn has recently appeared on recordings with Benedict Roff-Marsh
Lands with Shawn Johnson | Benedict Roff-Marsh with Shawn Johnson | Benedict Roff-Marsh (bandcamp.com)
YT for Lands:"
Lands with Shawn Johnson
video upload by
"New album which features saxophonist Shawn Johnson playing EWI on the two main tracks. His playing style is quite different from mine so we compliment each other very nicely. His input really lifted these tracks.
This album grew from what I was trying to do for the visual side of "Red Skies Yellow Sand" but just couldn't get started with at that time. What you see here are the first attempts at building world fly-throughs that managed to 'make it' to completion. The purchased version of the album contains three more tracks (total 40 mins) that also accompanied early render trials."
0:03 Remove Versio module from your case
0:10 Determine which version of Versio module you own
0:16 Smaller seed version: How to reset your module
0:33 Larger seed version: How to reset your module
0:54 Configure your computer to recognize the Versio module (you only have to do this set once)
1:21 Swap your Versio module's firmware
2:08 Verify the new firmware on your module
For more information on all of the Eurorack modules in our World of Versio line, visit: https://bit.ly/3KJWzZC"
"One last systematic test of this meticulously refurbished ARP Pro/DGX before we sell it to our customer. Buy vintage synths that work like new at tonetweakers.com. We buy and trade too. We’re in New York City, but we ship anywhere."
"This video demos basic features of the Marion Systems MSR-2 analog synthesizer by Tom Oberheim. This unit has two 8 voice analog modules. The SuperPatch mode is shown in detail where I have programmed 10 Bass SuperPatches and 10 Pad SuperPatches to show the real power of this synthesizer. I slowly demo each of these SuperPatches.
The units LCD screen is hard to focus on without getting close, so early section unit screen is slightly blurry.
Moving in closer camera focuses on LCD.
SuperPatches are selected, and then an asterisk shows next to name.
Pushing enter switches SuperPatch to selected"
Introducing the Roland JUNO-X Synthesizer | Three JUNOs in One (JUNO-60, JUNO-106, and JUNO-X)
video upload by RolandChannel
"Watch David Ahlund introduce the JUNO-X synthesizer’s wide range of sounds and features. This three-in-one synth contains the vintage JUNO-60 and JUNO-106 engines from the legendary JUNO lineup plus the modern JUNO-X sound engine. Combine and layer up to four parts and bring the warm vintage sounds of the ‘80s into the future.
Enhance your performance with three additional Roland classics—XV-5080, RD-Piano, and Vocoder. From the built-in chorus to the forward-thinking I-Arpeggio, JUNO-X combines classic effects with modern musical muscle for an unmatched JUNO experience.
Not only is JUNO-X packed with unrivaled sounds, but it also features a familiar panel with responsive controls and a full-sized keyboard for immersive performance. Plus, you can tweak tones, build scenes, and swap parameters easily using the free JUNO-X Editor for Windows and Mac OS available on Roland Cloud.
0:00 Introduction
1:11 JUNO-X Engine
3:08 JUNO-60 Model
4:14 JUNO-106 Model
5:49 XV-5080 Model
6:21 RD-Piano Model
6:40 ZEN-Core Sounds
7:32 Designing Sounds—Synth Bass
8:39 Designing Sounds—Pad
9:33 Designing Sounds—Organ
10:18 Designing Sounds—Lead
11:14 Vocoder
12:10 Scenes
14:25 I-Arpeggio
15:49 Drum Step Sequencing
17:32 Roland Cloud Connect
18:13 Performance"
Roland Juno-X Programmable Polyphonic Synthesizer - First Look with Scott Berry
"My friends--- I can finally say it: The Juno-X is HERE.
What an honour to be a part of the launch campaign with my friends at Roland. I am a huge advocate for the original Jupiter-X and all of its amazing capabilities, and the new Juno-X does EVERYTHING the Jupiter does in a more accessible and more inexpensive package--- it even has stereo speakers under the hood!
Here is my day 1 review of this awesome synthesizer.
Chapters:
0:00 - The NEW Juno-X
1:17 - Creating sounds from scratch with the Juno-X model
6:26 - Detuning oscillators
7:32 - Juno Chorus I, II, & III
10:29 - Filter modes: Roland, Moog, Sequential
12:12 - Changing parts, adding in part 2: Juno-106 model
16:10 - Stacking sounds
16:53 - Adding in part 3: RD Piano model
17:49 - 3 layer super stack!!!
19:30 - Adding in a rhythm/arpeggio
21:11 - Exploring some scenes
27:07 - Feature rundown
29:09 - Comparison with Jupiter-X
30:26 - Closing Thoughts
Roland JUNO-X - DEMO by gattobus: "Distant Memories"
"Here is the new Roland JUNO-X!!!
Every sound you hear in this video comes from this instrument, no overdubs, everything's been played in real time using the 5 internal parts, iArpeggio and the step sequencer.
Inside of each unit that you will find in the stores, there's also a piece of me as I had the privilege to create a lot of factory tones, scenes and the new iArpeggio 2.0 patterns!
I put a lot of love into it and I'm so happy with the final result. I have never felt so good with a synth since System-8, my first real job for Roland. It's a great honour for me to collaborate with them.
This simple song that I played, is not just a demo, it's a declaration of love towards life, for the fact that it led me to do (at least for me) the most beautiful job in the world.
I would like to thank president Jun-Ichi Miki, Hisakazu Yamasato, Akihiro Nagata, Yoshinori Iwamoto, Gota Miyabashira and all the amazing people in Roland I've been in contact with during the last 5 years. You are like superheroes to me, you're really making my dreams come true.
I hope this is only the beginning.
Happy 50th Anniversary Roland!!! 🧡"
And the press release (click the pics to zoom in):
The Legendary JUNO Experience Reimagined with the Power of Roland’s ZEN-Core Synthesis System
Los Angeles, CA, April 26, 2022 — Roland announces JUNO-X, a new polyphonic synthesizer driven by the next-generation ZEN-Core Synthesis System. JUNO-X brings the best of the past together with Roland’s latest technologies, reimagining the vintage JUNO experience with vastly expanded sound possibilities and free-flowing tools tuned for today’s music. It delivers the full capabilities of the native ZEN-Core engine, along with genuine recreations of the JUNO-60 and JUNO-106 synths plus other legacy Roland instruments.
Standing among the greatest analog synthesizers ever created, Roland’s iconic JUNO lineup has had a massive impact on music for over four decades. The warm, organic sounds of the JUNO-60 and JUNO-106 defined countless ’80s pop hits and played a huge role in the emergence of techno, house, synthwave, and other electronic styles. JUNO-X delivers the vintage JUNO spirit that continues to inspire leading music makers, coupled with the power and versatility needed for modern workflows.
JUNO-X includes JUNO-60 and JUNO-106 Models, plus an all-new JUNO-X engine with a Super Saw waveform, velocity sensitivity, pitch envelope control, and other evolved features. The two beloved chorus modes from the originals are also available, plus a third mode with even more fatness and swirl. Users can combine them to create seven different chorus effects for use with any JUNO-X tone.
JUNO-X features additional Models from the historic Roland canon, including the PCM-based XV-5080, acoustic pianos from the RD series, and an expressive Vocoder. Model Expansions from Roland Cloud are supported as well, giving players the ability to load optional titles such as the JUPITER-8, JD-800, SH-101, Vocal Designer, and others.
Roland Cloud is also home to a growing range of Wave Expansions, Sound Packs, Sample Packs, and other creative tools, and ten free Sound Packs are available with a JUNO-X purchase. Additionally, JUNO-X provides integrated support for Roland Cloud Connect, a powerful option that includes the WC-1 wireless adapter and one year of Roland Cloud Pro membership. This allows users to browse, audition, and load Model Expansion titles and other Pro membership content directly to the keyboard via Wi-Fi.
A key element of the JUNO’s appeal was a straightforward interface that made it easy to craft inspiring sounds and evolving textures in the heat of the moment. With a familiar hands-on panel inspired by the original 1980s synths, JUNO-X invites players to fully immerse in the music and create without limits. Up to four tones can be layered together, and a wide selection of modern effects are available for enhancing sounds. First introduced with JUPITER-X, the powerful I-Arpeggio function offers both traditional arpeggio sounds and organic, inspiring movement driven by intelligent algorithms.
JUNO-X comes equipped with an expressive 61-note keyboard with aftertouch and loads of connectivity for every musical workflow, including balanced and unbalanced audio outputs, a stereo audio input, and MIDI I/O. There’s also a mic input for vocal performing or feeding the onboard Vocoder. USB is available for data backup, audio/MIDI communication with DAWS, and remote editing with the free JUNO-X Editor for macOS and Windows. A high-quality stereo speaker system provides built-in sound monitoring, and Bluetooth® is available for streaming music from a mobile device.
Availability & Pricing
The Roland JUNO-X Programmable Polyphonic Synthesizer will be available in the U.S. in May for $1999.99."
--- Original post prior to the above follows (pics replaced with hi res versions - click them for the full size shots) ---
This is just breaking - no press release or info on Roland's site yet. Until then, some pics and features. As you can see this one is based on the Juno-106 design. The UI is as important as the engine and it looks like Roland may have nailed this one. The one problem with the original Juno-106 are those BA662A voice chips that fail over time. I've had a couple go and they are not simple to replace. You have to unsolder multiple pins on them to remove them.
What's interesting is it appears Roland is releasing classic physical designs with overlapping synth engines. The JUPITER-X has the JUPITER-8, JX-8P, JUNO-106, SH-101, XV-5080, RD, Vocoder, and ZEN-Core engines. The Juno-X has JUNO-106, Juno-60, XV-5080, RD, Vocoder, and ZEN-Core. So the X adds the Juno-60 but is missing the Jupiter-8, JX-8P, and SH-101? The Juno-X adds built-in speakers like the Jupiter-Xm. Interesting they note the speakers were inspired by the Juno-60 below. The Juno-60 did not have built-in speakers. The Juno-106S and SynthPlus 60 did.
Features:
Over 4,000 presets from historic Roland products including the JUNO-106, Juno-60, XV-5080, RD series of pianos, and classic vocoder model
Model Expansions incorporate even more Roland history and sound-design technology to offer nearly endless options for sonic exploration
Newly engineered Super Saw oscillator, Chorus III effect, and more use ZEN-core Synthesis to deliver a worthy holder of the Juno gauntlet
Layer up to 4 different sounds for unparalleled tone design opportunities
Intuitive interface enables straightforward sound design and modification
Ergonomic arrangements encourage breezy workflow, setup recall, and preset management with Scenes (up to 256 global setup presets)
Free Juno-X Editor software is included to give you even deeper access to making your sounds your own
Classic design and robust hardware seamlessly blend satisfying tactility with precision control
Aftertouch and assignable sliders and switches provide great range of expressivity
Retro arpeggiator and I-Arpeggiator can be freely toggled to allow for greater rhythmic flourish USB audio/MIDI interface and USB memory port for data backup, computer connection, and more
Onboard stereo speakers (inspired by the Juno-60) and Bluetooth compatibility make it easy to jam along to any accompanying track
Dedicated microphone input includes its own effects to model inputs and vocoded sounds
Multi-effects suite includes multiple forms of reverb, delay, chorus, EQ, compression, and overdrive
Output jacks for hold and control pedals allow for expansion of expressive control
3.5mm and 1/4-inch headphone outputs, L/Mono and R 1/4-inch main outs, and L/R XLR outs
"Both modules are completely different. But the center section of the Serge module should be identical to the middle part of the North Coast module.
Identical ??? In fact, the result sounds (and looks) very similar, so...
Of course, in one hand, you have a module dedicated to wave shaping, with 3 "flavours" . And on the other hand, you have a dual VCO.
In fact, there is a small "trap" : In use, in a more complex patch, who is able to tell the difference between the 2 wave shapers ? (Listen to the second part of the video)"
"The Akai ME20A sequencer and arpeggiator from 1985/86, is a bit of an oddball thing. It can sequence or arpeggiate a set of notes, or chords, and somewhat manipulate the midi notes going to the synth you're playing. However, Akai didn't make this sync-able, in any way, so forget hooking this up to a drum machine or anything like that. Unless you mod your unit it have to be used stand-alone, which in some live gigs can be fun although limiting I guess.
This came out about the same time as the Akai S612 sampler, in a black sleek design that shows Akai was a hi-fi manufacturer at the time."
Videos posted here and here. Priced at £23,500.00 GBP [roughly $29,586.85] (excluding VAT and delivery).
New press release with additional details:
Analogue Solutions sheds some pounds from original Colossus super-synth, creating Colossus AS200 Slim ‘space-saving’ version
SHATTERFORD, UK: having spiritedly (and successfully) reimagined what an analogue super-synth could contemporarily become with the 2019-premiered, premium 12-VCO (Voltage-Controlled Oscillator) original Colossus taking its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS (Electronic Music Studios) as one of the largest (and most expensive) examples ever birthed by anyone anywhere, British boutique electronic instruments innovator Analogue Solutions is proud to announce that it is accepting orders for Colossus AS200 Slim — shedding some pounds as a ‘space-saving’ version of its now-named Colossus AS100 Classic predecessor, pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, yet compromising very little to achieve a 53% reduction in its footprint depth to a comparatively slimline 330 mm measurement as well as an associated 33 lb (15 kg) weight loss (and comparative £3,000.00 GBP price tag drop) in doing so, but beautifully designed, nonetheless, to elegantly stack on top of a Colossus AS100 Classic to form a dreamlike ‘double-height’ Colossus Double system, the likes of which has to be seen (and heard) to be believed — as of April 26…
As a ‘space-saving’ version of its Colossus AS100 Classic super-synth sibling, the comparatively slimline Colossus AS200 Slim’s so-called ‘VCO Panel’ is identical, including no fewer than 12 VCOs (OSCILLATOR 1 through to OSCILLATOR 12), each boasting high-quality multi-turn vernier dials acting as a very high FREQ (pitch) range control that also allow them to be pressed into service as additional LFOs (Low Frequency Oscillators), a four (sawtooth, reverse sawtooth, square, and triangle) WAVEFORM count, PULSE SHAPE (allowing the pulse width of the square wave to be manually changed), and (output) LEVEL controls; associated VOLTAGE CONTROLLED OSCILLATORS jack points include pitch CV (control voltage), SYNC in, and audio OUT for each VCO, while odd-numbered VCOs have SUB (sub- oscillator) outputs and even-numbered VCOs have PW (pulse width) CV inputs. In addition, NOISE GENERATOR 1 and NOISE GENERATOR 2 each have a pink and white noise-mixing COLOUR control and an associated output LEVEL control, complimented by a RANDOM VOLTAGE GENERATOR with RATE and LEVEL controls alongside a SAMPLE AND HOLD generator with SOURCE and LEVEL controls for further flexibility.
Design differences — albeit, admittedly, of a purely visual functional nature — between the two super-synth siblings’ so-called ‘VCO Panel’ are apparent as Colossus AS200 Slim ships with a two-channel LCD (Liquid Crystal Display) oscilloscope as standard, so it is clearly capable of displaying two waveforms at once, although a CRT (Cathode Ray Tube) oscilloscope is available as an option (for an additional £500.00 GBP, excluding VAT). Thereafter, this panel’s two triangle and square wave- featuring LFOs (LFO 1 and LFO 2), four discrete VCAs (VCA 1 through to VCA 4) — used to change the level of audio and CV signals, and four A(D)SR envelope shapers (ENVELOPE 1 through to ENVELOPE 4) are implemented identically.
Implementation of Analogue Solutions’ next-to-no-compromise Colossus AS200 Slim design involved no changes being made to its well-stocked so-called ‘VCF Panel’ central to its colossal sound — where FILTER 1 through to FILTER 4 are a 12dB multimode VCF (Voltage-Controlled Filter) design while FILTER 5 through to FILTER 8 are a 24dB low-pass design, all sitting comfortably with four ADSR envelope generators (ENVELOPE GENERATOR 1 through to ENVELOPE GENERATOR 4) each with three trigger modes, as well as two spring reverbs (REVERBERATION 1 and REVERBERATION 2) with three real mechanical springs each, two RING MODULATORS, and two SLEW LIMITERS — and so-called ‘Sequencer Panel’ — itself featuring four backlit moving-coil SIGNAL METERS together with a 64-step CV/Gate SEQUENCER capable of operating in four different playback modes.
Achieving a 53% reduction in Colossus AS200 Slim’s footprint depth to a comparatively slimline 330 mm to accommodate more restricted access for installation in comparison to the 700 mm depth allowed by the Colossus AS100 Classic — tilting the latter by 45 degrees effectively reduces that dimension diagonally to around 620 mm, however, which may well help with gaining access through unusually narrow doorways — meant making some design changes; at 750 mm in height, Colossus AS200 Slim is a little taller than the 655 mm-high Colossus AS100 Classic, therefore takes some of the features found in the Colossus AS100 Classic’s horizontal console and flips them vertically into one orientation. On the face of it, then, this inevitably involved some small compromises — not least that, though fully independent (as they are not internally wired to anything), Colossus AS200 Slim’s two vertically-mounted broadcast-quality 31 x 15 ANALOGUE PIN MATRIX ROUTING panels are somewhat smaller than those horizontally mounted in the Colossus AS100 Classic, while the latter’s two TOUCH KEYBOARD CONTROL / SEQUENCERS dominating its horizontally-mounted so-called ‘Touch Panel’ have had to be forsaken entirely in favour of a new vertically-mounted ‘Mixer Panel’ incorporating a 10- input stereo mixer, two fixed sub-mixers, and two joystick controllers. As a result, Colossus AS200 Slim actually provides more mixer inputs than Colossus AS100 Classic, which is no bad thing. That said, Colossus AS200 Slim’s four so-called ‘Jack Socket Patch Panels’ providing I/O from all circuits are the same as those implemented in Colossus AS100 Classic — other than now being vertically orientated, of course.
Clearly when it comes to Analogue Solutions’ spirited Colossus concept, there are now choices to be had. Having said that, those lucky enough not to be in a constrained financial position necessitating making a choice between buying a Colossus AS100 Classic or Colossus AS200 Slim could always consider taking the Colossus Double stairway to (analogue) heaven; after all, Colossus AS200 Slim has been beautifully designed to elegantly stack on top of a Colossus AS100 Classic to form a dreamlike ‘double-height’ Colossus Double system, the likes of which has to be seen (and heard) to be believed! Bearing in mind that a Colossus Double system ships as two separate units, at least two people are needed to lift a Colossus AS200 Slim on top of a Colossus AS100 Classic, with a third person highly recommended for moral support! The two super-synths concerned are safely secured together thanks to a selection of (provided) bolts to form one rigid unit. Ultimately, a Colossus Double system is as awe-inspiring to stand and look at as it is to play with.
Whatever way anyone might choose to approach achieving awe-inspiring Colossus Double system status — given that a Colossus AS200 Slim, of course, can be added to a Colossus AS100 Classic at a later date, it is incontrovertibly so much more than a powerful analogue ‘workstation’ with 100%-analogue voice and modulation circuits that steer well clear of MIDI and USB; it is also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself! After all, high-quality constructed synthesisers such as these only come around once in a decade — or, possibly, a generation!
Colossus AS200 Slim is available to order, priced at £23,500.00 GBP (excluding VAT and delivery) — directly from Analogue Solutions here: https://www.colossus-synth.com/buy — with delivery direct to the customer, complete with a selection of patch pins, 3.5 mm ‘mini-jack’ patch cables, and a IEC mains cable. Current delivery time is around two to three months after receipt of a £7,000.00 GBP deposit (excluding VAT and delivery) — payable to Analogue Solutions here: https://www.analoguesolutions.com/colossus-1 — with balance and shipping costs required shortly before despatch, though waiting will decrease down to around two weeks once Analogue Solutions has handled initial demand. (Should shipping be required, packing in a large wooden crate — can be completely ‘flat-packed’ for safe storage, should the customer wish to do so — is £320.00 GBP, with delivery by truck to most European countries estimated to be in the range of £300.00 GBP to £500.00 GBP and air freight to the USA estimated to be in the range of £1,700.00 GBP to £2,500.00 GBP.)
For more in-depth information (including variants, images, video, upgrades, support, and more), please visit the dedicated Colossus website here: https://www.colossus-synth.com/colossus
"New module out from Cre8 Audio hot on the heels of their recent Nifty KeyZ is the Function Junction, an ADSR, Function Generator, LFO and Mixer/Attenuverter with plenty of utility.
We take a look.
00:00 Intro and over view
01:45 ADSR
3:10 Function Generator
7:00 LFO
08:15 Mixer
10:14 Example patch
13:11 Conclusion and wrap"
Introducing Function Junction - ADSR, Function Generator, LFO, & Mixer Extraordinaire!
Cre8audio® & Pittsburgh Modular Synthesizers introduce a eurorack module packed with utilities for simple to complex modulation as well as mixing
April 26, 2022 - Cre8audio® & Pittsburgh Modular Synthesizers today announced Function Junction, the latest creation stemming from their recently announced partnership.
Function Junction is a many-function-in-one module, made for use in eurorack format modular synthesizers.
Fun with functions…
Traditionally many-in-one multi-function modules are compromised of abstract functions and controls that when patched together can create basic or complex utilities. Often these modules are challenging to use and have some inherent limitations due to their abstract nature.
Cre8audio & Pittsburgh Modular’s take on the many-in-one multi-function module attacks these limitations head-on by eliminating the abstract. Each section of the module’s user interface is clearly separated into dedicated utility types with controls that will be familiar to the user. This approach increases the module’s capabilities while at the same time becoming more approachable for users of all levels.
Function Junction has dedicated ADSR, Function Generator, and LFO sections. Each section performs as a user would expect, as well as some having deeper functionality sprinkled in. Clever looping and external modulation add layers of possibilities.
The integrated attenuverting mixer ties all of the sections together, or not… Each section is routed by default through the attenuverers of the mixer but can also be repatched at the user’s whim.
The purpose of 'TEST SERIES' is to focus on the sound design possibilities of various gear combinations. This series is not musical nor does it serve as an instructional video. It is all about sound potential.
Please consider supporting this channel by purchasing a sample pack or music download from www.outsidersounddesign.com"
"Now equipped with CV outputs, Moog's Etherwave Theremin is as much a controller as it is a performance instrument. Watch along as Joe takes a closer look!
Note auction links are affiliate links. See the site's privacy policy for more info.
"The Korg Lambda, an unsung hero in the analog synth world. A lovely pad string machine and more, lush ensemble sound with a touch of percussion bell-like tones."
"This listing is for a new set of ARP Odyssey MK-III sides panels. I had these made about 10 years ago and forgot that I had them until recently. The edges have been polished so they look proper (a photo showing this will be posted shortly.) They are genuine leather so there may be some natural creasing (like the originals.) I use double sided, 3M tape to stick them on the metal sides of the Odyssey and cut the tape with an exacto knife. The Odyssey's sides will have to be completely cleaned so they can stick properly."
"This paia keyboard came to us in a package deal. It was part of the 4700 modular system (see our other listings for a full system). It’s being sold strictly as is for parts or repair. We didn’t test it but we’re sure it’s not working because some wires have been cut. While we repair most vintage analog synthesizers, we don’t work on Paias here because they are relatively low value instruments so, strictly from a business perspective, it’s not feasible for us to pay our tech to fix it. However, Paia schematics are generally available on Paia’s excellent website forum and Paia gear is typically relatively easy to repair. Since most people shopping for Paia are DIY electronics hobbyists, most Paia buyers would probably enjoy such a restoration project. If you’re not capable of fixing it yourself, perhaps Paia knows someone who restores these."
"Rare JSI Progue (modern cross between Moog Prodigy and Rogue, with some Minitaur features thrown in, and midi/cv) in near-mint condition, built and calibrated by Laurentide Synthworks. Comes with power supply."
KiwiSix with MIDI connection, $400 value - increase from 32 to 512 patch memory, more arpeggio options, new more reliable power supply, Synthgraphics overlay attached for Kiwi parameter, brand new circuit board so no more problems with battery leakage corrosion.
Laminated particle board casing was replaced with new solid walnut wood chassis body casing, $330 value
3-prong power receptacle was installed so that the power cable can be detached during transport and storage.
As you can see from the photos, this synth is a beauty"
8 stacked sawtooth oscillators from ResonanceCircuits.
www.resonancecircuits.com
"The NuWave:
8 stacked sawtooth oscillators for droning textures, harmonic chords, atmospheric pads and classic sweeps.
Controls: on/off power switch green backlit envelope led - provides a visual of the modulating output detune slide control - all oscillators fundamental pitch slide control - 4 oscillators secondary pitch slide control - 4 oscillators based on a harmonic index of the fundamental oscillators output level slide control 1/4" jack output powered by 9v DC input (negative centre polarity - 300-800mA). PSU not included
