video upload by manmade madman
"If you could pack everything you ever wanted into a modular synth, and then put it in a suitcase, chances are it would reference the EMS Synthi AKS/VCS from the 1970's. Recently companies have released hardware editions that sound glorious. There's even a monster ultimate reissue called Analogue Solutions Colossus which I'm sure sounds incredible. The original was notorious not only for its clean look and capabilities but weird sounds even Brian Eno said "...great for bug noises" but he used it for decades as an effects processor as well. We've taken issue with this... it CAN be musical!
Here we have the ultimate version: 6 free range oscillators, dual patch panels, vintage spring reverb, a joystick that lets you record motion and play it back, and a snapshot sequencer that gives you your sound-per-step, or bug noises if you'd rather! Vintage circuitry all along the way, down to the opamp modelling. You'll hear the crunch and occasional bleeding of the original 70's wiring. Thanks to our db-cell technology, you'll hear a vintage drift everywhere, but well under control. It's not static-- in fact its always surprising and always different, just like the originals.
Best of all, its actually FUN to use. Drop a pin and watch the patch cable show you the connection! Modulate where you couldn't before. EZ rolls in different sections, including the patch matrix. Make sounds, snap them to the clocked sequencer, and get going.
Make vintage inspired sounds from the future that surprise you. Make something musical.
Prove Eno wrong!
https://store.denversynth.com/syntheu..."
SYNTHEUS 1001
An unobtainable synth that’s a double-briefcase full of awesome.
Famously used by a ’70s producer who called it “great for bug noises.” Prove him wrong!
Two EMS Synthi-style synths strapped together in one case: six oscillators, two 16×16 pin matrices, two diode-ladder filter/oscillators, two envelope shapers, a random voltage generator, ring mods, a spring reverb and an octave filter bank. There are no menus to patch. Push a pin into a hole, and the sound goes there. Pull it out, and it stops.
Two 16×16 pin matrices, one for audio and one for control. Click a hole to drop a pin at 100%; drag it to attenuate, shift-drag for fine control, right-click to pull it
Six oscillators, two nonlinear diode-ladder filter/oscillators that self-oscillate on the dial frequency, two envelope shapers, a random voltage generator, two ring mods, two VCAs and an eight-band octave filter bank
A two-spring reverb tank with that dispersive chirp, plus a joystick, a meter, and four inputs so the plugin can process your own audio
Analog behavior from the circuit up: op-amp matrix rails that compress and grind, saturating VCAs with CV bleed, column-to-column crosstalk, oscillator top-octave sag, and a trim that turns it all up or down
The ANALOG section adds drift, warm-up and a cold start, so no two patches sit exactly the same way twice
The house EZ button rolls a new patch from scratch. A 16-step snapshot sequencer stores the pins and the dials at each step, with SLEW, SNAP, EXT SYNC and STEP TRIG, and it follows your DAW or runs its own clock
64 factory patches in six sections (EMS classics, instruments, sequences, generative and FX, voices, morphs), including six of Shane’s own. Hover any patch to see what it is and what to touch
Eight performance inputs (mod wheel, aftertouch, pitch bend, velocity, breath, foot, expression and key CV) can be routed to either matrix bus
Modeled like a circuit, not a patch cord. Every matrix column is an op-amp mixer that runs out of supply, so dense and feedback patches compress and grind instead of just getting louder. The VCAs and output amps saturate and let their control voltage bleed through, neighbouring audio columns leak a faint whisper into each other, and the oscillators run flat up top and carry their own DC offsets. Drift, warm-up and a cold start make each box behave like a real one. Then it does what no hardware can: the snapshot sequencer stores every pin and dial at each step, and SLEW morphs the whole instrument between them.
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