"This monstrous synth is in great shape and sounds fantastic. There are eight analog voices which can be panned individually for some really interesting stereo sounds. The keyboard can be split or doubled and there are two oscillators per voice. It is a very warm sounding synth great for massive chords, basses and leads. This model has MIDI in out and thru.
It is quite a beast, with all the great 80s vibe and that classic Oberheim sound. In fantastic working and cometic condition overall. Serial No. 050516
Service notes:
-Replaced firmware IC
-Replaced several failied CMOS logic chips
-Recapped bend assembly and processor pcbs
-Repaired D/A converters on voice boards
-Cleaned panel controls
-Fully calibrated
-Repaired autotune circuit
-Replaced missing hardware"
"Vintage Analog Goodness.. Oberheim Matrix 1000 White Panel in great working condition, no operational issues. It all works great, sounds amazing and looks just stunning! This is just by far the best oberheim for the money. Classic rich pads, strings, brass, basses, leads all for a low price considering how much OB8, OBXA, Xpanders are selling for nowadays. You can edit these with various software editors, apps, or external controllers readily available. Great score for a rare and lush Oberheim!
"The Official Video Clip for my cover of the Knight Rider Theme
I had so much fun putting this together. I paid homage to the original masterpiece by Stu Phillips but injected it with more raw synth fire power 🎹 🔥 🔋
You can stream / download on your favourite music platforms here - https://xelon.ffm.to/krtheme
Synths Used in order of appearance;
Sequential Circuits Prophet 5 Rev 3.3
Moog Multimoog
Roland Jupiter 4
Moog Grandmother
Oberheim OB8
Roland Juno 6
Arp Odyssey Mk 1
E-MU Emulator II
Moog Matriarch
"This song, titled 'Vieni Uomo,' is inspired by the Italo disco dance music of the 1980s.
This piece was actually recorded using some analog electronic synthesizers and string machines from the 1980s, such as the Crumar Bit99, Crumar Multiman-S, and Solton Programmer 24. The vocal part also features a barely audible Hammond organ background. This part is played along with the String Machine connected to an analog phaser. Other synthesizers I used include the Prophet 6 and the Korg Prologue 16 for some solo parts. For the vocal part, I used the full analog GRP V22 vocoder, which is truly fantastic.
For the drum machine, I used a vintage Dynacord P20-8 bit from the 1980s.
I also used an Oberheim OB-X8 to create an adaptation break before the vocoder part.
This song truly evokes 1980s Italo Disco music, and the sound is typical of that genre.
I'll post a later video detailing the recording process for this song, track by track.
The song is scheduled for release on major streaming platforms on December 3, 2025."
"SERVICED! God’s own Original vintage Oberheim Matrix 12 in absolutely gorgeous playing condition, fully teched, recapped, and restored, every key and function operating as designed, and she sounds….. massive!
End of the rainbow, final boss poly monster. You will not find a better example."
"Just got this DS-2a up and running so I thought I'd hook it up to the OB-X and see how it works.
Important note about the operation of the DS-2a: it cannot quantize so, as you'll see, building a repeating sequence can be a bit of a hit-or-miss proposition.
"After the last set of whacky sounds [posted here] I wanted to document some more 'classic' Matrix 12 vibes. I found this great bank by Peter Urbanek.
From the .txt
PATCHES BY PETER URBANEK (free)
Reviewed by Mike Metlay
Peter's patches tend to be organized in sets, with several subtle variations on a
theme, and named accordingly: VOICE 1.1, VOICE 1.2, etc. It seems that when a
patch deviates enough from the basic form, he gives it a name of its own and
groups it after the others of its ilk. For this reason, Peter's patch tape is organized
quite neatly, making it easy to audition all of a particular type of patch. Heavy use
is made of both Levers, both Pedals, Pressure, Velocity, and Release Velocity on
many patches, for effects ranging from vibrato to ENV shape changes and
resonant sweeps on note attacks. It should be noted by all that to Peter, "vibrato"
means everything from triangle-wave warbles to deep noise-wave growls. His
Multi Patch setups are meaningless: they're left over from the factory patch tape.
Blanking them would've been nice.
In contrast to the previous set, the patches here bear little resemblance to the
sounds after which they're named. Each sound group, like VOICE, STRIN,
CHURCH, etc., appears to describe the general character of a sound rather than
it's true intent. Peter seems to enjoy the "analog synthesis for its own sake"
approach to programming; he eschews realism in favor of timbre.
And what timbres-thundering basses, blasting church organs that seem to belong
to any church I've ever heard of, bizarre sound effects (though not on the level of
the next tape reviewed) with random LFOS, rich filtered string pads ... all heavily
overlaid with a grimy analog crunch that threatens to bury the listener. There are a
few slightly altered factory patches as well, but these have also fallen to Peter's
grim analog touch.
In fact, there aren't that many different kinds of sounds on this tape; it has a
definite "one flavor" feel to it throughout, and that flavor doesn't lend itself to
realism, so if you're looking for variety or realistic sounds, look elsewhere. But if
you want to learn exactly why no digital synth can cross an Xpander and live,
these sounds would be a fine place to start."
"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay
All right, gang, I know what you're expecting in this space, so I'll oblige you
and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's
favorite twisted puppy is back from the audio torture chamber, and he's brewed up
the most brain-slashing package of monstrous elektronoyze EVER! This stuff's
great for warping your brain patterns, killing your cat, etc..."
Okay. Happy now? Good, now let's get serious. I heard from Art recently that
he didn't get a terribly good response to his first mailing, and that few, if any,
XUG members looked him up for his second set of patches
He seemed in a pretty good humor about it, but I couldn't help wondering if my
presentation of his patch set didn't scare a lot of people away just by the wording.
So, with a new patch set from Art (more diverse than the first two) in hand, I'd
like to try again.
One of the most unhealthy trends I see in today's patch-editing software is the
patch randomizer, that cute but overused utility that generates random patches at
the click of a mouse. Literally thousands of these random patches are being sold
by unscrupulous hackers as "original sounds," and a whole new generation of
MIDI morons is springing up (pardon the pun) whose idea of "good programming
chops" is the ability to tweak a randomly generated sound into something that
(almost) works. No program of this type exists yet for the xpander, and I'm glad of
it: the lack of computer-generated garbage on the market forces the user
community to seek one another for new ideas, rather than some electronic I
Ching. We come together in this Group to share ideas and learn from one another
and I believe that studying another human being's work beats watching a
computer coughing up random numbers. Which brings us to the music of Art
Springer.
In my opinion, these patches are important. VERY important. I get so enthused
about Art's work because I see in him a reflection of my college days, when I
puttered about with ARP and Buchla modular monsters creating sounds for the
sheer joy of it, putting together tonalities never before heard on Earth rather than
trying to make a realistic shakuhachi. This was, and often still is, the meat and
potatoes of electronic music to me. And when I hear Art telling me that people-
Xpander users!-are returning his work because it's "too weird," I know
something's wrong. The Xpander isn't a sampler or a digital piano. It's not an
imitative instrument by nature. It's a powerful, multiply interfaceable modular
synthesizer with a great deal of flexibility. Art Springer takes a stance on its use
that no other Group member has had the courage to try: using its Power as a CV
percussion device to enhance the sounds of his more traditionally oriented synths.
(By the way, Lionel and I are big fans of his music ... it's not as inaccessible as
you might think, and the odd tonalities make his dance pieces a lot of fun.) This is
a new idea to a lot of you, and I don't blame you for being frightened. But it's
better to learn from someone whose ideas differ from yours than to convince a
computer to feed you something safe. I'd like to suggest something simple to start
with: get one of Art's sound sets, trigger your Xpander with your drumbox, and
try writing music with these sounds as part of the atmosphere rather than
conventional drum noises. Or do something completely different. The important
thing is to try to expand (hm) your horizons to something new. These sounds of
Art's do take getting used to, but I think you'll learn a lot from them. Trust me."
"I was lucky enough to be able to restore this amazing instrument.
Hampered at the end by a wrong logic chip installed. From factory? Or 'the last guy'?
Music from my new ATMOS album 'Height Supremacy' under my ATMOS artist name Galactic Horizon.
"Quick demo of the over sized , great sounding Oberheim OB-8 with the cheap non velocity keyboard implementation that everyone used at the time compared to the sequential T8 that had a great keyboard but didn't sound as good as the prophet 5! I prefer my TEO-5 or the OB6 I had before but I still have the rev4 Prophet 5 desktop."
"This is my rendition of the classic "The Water is Wide," performed and recorded in my studio in one take, with no overdubs.
This song has meant a lot to me over my life. I remember the first time I heard this song was in the third grade. We were learning it and singing in my after-school choir (Kairos, on offshoot of the Crowden School). It was the late 90s in Berkeley, California. It was one of the first moments in my life that I can remember being deeply touched by music. I am forever grateful for that experience, as it was one that propelled me into a life in music. I hope you enjoy my version of this timeless song. 💙
Filmed by Emily Hoerdemann https://www.emilyhoerdemann.com
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