"A rare gem from the golden era of string machines – the Yamaha SS-30, a fully analog string synthesizer with dual manual charm and unmistakable vintage warmth. Released in 1977, the SS-30 stands as Yamaha’s answer to the classic Solina and Logan stringers, but with its own distinct character: rich, shimmering ensemble sounds that sit beautifully in a mix or soundtrack.
This unit is in excellent working condition for its age. Attached a picture about one scratch, what is on 2 keys. Except this, all the other keys, sliders, and ensemble effects function as intended. Cosmetically in good shape with minor signs of age – as expected from a true '70s original.
Power: 220V (EU)
You can test and take with you from Hungary (Esztergom), or worldwide shipping available (need to calculate)."
"The clone is fully drop-in replaceable and is able to coexist with the original vintage chips in the same synthesizer. It can function as VCA and current source for envelope controller on M-cards, or control voltages for TRG boards (and on any other board that uses that chip). It has the same control voltage cutoff point and similar non-linear control curve as the original, so all the control sliders work the same."
Additional details follow:
"The iG00151AP is a replicant of the rare IG00151 Voltage Controlled Amplifier (VCA) chip, which was used by Yamaha in their CS-series analog synthesizers and organs from the 1970s and 80s. The iG00151AP was carefully engineered from the original chip, retaining all of its characteristics and properties, including the peculiar non-linear control curve and cutoff, input and output impedances, and identical power consumption at the same gain setting. This makes the iG00151AP the only "clone" available today that is fully drop-in replaceable and is able to coexist with the original vintage chips in the same synthesizer. While the originals are getting more expensive and harder to find, the availability of the iG00151AP ensures that the CS-series analog synthesizers remain serviceable. One CS-80 synthesizer contains 210 of these chips!
INSTALLATION
To install the iG00151AP, ensure that the marked PIN 1 location on the part matches PIN 1 location on the circuit board. With the pins pointing down, PIN 1 on the original chip is on the left when facing the part number, while the iG00151AP has PIN 1 on the left when facing the component side (not the part number). Carefully orient the part properly and solder it to the circuit board. Clip excess leads as necessary.
WARNING: As with the original chip, a reverse installation will damage the part when power is applied!
CALIBRATION
After installing the part, allow the instrument to warm up and stabilize for at least 30 minutes, then recalibrate the circuit following the procedures of the original manufacturer. Similar to the original chip, the gain may vary from unit to unit. Proper calibration will ensure that the new part performs the same as the original.
As with the original chip, the iG00151AP may have a similar input offset that varies from unit to unit. This manifests itself as a control voltage (CV) feedthrough to the output. Depending on the application, it may be necessary to trim the offset, but this is usually provided in the vintage circuit, if required. No additional offset trim circuitry is necessary if it is installed in the original circuit.
The iG00151AP is compatible with Yamaha CS-80, CS-70m, CS-60, CS-50, CS-40m, CS-30, CS-20m, CS-15D, CS-15, CS-10, CS-5, and other synthesizers and organs that use the IG00151 VCA chip."
"Following the Studio Tour Video I made last November, here is an update with recent acquisitions and changes to my workflow in my Studio.
Some highlights are the Moog Messenger, Arturia DrumBrute Impact 1984 Edition, Synido TempoPAD C16, Aly James Lab Vprom 3.0, Beyerdynamic DT1990 Pro, Modartt Pianoteq 8 and some Franklin Audio Devices.
The biggest change is in my 2nd Studio where the B Team is kept. I have connected those synths to a Franklin Audio SS-6 Switchable Input Stereo DI which then sends audio to my Universal Audio Volt 476 interface connected to a Macbook Pro Laptop.
You can view the original Studio Tour Video here -"
"Join me for a musical journey with the astonishing sounds of the ROLAND MINIMOOG, MINIROOG? Also known as the ROLAND SE-02 BOUTIQUE synth by STUDIO ELECTRONICS. The only fully analog synth that Roland has made in the last couple decades AFAIK.
Paired today with the YAMAHA PSR SX920 for some guaranteed fun music moments!"
"Lesson packs available for one-time purchase on Patreon. / woodypianoshack
"The CS-80 is renowned for its rich, expressive sound, and its filters play a crucial role in that. Here are the key characteristics of the CS-80's filters:
Dual Filter Design Per Voice
This is a standout feature. Each of the CS-80's eight voices boasts two independent filters:
1. High-Pass Filter (HPF): With adjustable cutoff frequency and resonance.
2.Low-Pass Filter (LPF): Also with adjustable cutoff frequency and resonance.
These two filters can be used simultaneously, enabling unique band-pass effects and exceptionally flexible sound shaping. The cascading of these filters results in a very characteristic, mid-range-focused sound."
"This is a conversation with synthesizer genius, Jeff Blenkinsopp, from The Analog Lab (www.theanaloglab.com)."
CONTROl with co-founder Daren Ho makes an appearance at the end.
The video above comes in via an article on Jeff Blenkinsopp recently written up on Hell Gate. You can also find in on The Analog Lab's blog on their website here. Jeff is the man behind The Analog Lab which provides various resources for synth repair. The site is well worth a look.
From the intro to the article on Hell Gate, written by Adwait Patil:
Below: "Jeff Blenkinsopp after repairing the Beatles' VOX Continental organ, last used at their 1966 Shea Stadium show (The Analog Lab)"
"Jeff Blenkinsopp toured with Pink Floyd and Vengelis, repaired instruments for the Smiths and the Beastie Boys, but his greatest legacy might be his willingness to share his craft.
As one of New York's most meticulous and beloved vintage gear technicians, Jeff Blenkinsopp's legend precedes him. A North England native, he began repairing synthesizers in the late 1960s, worked his way into London’s disco scene as a live stage technician, and later took his talents on world tours with English rock giants Sweet and Pink Floyd, and Greek composer Vangelis. In 1978, he moved to New York, quickly gaining the trust and fixing synthesizers for bands like the Beastie Boys and the Smiths, and carved out a home for the nerds whose vintage gear obsessions were about to peak at the turn of the millennium with his workshop Expert Audio Repair Services, or EARS. At EARS, he devised hands-on methods to pass on his knowledge to some of the city’s most beloved musicians, all of whom came to learn from the guy who became Pink Floyd's synth technician at the age of 21.
Blenkinsopp’s career first took off in 1974, when he was working in London as an instrument repairman for General Electro Music. There he was introduced to Pink Floyd, who were looking for a technician, and met the criteria to join the band's French tour: he knew how to take care of a Hammond, and he had a passport. Blenkinsopp had never toured with a band, and now was in charge of setting up Richard Wright and Floyd's organs and synthesizers on a nightly basis. From then, he became a constant fixture for British bands who toured with a hefty load of keyboards, and that’s what initially brought him to New York City in 1978, touring with British glam rockers Sweet. A tour that changed his life."
"The track Wonderland by Christian Halten is composed and performed on the very rare Yamaha VP1 Virtual Acoustic Synthesizer released in 1994. The arrangement was recorded using live overdubs, no other instruments nor external effects were used. The visuals for the track derive from the game Solitude by Jerboa Entertainment with kind permission. Solitude is available on Steam from the link below.
The VP1 is a 16 voice synthesizer that creates sounds based on Physical Modeling technique resulting in pseudo-acoustic tones. All sounds can be altered in real time (even material properties) with a lot of onboard controllers including three tactile expression pedals. Yamaha created a custom 64 core computing architecture for the VP1. At the time it was a very expensive instrument and only a few of them were built.
Christian Halten is a film music composer and creative director based in Berlin. He started his career at the age of 17 scoring a cinematic documentary published by National Geographic. Ever since he is passionate about exploring and expressing sound in music to picture. He worked in Los Angeles in various teams around Hans Zimmer. His latest work is a collaboration with composer Michael Stearns.
"Electronic musician @rimela shows just how far you can take MIDI on a Yamaha CS-80. I reached out to him, and he generously shared the original tracks so we could take a closer look at the possibilities. In the end, I couldn’t resist adding a little improv of my own to his fantastic tune. Don't forget to check out his original! • Yamaha CS-80 [posted here] - and also check this video bij Mark Cox: • YAMAHA CS-80 Ultimate Upgrade - A Dream co..." [posted here]
"A piece for @teenageengineering OP-1 field, piano(YAMAHA CP-88), and @homebakeinstruments8214 wavestick: echoing phrases, live piano, and intermittent synth tones weaving through the spaces—ambient in texture.
Piano (CP-88): Recorded in two signal paths: the dry output and one processed through @HologramElectronics MICROCOSM with the HAZE effect.
OP-1 field: Performing synth layers, sent through a @strymon TIMELINE delay with the REPEATS parameter raised for long trails.
Wavestick: Processed by @KORG_INC NTS-3 reverb; pitch and volume are manually varied during performance.
Bell (kane): Captured with a RODE NT-4 and given additional reverb in the DAW."
"Yamaha FB-01 Frequency Modulation Sound Generator w/ Original Box - Classic FM Synthesis
Unleash the sonic brilliance of classic FM synthesis with this Yamaha FB-01 FM Sound Generator. This compact, rack-mountable unit is a treasure trove of retro digital textures, delivering the unmistakable warmth and clarity of Yamaha’s legendary FM technology. Featuring multi-timbral capabilities, it can handle up to 8 parts simultaneously, making it perfect for layering lush pads, snappy basslines, and shimmering keys. Whether you're diving into vintage sounds for your next project or expanding your studio's versatility, the FB-01 is your gateway to timeless tones.
This unit is in good working condition, with all functions and outputs tested and performing beautifully. Cosmetically, there are some surface marks consistent with its age, but nothing that detracts from its reliability or aesthetic charm. The front panel’s buttons and display are intact and fully operational, offering an intuitive way to navigate its impressive 240 preset voices. It’s an excellent choice for producers, sound designers, and performers who appreciate the gritty magic of early digital synths.
With its MIDI connectivity and user-friendly interface, the Yamaha FB-01 integrates seamlessly into any setup, whether hardware or DAW-based. From crystalline electric pianos to growling bass tones, this unit excels in capturing the essence of 80s and 90s FM synthesis. If you're ready to add some authentic vintage flair to your sound arsenal, this Yamaha FB-01 is the perfect addition to your rig!"
"💥 The biggest synth value crashes of all time! These once-iconic instruments lost tens of thousands in value—from legendary analog giants to futuristic digital monsters.
You've seen the synths that became priceless icons… but what about the ones that didn’t?
In this countdown, we reveal 15 professional synthesizers that lost the most value from their original prices (adjusted for inflation). From boutique rarities to digital behemoths, these are the synths that hit the market hard—and hit resale even harder.
🎹 We cover:
Synth name + release year
Original price + adjusted inflation value
Current resale value
Total loss 💸
A fun or tragic fact per synth
Whether it's a Fairlight, Synclavier, or the ultra-rare GX-1, some of this gear once cost more than a house… and now? Let’s just say you could buy one for the price of a laptop.
"Join Mike Patrick and Michael Finer for an exclusive walk-through of the Yamaha Synth Space in Berlin, as they explore and play some of the most legendary synthesizers Yamaha has ever created.
From vintage analog classics like the CS40M and CS80 to modern powerhouses like the Montage M and YC series, this is a journey through sound, history, and inspiration.
"Multitrack recording of the Yamaha CS-80. All sounds are made with the CS-80, except drums.
Very special thanks to Jair for lending me his CS-80 and Cox Electronics CS-80 programmer. Check out the Cox Electronics upgrade: https://cox-electronics.com"
"Here is a summary of features provided by the upgrade:
- 3 banks of 128 free programmable performances - 6 banks of 128 free programmable presets - possibility of dumping performances and presets by SysEx - MIDI sending and receiving of almost every parameter (more then 100 CC messages) - full MIDI support of the CS-80 keyboard's polyphonic aftertouch - special keyboard settings like octave transpose, velocity and aftertouch response - automatic keyboard double trigger remove setting - programmable chord memory - foot pedal can be programmed sending CC messages (3 simultaniously) - possibility of manually disabling a defective voice - autotuning possibility of all 16 oscillators - 3 extra separate global LFOs for VCO, VCF and VCA (with MIDI clock sync) - special playmodes providing various algorithms like voice stealing, monophonic and polyphonic in unison with detune setting - VCF and VCA envelope time can seperately be switched to 5 times the length - very much care has been taken so the "analog feel" of the CS-80 stays authentic to original
Also extensive service needs to be performed and lots of modifications like:
- all electrolytic capacitors will be replaced since the old ones are bad (around 450) - all sliders and switches will be professionally cleaned (around 80) - cleaning and readjustment of the keyboard contacts - cleaning of the polyphonic aftertouch parts - removal of 5 old boards, to be replaced by 7 new boards. Now the very rare YM26600 and YM26700 chips are replaced by modern electronics - around 250 additional wires, several modifications to the boards and around 70 extra capacitors are needed to make everything possible - complete calibration of all circuit boards - a nice programmer is included and only one connector will be mounted on the back of the CS-80
Almost every parameter of the synthesizer can be stored in memory and can receive and send MIDI data. For only a few knobs and sliders this is not possible:
- detune CHII slider - the four touch response sliders - the master volume knob (exp can be controlled by footcontroller and MIDI) - foot pedal exp/expwah switches - sustain slider (although it can be controlled on/off by footswitch and MIDI) - the switches and knobs of the tremolo and chorus section"
[Side Note: The main reason to get a DX200 is for how the knobs are mapped to multiple parameters. Each FM synth maps their controllers differently. You can morph sound in ways you can't easily with other FM synths. The DX200 makes for some intersting Buchla-esque sound morphing and exploration. The groovebox rhythm section is just a distraction, but neverless a tool if you choose to use it.]
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. As a professional music technology clown I have become immune to gear acquisition syndrome, all my purchases are meticulously planned out, based on quantifiable parameters like resale value, repairability and actual utility in music production.
However, today we are going to talk about the 2001 Yamaha DX200, an overpriced contraption notorious for its questionable build quality, sonically surpassed by freeware plugins and riddled with more UI limitations than a Volca. Why did I buy this?
Chapters: 00:00 Intro tune 00:59 Overview DX200 01:29 Yamaha DX200 vs. Elektron Digitone, DX7 Patches 01:52 Front Panel UI 02:54 A DX7 with a Filter ??? 03:12 FX Section, Distortion 03:26 Scenes 03:47 Software Editors 03:57 Sample Player, AWM Engine 04:27 Groovebox Functionality 05:09 Free EG (Automation) 05:35 Build Quality Issues, Workflow Quirks 06:12 DX200 vs. AN200 , Pricing 06:28 H*te Screen 06:56 Jam 1 ( Microhouse ) 07:51 Jam 2 ( DnB ) 08:53 Finale ( FM Organ Funk ) 09:21 Verdict"
"This bi-timbral FM synth is a great addition for anyone looking to take the joy out of synth programming! In all seriousness, this primarily preset machine puts out all of the classic 80's bell and electric piano sounds your heart has desired. Cosmetically this synth is in pretty good nick minus the two missing fader caps as pictured."
"Yamaha DX5 in excellent condition, both cosmetically and functionally. This is a classic FM synth with dual DX7 architecture, offering powerful sound design and performance flexibility.
Recently serviced — all sliders and pots have been cleaned, and everything is working smoothly. No scratchy controls, clear display, and a solid, responsive keybed."
"A rare gem from the golden era of string machines – the Yamaha SS-30, a fully analog string synthesizer with dual manual charm and unmistakable vintage warmth. Released in 1977, the SS-30 stands as Yamaha’s answer to the classic Solina and Logan stringers, but with its own distinct character: rich, shimmering ensemble sounds that sit beautifully in a mix or soundtrack.
