Learning the Diabolical Devices SK-1

YouTube via bigcitymusic

"This little gem has a sixteen point patch bay, built in oscillator and LFO, MIDI input by Highly Liquid, and various bends. You remember the SK-1. Record your voice into in. Play it back. Play it back in rhythm with the demo. This bent version can mangle your samples, the built in sounds and drumbeats and drone you to sleep. We're still learning!"

akai ewi with circuit bent speak and math cv midi synth

YouTube via spunkytoofers

"the akai ewi 3000 uses control voltages and has an all analog signal path with it's dedicated module. in this example the ewi 3000m module sends midi to the speak and math as well as control voltages brought to the surface of the 3000m on banana jacks. the banana jacks are sent to a cv control box which is essentially a foot switch box with various logic functions and and open ended patchable interface. ewi controls overall pitch of the speak and math based on pitch fingering cv output in conjunction with octave key cv output. the midi is a retrofit kit available by highly liquid and accesses the speak and math's rom by triggering key commands. this modification gives the user a wealth of circuit bent sounds accessed by midi note triggering. the speak and math's output is sent back to the 3000m's analog amplifiers and filters via breath control on the ewi. there are various note sustain loops and a photo theremin available on the surface of the speak and math via stomp switches. the stomp switches activate leds to indicate on/off. also a big knob with a rubber boot that can be played with the feet.. this is my first run through of my speak and math cv midi synth"

Circuit Bent Speak and Spell with MIDI - SPEAKING BETA

YouTube via radial77
"Added MIDI for triggering and synchronization from sequencers, drum machines, DAW's, etc.. Triggered in the clip via Ableton Live and other gear. Mad props to the guys over at Ableton for outstanding work on the upcoming release of Ableton Live 8. Be sure to check it out. Props also to Highly Liquid for the components and support that make this possible."
Update: up for auction here.

circuit bent 626 highly liquid

YouTube via salamanderanagram
"Here's a quick sample of me fooling around with my first circuit bent machine, a drum i bought from highly liquid before i started bending myself.

Putting it up for sale on e-bay later today.
enjoy!"
On Ebay here
"professionally circuit bent roland tr-626, done by highlyliquid.com. As far as I can tell they don't do circuit bent work anymore but focus on MIDI retrokits. It comes with a highly liquid glitchdesk (also discontinued). More info on that here.

The glitchdesk attaches to the 626 via a 25 pin cable (included with auction). It has a 25 point patch bay(I'll toss in 5 or 6 patch cables as well), patchable filter(cool!!), and 2 Patchable Audio Outs, which is where it gets really interesting. You can grab the sound before it is finished being processed and send it straight to an Audio Out."

Midi Atari 2600 playing intervals

YouTube via stikkasoundsystem
"Ableton Live sending random notes to Atari 2600 with SynthCart and Highly Liquid MIDI interface, patched through analogue filters"

Highly liquid MIDI 2600

YouTube via stikkasoundsystem. follow-up to this post.
"Just got my Highly liquid MIDI2600 running. First video to celebrate the birth of a new toy for the studio!"

Highly Liquid 2600 through SSM 2044 filters

renamed to Atari 2600 through twin SSM 2044 VCFs
YouTube via stikkasoundsystem
Original description:
"Atari 2600 with Synthcart playing preset Beat loops, modular synth is gating the rhythm. Signal is split in two, one path is ringmodulated, both filters are seperately modulated with Midi controllers and a Doepfer MCV4.

What you hear is the first stage to record audio into Ableton Live, after that everything gets sliced, chopped, warped, mangled and whatnot."

New description:
"Atari 2600 with SynthCart and Highly Liquid MIDI interface triggered from Ableton Live, playing SynthCart's preset beat loops, modular synth is gating the rhythm. Signal is split in two, one path is ringmodulated, both filters are also seperately modulated with Midi controllers and a Doepfer MCV4."

Ace Tone Rhythm Ace with MIDI

YouTube via rolandsh1000

"This is a short demo of an Ace Tone Rhythm Ace Drum Machine to which I added MIDI trigger capability.

It's being triggered by an Oberheim DX'a' (the 'a' was the last DX model made by Oberheim and featured stock MIDI), running a few simple patterns.

The Rhythm Ace has about 9-10 drum sounds, most of them are made using resonant transistor oscillator circuits - all the transistors are Germanium - with inductors. There are no IC's anywhere within the Rhythm Ace (well, now there is with the MIDI board). Ace Tone ultimately became Roland, and while the classic TR-808 typically uses a different type of drum oscillator circuit, it's interesting to me that the Rhythm Ace seems to have a Roland quality to the sound.

The MIDI board is made by Highly Liquid and is actually intended for use in the Atari 2600. I added some interface circuitry that inverts and creates brief decaying-exponential triggers from the pulses of the Highly Liquid board.

One limitation here is that the Ace Tone COULD respond dynamically to the triggers, as the sound varies depending upon the shape and size of the trigger pulse. I didn't optimize for that, and that's pretty much why you don't here any open hats or low congas. And you CAN get the bass to boom a la 808 by tweaking a trimpot in the Rhythm Ace, but I held it back a bit here.

I do apologize for the lack of bass here - it's due to the lousy mic on my video camera. Someday I'll get my act together and record these videos with a mixed line-in to the camera."

Highly Liquid VL-1-MIDI

"Features

* Adds a standard MIDI IN port to your Casio VL-1 "VL-Tone"
* Control VL-1 keyboard with MIDI notes 55-83
* Notes triggered with MIDI are functionally identical to local keypress
* Does not interfere with "stock" functionality of keyboard
* Power and activity LEDs
* User-selected MIDI channel

Kit Contents
* Printed circuit board
* All required components
* Standard MIDI jack
* Hook-up wire
* LED panel bezels" http://highlyliquid.com/kits/vl-1-midi/

Studio Electronics Omega 8

images via this auction
"The Omega 8 is an eight-voice, discrete circuit, multi-timbral, stereo, multi filtered, arpeggiating, DSP free Analog Dream Machine. Overflowing with elaborate MIDI control, dynamic signal processing, and expansive modulation, its sound creation and manipulation could very well exceed the boundaries of your imagination. Apparitional pads, foundational basses, revelatory leads, electrosonic drums, other-worldly sound effects and utterly massive synthetic soundscapes... The Studio Electronics Omega8 delivers true ANALOG stimulation. Exactly what you need to compete and remain a vital force in today's highly charged musical ecology.

GENERAL SPECIFICATIONS

Voices: eight.
Multitimbrality: eight part; Parameters: patch, number of voices, mono or poly.
Audio outputs: one stereo per voice. One main stereo and main mono output.
Interface: 32 knobs (relative and jump modes), I rotary encoder, 35 tactile switches, 24 LEDS.
Display: 16 x 2 back lit liquid crystal.
Memory: 256 sound patches,128 multi patches in RAM.
Weight: 20 lbs.
Dimensions: 4 rack spaces, 15 inches deep.
Power: 90 - 250 volts AC auto switching."

Atari Synthcart

via this auction
"custom [white] atari 2600 synth ! The bit crushing low end , this creates is unlike anything you've heard . This model is upgraded from the ones I normally sell . It has been custom painted and the controllers have been upgraded from the video touch pads and keyboard controllers that are available . The biggest and most essential add-on , is the MIDI2600 external kit from highly_liquid adding midi capabilities to this little bitcrushing Monster, without any other modifications . I have also added a 1/4 inch out put for easy use with amps, pa's mixers, computers , and more !! Thus making it perfect for many live and studio applications.

First off , I want to start out by saying that I believe in this machine. Its power is unbelievable ! The bass tone that this unit produces is one of the best I've heard. Sometimes I can't believe it's actually a 4-bit machine producing these tones. The cartridge was designed by a brillant man by the name of Paul Slocum . He's also created a cynthcart for the Commodore 64 and he's working on another cartridge for the 2600 called the Loopcart, that's actually going to be a sequencer for this machine. It should be ready by the end of the year. So you have even more to look forward to with this unit . With the synthcart you can do the following (as written on Mr. Slocum's website)


Play using an assortment of familiar Atari sounds
- Use two different sound types at a time, one assigned to each controller
- Intelligent voice management constantly re-assigns the two oscillators for maximum perceived polyphony
- 8th, 16th, and 32nd note arpeggiator
- Can arpeggiate both oscillators simultaneously
- Beat Box with many pre-programmed beats and fills
- Play two beats simultaneously to create custom beats
- Two tremelo settings
- Four attack/release settings

and now the hardware.....

oAtari 2600 fitted with a quarter-inch jack for easy use with amplifiers, PA systems and mixers
o2 upgraded controllers to play notes and drum patterns
o power supply
oSynthcart (brand new)
oOwner's manual/documentation for synthcart
o MIDI2600 kit w/ joystick extensions
o wired with a 1/4 inch output jack for easy use with PAs',mixers, amps, etc."

Update via wgungfu in the comments: "Its not a 4-bit system making these sounds, its an 8-bit. The 2600 is an 8-bit system."

Atari 2600 Synthcart

via
this auction.

screenshot
controllers
cartridge

"The Synthcart is a unique Atari 2600 cartridge that turns your 2600 into a pop music sensation, letting you play music using a pair of Atari's keyboard controllers and can also be controlled with an optional 2600 MIDI kit.

AtariAge sponsored a Synthcart Beat Programming Contest in early 2002 to allow people to create and contribute beats to be included with the Synthcart.

This listing includes:
1- New NTSC format 32K Sythcart cartridge and full-color manual by Paul Slocum.
1- Clean Pair of Video Touch Pad Controllers
1- New pair of Synthcart keypad overlays.
1- Atari 2600 Darth Vader refurbished and customized with 1/4" jack output and composite video output.
1- Highly Liquid internal MIDI 2600
1- Atari AC adapter.
1- Original Star Raiders Video Game Cartridge.
- Play using an assortment of familiar Atari sounds
- Use two different sound types at a time, one assigned to each controller
- Intelligent voice management constantly re-assigns the two oscillators for maximum perceived polyphony
- User interface designed so that you can program and play the synth without a TV. This Atari has been modified with an audio out, you just need your Atari and an amp.
- Easter egg: secret light show mode that displays color patterns based on sound output. To activate, put the scale on "major" and put the left keypad on "pitfall" or "saw" and play the notes: 4 7 8 9 8 9.

MIDI Capability:
- 8th, 16th, and 32nd note arpeggiator
- Can arpeggiate both oscillators simultaneously
- Beat Box with many pre-programmed beats and fills
- Play two beats simultaneously to create custom beats
- Two tremelo settings
- Four attack/release settings

MIDI Features:
* Translates incoming MIDI notes to keypad control signals
* Powered by game console—separate power supply not required
* User-selected MIDI input channel
* Power and activity LEDs"

See the tag below for previous posts including samples.

Peter Grenader on Waveshapers

Via Peter Grenader of Plan B via AH:

"Waveshapers don't really - or better put, shouldn't 'effect' a VCO per say, although they can play havoc if you're not careful. PWM circuits are notorious for this as many times they take the signal very close to the op amp's power rail, and depending which op amp you use it can cause real problems.

In any event, what a waveshaper does is take the core signal - meaning the waveform the oscillating engine creates on it's own, usually either Sawtooth or Triangle - and through a series of added circuits bends that into whichever waveform it needs at a given output. It's real trickery at times - reverse biasing of diodes, carefully timed disection to rearrange core signals into other shapes, etc. It's not an E.Q. Although one could filter a saw to it's first harmonic and have a sine, it wouldn't have the fidelity required. You have to do it other ways.

The waveshapers account for the bulk of a VCO's circuit. Along with the Expo converter, that's where the magic happens and it's really critical stuff. It's what makes a VCO sound as it does and designers guard their methods. For instance - while I've given some of my dealers - those who have in-house repair facilities - schematics of my VCO's core, I omit some of the waveshapers. If they've got a dead saw or sine for instance, I tell them what part needs to be replaced. If that doesn't do it, they send it back to me. I'm not the only one who's that paranoid.

There are three blocks to a VCO:

1) Expo Converter/Freq Control - This takes all the input controls - Freq Pot, Freq VC inputs, 1V/oct inputs, sums them to one voltage string, scales it as needed (somewhere around 18 mv/octave), and then converts that voltage to current through a circuit called an Expo Converter.

2) The Core. This is what does the oscillating. Basically it's a fixed-ratio envelope generator that gooses itself to start again, once per cycle. A secondary goose comes from the external SYNC input. The core can only manifest one waveform. There are a few things that determine what that waveform will be, namely the configuration of the circuit called an Integrator and where you place the capacitor in that integrator. Do it one way, you get a saw. Do it another way, you get a Triangle. The current from the expo converter gets injected into the core loop and that's what changes the oscillating frequency.

3) Waveshapers. One per waveform. They take the core signals and do the bending. One circuit for sine, one for triangle, one for saw, one for PWM, blah. Based on what waveform a given VCO's core produces, sometimes you've got to take the output from one waveshaper to make yet another waveform because it can't do it in one step. My core is triangle, I don't have to worry about this. They all take the triangle core signal to make their the output waveforms in single generation, thus all of the M15's waveforms remain in phase. All I do is fan the triangle to the string. But you do have to condition the core signals for the various applications. Some of the waveshapers need hearty signals to do their thing, some need comparatively low-amplitude signals, and you've got to scale your core signal for each.

So this doesn't sound all that bad, does it? and it isn't..not until you concern yourself with range, stability and tracking - this takes the bulk of the work in VCO design. It ain't easy and at times it's magic, but it's magic that must be repeatable under a plethora of operating environments. Back in the halcyon days, when musicians limited themselves to one system, designers could fine tune each module in their range to work with one another more efficiently. A wet dream compared to the Frakensynth 21st Century, all that goes out the window because people are using their Serge's with MOTM and Buchlas with Plan B's. Also know that many of these steps I've outlined are quite noisy. You have to deal with that. You have to assure your output waveforms retain their amplitude across the entire frequency range - that doesn't happen for free, either. There are mechanical considerations as well, specifically how the traces are thrown on the board. Some work as antennas which cause major problems if too long. Some can't be too close to others or interference will occur. Basically it's a huge undertaking and it's got to be right. You can get away with sonic defects in filters -people will propably prefer the results. With a VCO - no dice. Everything has to work correctly, in time and in spec and you have to find a way to do that affordably.

I'm skirting over much detail here, but I think this gives you an idea.

hope this helps," Pleas note this was sent to AH, so Peter will see questions sent there but not necessarily here although he has been known to drop by.

Update: More via Peter on AH:
"One must remember there are bunches of ways to create an oscillator core. Charge pump, 555 timers (yikes!), 4046 PLL's (I would recommend this over the 555), Feedback loops with logic gates, etc. And as a result different methods must be used to shape these core signals into the final waveforms.

Sometimes you have to use the output of one waveshaper to create another final waveform - the core signal will not allow you to manifest all of them, so you do it in steps.

OK - if one were to draw on paper four waveform types of the exact same freq, - sine, saw, tri and square, it would be done (I assume) with all four starting their cycle at the same time, going through their pattern so to speak, and ending at the same time. By doing this, you would be showing these four waveforms in phase with one another. But sometimes you can't do that. For instance, common square to saw shapers need the trailing edge of the squarewave to do it's thing, not the rising edge. Given that that square is 50% duty cycle, then the saw pattern begins 180 degrees out of phase with the core signal, and other waveforms which can produce their outputs from the core signal directly.

Next question - so where does that squarewave come from?
Along with the final output, most cores produce a timing pulse as well - the signal used to 're-goose' the core to begin it's cycle again. It's produced by a carefully tuned comparator circuit which pops a high output at the exactly the right time to open and close what's known as the flyback, a switch that opens the closes the current loop that charges the integrator. Open the loop, the integrator discharges. close it, it charges. The comparator is fed the core signal - so it's output states are governs by the very core it's enabling. You bias the comparator to trigger at the right voltasge level. Do it right, your core singal's fidelity is maintained. Do it wrong, your triangle is leaning over on it's side or pitifully low in amplitude.

Some waveshapers use the core output, some use the comparator output.

Here's a really odd analogy: Let's say the VCO core is a bathtub. The liquid is the core waveform, the faucet is the current loop and the plug, and the guy working it is the comparator. He plugs up the drain, the tub fills at a certain point, he pulls the plug, the water begins to drain. This goes on over and over, the water level going up and down. They are fed from and effect one another. But they are doing their thing out of phase. If the plug gets pulled when the tub is empty, it'll remain that way. If it's pulled when it's full, then the cycle is intact. If it's not pulled at the righ ttime, the water won't make it's target level. There's your visual.

So tying my original statement to this model - Some waveshapers need the empty tub, some need the full tub. Waveforms which are produced from these two concurrently are out of phase with one another - while at the same frequency, they don't begin and end at the same time."

"I need to add that the circuit I described - the current loop/comparator pair, is one type of circuit used to create a core waveform -there are other methods which are easier (on paper) to design than this. But, they suck. Linearity is often poor, the range is pitiful, amplitude levels are hard to maintain throughout that range, they're sensitive to temperature variations, they are unstable as hell. I see core VCO circuits that use a 555, or worse yet a logic gate pair to create their core signal, in which in order to address these variables the guy was forced to hang scads of parts all over the place. If the purpose of the exercise was to prove that a stable VCO can be made in this way, cool but real world - it's not going to work predictably. So instead of hacking it, it's best just to use a core which will give you the fidelity, linearity, range and stability required to do the job. If electronic components were finite - a 1k being EXACTLY 1K, a 10uf cap being EXACTLY that - then these types of alternate circuits would stand a chance. But things don't work that way real world."

"More ramblings on alternate methods -

I know a guy named Jerry Steckling - brilliant guy, who used to make mobile recording studio installations out of the panels used to for walk-in restaurant freezers which were f'ing incredible, who later went to Skywalker for a number of years and became a very big cheese up there, who now makes his own speakers, multichannel speaker systems and amplifiers. He had a pet project to produce a speaker which used a flame as the oscillating body instead of the driver. Wack idea, but on paper it's possible, and if anyone could do it, Jerry could. We had many jokes about this - how big is YOUR flame - that sort of thing, but while he knew it was possible, he'd never go that route obviously for anything more than an experiment followed by a good larf.

There are many ways to produce a VCO core, but....

you get the idea."

Hataken Interview

Back on March 31, I put up a post on Hataken, a Japanese DJ artist who primarily uses analog synths. At the time, Shane Chisolm, the manager of Don Juan Dracula mentioned Hataken was working on a remix version of DJD's "Take Me Home". Shane asked me if I'd be interested in doing an interview with Hataken, and I thought why not. It would be interesting to hear his perspective on the world of synths as a live DJ artist. The following is the result of that interview. Note, this is a long one. You will want to use page down to scroll through. If it is too long for you, I recommend reading one or two questions each time you visit the site. Each DIY item below would typically have been a separate post. There is a lot of interesting stuff here. That said, I start with an introduction followed by asking Hataken how it all started for him. Note the focus is primarily on synths as this site is about everything synth, and Hataken delivers. The gear he has both worked with and designed to meet his specific needs is overwhelming. There's also an interesting interlude on experimenting with frequency counters to produce specific frequencies of sound known to have healing properties, and of course there is a bit of the age old discussion of digital and analog.

Before we start the interview, I want to thank Hataken for taking the time out for this, and I want to thank Shane for suggesting it. It's a fascinating history of a DJ synth artist with interesting perspectives that I'm sure I will come back to over time. Be sure to check out the video and link to more at the end. And of course be sure to check out Hataken's website.

1. Can you tell us a little bit about yourself?

CLICK FOR MORE »

Hot Dog Machine (Experimental Lab Setup)

YouTube via drewtoothpaste. Previous synth vids by drewtoothpaste.

"Shown in this video is a lab-scale thermal depolymerization unit. It uses steam to break food waste up into its components. We don't use moldy or rotten food for this, but leftovers are perfect, and you can use anything from meat and eggs to coffee grounds, vegetable peels/greens, bread, etc.

The demonstration I did in this video was using takeout rice and tomato sauce with meat, which were leftovers from two separate meals. The resulting hot dog from a feed of this size and type(135 g, mostly grains) is typically around 40g. The rest of the mass ends up in a liquid waste stream of amino acids and simple sugars, which makes an excellent fertilizer for the garden. There is a bit of waste oil/fat left over, which is simply thrown out, but in a larger scale, could certainly be used as a biodiesel source.

I've set this unit up to make hot dogs by incorporating a molding unit. The high-protein DC stream is primarily used to form the hot dogs, and I currently have the unit set to add 9% fat and 2% carbohydrates. The liquid mixture is heated and agitated to form a hot-dog slurry, using the steam exiting the decomposition process, in order to remove some of the latent water.

The mineral content of the feed leaves with the waste amino acids and sugars. Inside the machine is a 250mL vessel with a solution of salt and natural flavorings that is added to the slurry immediately before the molding stage, to replace the mineral content and adjust the taste.

The finished product is nearly indistinguishable from a store-bought hot dog, and hey... at least you know what it's made of.

I'm not a chemist (professionally) anymore, but I do make comics every day. You can find the comics at http://www.toothpastefordinner.com and http://www.marriedtothesea.com . You'll like them. Even if you don't like hot dogs." Oberheim Xpander

Highly Liquid MPA: MIDI Potentiometer Array

MIDI to Potentiometer

Applications:
* MIDI control for DIY filter & oscillator circuits
* MIDI-to-trigger and MIDI-to-DIN Sync conversion
* MIDI-controlled circuit bending

Features:
* 4 x Independent 128-step variable resistance output
* 8 x 5V digital logic output
* Control via MIDI notes, controller, program change & other messages
* Fully programmable via MIDI SysEx command
* Dual MIDI THRU ports
* Power and activity LEDs
* Operates on 7.5-12 VDC from batteries or wall adapter (not included)
* Regulated 5 VDC output for powering additional circuitry
* Optional screw clamp terminals for easy external wiring
* Measures only 76mm x 73mm (3.0" x 2.9")
* Fits SERPAC enclosure models 051, 151, 251, 052, 152, 252, 053, 153, 253 (available at Mouser and Digikey)

Kit Contents
* Printed circuit board
* Pre-programmed microcontroller
* All required components
* 1 x Standard panel-mount MIDI jack

Title link takes you there. Via GetLoFi.

Click on the Highly Liquid label below for previous posts.

Highly Liquid MIDI kit for Atari 2600

It doesn't have a screen, but... it has MIDI.

Applications
* MIDI control for Synthcart synthesizer cartridge—more info
* MIDI-scripted & synchronized game performances

Features
* Use MIDI notes to send joystick or keypad control signals to any Atari 2600 console
* Additional outputs for Select & Reset control
* Powered by game console—no separate power supply required
* User-selected MIDI channel
* Power and activity LEDs
* Compact size: 83mm x 57mm (3.25" x 2.25")

Title link takes you to more info.

via GetLoFi.

Previous HighlyLiquid posts:
HighlyLiquid
Casio SK Site

Highly Liquid

Title link takes you to Highly Liquid, home to MIDI retrokits, modular expansions and more for your circuit bending susceptible gear including the Casio SK-1.

Keeping that Wood Looking Good

Bob posted the following on how to keep that analog wood looking good, on the Rhodes Chroma list. I asked him if I could post it and he said yes, so here it is. Thanks Bob!

"I used "orange glo" (made with orange oil) on mine when I first got it, and
it cleared enough of the scuffs and minor scapes up, that I decided not to
even sand mine. Another product that works great is "liquid gold" which is a
lemon oil based product. I used that on my Arp Axxe, and it also worked
great. I guess if I had to choose one it would be the liquid gold, but only
because it smells better. They pretty much work the same functionally.
Anyone who hasn't done this to their Chroma yet should do it. Even if your
Chroma looks fine, she can look finer, plus it will keep the wood
moisturized, and looking good for alot longer. I use it every other month or
so. Just apply a little to a folded paper towel, (in quarters) and rub it in
untill it looks like just a little too much, then turn the paper towel
around to the drier side, and rub the excess out. I know this from my day
job cleaning peoples houses. This is the same thing I would do with high end
furniture. Don't ever use anything like pledge, or probably anything in an
aerosol can, it will cause a waxy buildup on the wood which will be hard to
remove, and most probably uneven. Also never spray anything directly onto
the wood, always use some sort of towel to apply the oil evenly. If the wood
is actually dirty and needs a cleaning before adding the orange or lemon
oil, you can use Murphey's oil soap first, but I'd mix it a little weak, and
make sure the wood is completly dry before adding the oil, since the
Murphey's oil soap is a concentrate mixed with water. Hope someone finds
this to be useful! Merry Christmas!!!"

The Studio Electronics Code

via Rob. Click for bigger image. Title link takes you to NovaMusik

I'm guessing this is a NovaMusik custom Omega 8.

The new Omega C O D E.
Shipping August 2006

Featuring SEM and Diode Filters.

Available in 2 voice, 4 voice, or 8 voice configurations.

New on the C O D E:

Diode based filters giving you that classic nasal sound while the Studio Electronics SEM filters give you that classic 80's poly sound.

Also new is the Filter Control section, which allows you to sweep through all the filter types in real time with complete MIDI control. The switches in the Filter Control section give you on/off control and/or momentary control of assignable parameters. Filter Control will give you full control of your audio source.

The 2 voice version is configured for dual input stereo filterbank.
The 4 voice version is configured for 4 input or quad filterbank.
The 8 voice version is an 8 channel filterbank.

Also available are voice expansions and filter expansions.

Bank 3 "THERIOT" included ($139 sold separatly)

Features

General Specifications

Voices: 2, 4, or 8
Multitimbrality: 2 voice = 2 part, 4 voices = 4 part, 8 voices = 8 part ; Parameters: patch, number of voices, mono or poly.
Audio outputs: one stereo per voice. One main stereo and main mono output.
Interface: 32 knobs, 1 rotary encoder, 35 tactile switches, 24 LEDS.
Display: 16 x 2 back lit liquid crystal Ocean Blue Display.
Memory: 256 sound patches,128 multi patches in RAM.
Weight: 20 lbs.
Dimensions: 4 rack spaces, 15 inches deep.
Power: 90 - 250 volts AC auto switching.

Voice Architecture

Two voltage controlled discrete analog oscillators and one sub wave of Oscillator 1
Waveforms: triangle, sawtooth and variable width square. All waveforms output simultaneously. Syncing of Osc 2 to Osc 1.

Two voltage controlled discrete analog filters including the new Diode Filter
24db (Diode Filter), 12 db (classic Oberheim SEM). 12db filter has low pass, bandpass, high pass and band reject modes. Each voice has the capability of having four different filters available for use. Additional filters (up to 2 per voice) can be added as desired in any number. Filters do not operate in series or parallel.

Three low frequency oscillators (LFO3 fixed to voice panning)
Waveforms: triangle, sawtooth, reverse sawtooth, square, noise, random. Up to three destinations and depths each for LFOs 1 & 2 with range, delay, key trigger, phase, mode (mono or poly), quantize, midi sync.

Three multiple stage envelope generators
Attack, decay, sustain and release with inverting and multiple triggering. Envelopes 1 & 2 have additional delay, decay2, and breakpoint parameters. Envelope 1 fixed to filter frequency. Envelope 2 fixed to amplifier level. Envelope 3 is assignable with up to three destinations and depths. ALSO NEW Envelope 3 knobs also can control the inputs of the unit.

Glide
Linear or exponential. Parameters: time, mode (auto, legato, glissando), autoglide interval, dynamics, destination.

Unison mode
One, two, four, six, or eight voices. Depending on Voice configuration.

Additional Features
Oscillator 2 audio frequency modulation. Destinations: Osc 1 frequency, Osc 1 pulse width, filter frequency. White noise generator. Auto triggering external input processor on each voice. Parameters: input level, trigger level, mix level, window.

Modulation Destinations
LFOs1 & 2 and envelope 3: VCO 1 & 2 frequency, pulse width, and mix level, VCF frequency and resonance, noise level, Xmod amount, LFOs 1 & 2 rate and depth, VCA level, external mix level.

MIDI Specifications
In out and thru. Receives: program change, bank select, glide on/off, glide time, volume, SYSEX. Controllers: dynamics, modwheel, bender, pressure destination and amount (x2). Controller 1 assignment: dyn, mod, pressure, bend, tracking, continuous cont #2 (x2), controller 1 amount (x2). Controller 2 assignment - same as controller 1 (x2), controller 2 amount (x2). Dynamics, tracking, and bender have positive and negative modulation. Fixed continuous controller assignments for all key functions.

MIDI Controllers
Dynamics, modwheel, bender, pressure, tracking, breath controller: all LFO1&2 and envelope 3 destinations, including envelopes 1, 2, and 3 attack, decay, sustain, release, amount