"An ambient synthscape of lots of textures & favourite synth sounds to images of cityscapes and a solitary figure... This track was performed with real analogue & digital equipment, as well as some in the box... headphones a must for the imaging & bottom end in this piece... enjoy..."
"Equipment used in this piece includes Moog Voyager, Roland VP-330, Yamaha SS-30, Arp Odyssey mk3, System 100m, Waldorf M, Arturia Microfreak.
Effects included the Chase Bliss CXM1978, MXR Flanger/Doubler, E.H. Small Stone, Hologram Microcosm. Software used N.I. Kontakt.
Headphones a must for lots of movement in the mix as well as low frequencies… Enjoy :)"
"Heres a demo of some units we restored , the ROLAND SYSTEM 100 (Model 101, Model 102, Model 103, Model 104) + MXR Pitch Transposer + MXR Digital Delay.
The MXR Pitch Transposer M-129, and the Digital Delay M-113 (both of these units are FOR SALE, if you're interested reach out through our website contact form or email)
HISTORY: The Roland System 100 is a semi-modular analog synth from the mid-1970s, a classic piece of gear that’s still got a cult following. It’s got a gritty, warm sound, perfect for everything from deep basses to wild, experimental noises. The setup includes five main modules: the 101 synthesizer, 102 expander, 103 mixer, 104 sequencer, and 109 speakers. Each module’s got its own vibe, but they’re designed to work together, letting you patch cables to create custom signal paths. The 101’s the core, with a single oscillator, a meaty low-pass filter, and a built-in keyboard. The 102 doubles down, adding another oscillator for fatter sounds. The sequencer’s a standout, letting you craft repetitive patterns that were huge in early electronic music. It’s not as complex as a Moog modular but way more portable and user-friendly for live tweaking. People love it for its hands-on feel and raw, vintage tone.
Video shot and edited by Rakim Escobar
If you have a vintage synth, drum machine, outboard gear or tape machine that needs restored or repaired, please reach out to us or ship in your item to our repair shop, Synth Tailor Electronics. Visit www.synthtailorelectronics.com/contact or send us an email: info@synthtailorelectronics.com for more details!"
The sequences you hear are from my modular system which includes VCZIII oscillator, filter from Feedback Modules, Behringer System 100m and 2500 modules. Also some Roland System 500 gear. The sequences are mainly from the Korg SQ64 - but I've also used Behringer 960 to do some things, as well as getting the SQ64 to trigger the 182 sequencer - see if you can spot it :)
Vocoder bit was done on the Roland E4. Other strings and sounds were from Streichfett, Pro 800 and Novation Peak. Effects are MXR Flanger or in the Modular system: Strymon Magneto, Intellijel Sealegs, Feedback Modules 106 Chorus."
"4/18-19/25 (tranq staccato) RYK 185 + Roland System 100m & TR-606 + DSP 808 + MXR 136 + Paia 6740 + Alesis MIDIVERB II + ADR Pan Scan + Eventide H3000B
Nothing drones quite like the ElectroComp EML 200. Two EML 200 VCOs are running through its left mixer into its internal spring reverb into its right mixer into the ADR Pan Scan and the Alesis MIDIVERB II and Eventide H3000B (Cyclons). The synth is the RYK 185 sequencing five VCOs through three filters on the Roland System 100m, processed by the Pan Scan, H3000B, and MIDIVERB II, with LFOs modulating the filters and with manual wiggling of the envelopes. The claves is the RYK 185 gate output triggering the DSP 808 module, with spring reverb from the Paia 6740. The tom is from the Roland TR-606, squashed by the MXR 136 limiter, with a room reverb on the MIDIVERB II. As the TR-606 kick drum is faded in, it further squashes the already squashed tom. The other kick is the DSP 808, with a trigger from ALM Pamela’s New Workout inverted by the Ladik U-202."
"Metunar macht Musik frei improvisiert. Das ist ein Ausschnitt des Konzerts.
Aufgenommen am 29. Dezember 2024 in der Galerie Fafou / Oberuzwil / Schweiz.
Die Musik wurde inspiriert von der Kohlezeichnung im Hintergrund 'Spuren der Genese' von Michaela Medea.
Folgende Instrumente habe ich dazu benutzt:
Akai MPC ONE als Drumcomputer und Delay Looper
Mellotron Micro und Novation Bass Station 2 für Bässe und Melodie
MXR Pitch Transposer und Aira Torcido als FX
Metunar makes music freely improvised. This is an excerpt from the concert.
Recorded on December 29, 2024 at the Galerie Fafou / Oberuzwil / Switzerland.
The music was inspired by the charcoal drawing in the background 'Spuren der Genese' by Michaela Medea.
I used the following instruments:
Akai MPC ONE as drum computer and delay looper
Mellotron Micro and Novation Bass Station 2 for bass and melody
MXR Pitch Transposer and Aira Torcido as FX"
"This one is in excellent cosmetic condition and working 100%. It has just been serviced and with some restoration. It is the same Model 129 as the blue face MXR Pitch Transposer. Terry Sherwood (one of MXR's founders), and some of MXR's engineers, left the company to start ART. The other founding member started Alesis (as you may know.) These ART 129's are not too common!"
"All VCS3 patches played through an Empress Echosystem. Arp 2600 patches played through a Boss RE-20 Space Echo. Clavinet played through a Fairfield Circuitry "Randy's Revenge" ring modulator. Mellotron played through an MXR 10-band EQ and Boss RV-5 reverb."
"Very rare set of (x2) Mica Sonic electronic drums (woodblock/conga/bongos) and Korg Mini-Korg 700.
Both units were restored by Cole from Synth Tailor Electronics. Outboard gear used:
-MXR Pitch Transposer
-MXR M-113 Digital Delay
-Roland SP404
-Death by Audio Rooms Reverb"
"Soundscape improvisation in the art of an old science-fiction movie with an Erica Synths Bullfrog, Infradeep PVX-800 + GRP V22 Vocoder, Vermona Perfourmer + MXR pitch transposer and a Melbourne Instruments Nina Synthesizer.
All recorded live, with soft mastering.
"The Solina's raw sound is not like your standard synth so it tends to react differently to effects. I tried lots of different effects and picked the most interesting to show here. First up was the Erica Synth AcidBox III which, surprisingly, was an excellent match. Using the AcidBox with full resonance was fun and would sound even better with stereo delay but I wanted to keep things to just one effect at a time here. Perhaps the AcidBox works so well because of the lack of controls on the Solina - suddenly the Solina gets an LFO, filter, resonance, input drive and envelope follower.
The phaser test with the EHX SmallStone, Phaser 95 and PH-1r I also found very interesting. For me the Ph-1r had the richest sound and the SmallStone was identical to the onboard phaser.
In the drive, disortion and dirt department the Glove and B3K had their moments while the Geiger Counter ranged from mild to total destruction and some bit crushing at the end.
I also included a short demo with the Boss Slicer, but that thing requires several hours discussion just by itself.
Where I'm playing a chord with one note I'm actually triggering a Cthulu chord player in the DAW. Most chords are taken from a custom import of the main string line from Bruckner's 7th.
0:00 AcidBox III
2:08 Boss Ph-1r phaser
2:35 MXR Phase 95
3:04 EHX SmallStone
3:43 Boss Slicer SL-2
4:14 EHX The Glove
5:20 Darkglass B3K
6:17 WMD Geiger Counter
"Some great analog sound from one of the last vintage analogs. It's the Akai VX-90 from year 1986, a synth with true VCOs. All sounds are from the VX-90. Some external effects were also used but mainly on the delay department.
Effects:
Korg SDD-1200 (delay, chorus)
Roland SDE-2000, delay
Roland RS-505, chorus
MXR Phase 100
TC-Electronic DVR2, VSS3 (Reverb)
"In this video, Anthony reveals one of his personal favorite trade secrets. He shows us how to transform any synth bass sound into a synth bass on steroids by using various combinations of 5 different guitar efx pedals including the Electro Harmonix Big Muff, MXR MX-134 Stereo Chorus, Musitronics Mu-tron Phasor II, MXR MX-118 Analog Delay and A/DA Flanger. He illustrates the difference and importance between the wet sound (efx only), the dry sound (no efx) and mixing the wet and dry sound together. By running both of these sounds into a mixer, you have the option to add as much special personality from the wet sound without losing the energy and definition of the solid dry bass sound. You can then add as much of the wet sound as you prefer, much like adding spice to your food. Think of each pedal as a spice from a different part of the world. When you get the spice balance between wet and dry just right, you’ll create a sound with a unique personality. This is one of the special powers that comes from using EFX pedals with synthesizers and a sure fire way to create synth bass sounds on steroids.
CHAPTER TIME STAMPS
:00 intro
:16 Electro Harmonix Big Muff (silicon fuzz)
1:37 MXR MX-134 Stereo Chorus
2:58 Musitronics Mu-tron Phasor II
4:19 MXR MX-118 Analog Delay
5:32 A/DA Flanger
6: 53 Summary
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major."
Huge thanks to Harry Axten for the loan.
https://hkadesign.org.uk/
0:00 Intro Jam
1:05 The MXR Drum Computer
1:37 Face Review
2:08 What is it +Harry Axten Midi
3:47 Demo 1: Know what I mean 'arry?
4:46 The tuning problem
6:04 Demo 2: Drum Computer
7:00 A later success
7:47 Sample Pack
8:27 Outro Jam"
One thing I neglected to mention was the MXR brand was later aquired by Jim Dunlop who have kept it going since the late 80s. https://www.jimdunlop.com/products/el...
0:00 Intro Jam 0:48 Quick History 2:22 Demo 1: Foxxy Music 3:17 What is the MXR M-129? 6:11 Demo 2: Large Nation 7:16 What else? 7:55 Demo 3: Syn-Pitch 8:46 Famous Users 10:19 Possessor of a friendless ticker 11:07 What became of MXR? 12:25 Outro"
"Demo of a MXR Pitch Transposer (Pitch Shifter) with a Yocto 808 Drumcomputer.
The MXR can shift the pitch of a signal +/- 1 octave. There are 4 pitch presets and there is a wonderful feedback parameter. I connected a DIY ribbon controller to the extern control in.
Direct mono recording without mastering.
