Note this appears to be the first demo of the Skyline GIS Orchestra on the site. You can find a demo of the SKYLINE FORTYNINE P here.
"FREE IMPROVISATIONS on this ultra rare vintage italian synthesizer
00:00 Engines ON 00:19 The Awakening 00:57 Neural Storm 01:16 Ionization 01:30 Quest for Peace 01:51 Il Sogno della Crisalide 02:18 Scacciapensieri 02:41 RAM error 03:06 The Prophecy 03:21 Connections 03:37 Piano Tales 03:53 Pure Strings 04:03 Acceleration 04:17 Visioni (Pads) 04:56 Conversations with the Wind 05:08 BASS hole 05:32 Mellow Keys 05:50 ajakkashlsll 06:08 Il Sogno della Crisalide (pt.2)
FX used on some parts: OTO BAM reverb OTO BIM delay"
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
"A GX1 is an iconic instrument in any condition, but this one has had the benefit of Colin (Sequentix) Fraser's close attentions over many years. It was bought by Richard James [Aphex Twin] at VEMIA many years ago from Mickie Most's studio. It spent some years in his studio, until it was transported to Colin and eventually to his studio in Berlin, with the principal aim of getting it 100% working again and installing MIDI.
It is complete, with the main console, bench, pedals, two massive speakers, two programmers, and all cabling.
Working order: after some painstaking work at the Sequentix studio it is in full working order as envisaged by Yamaha all those years ago. The two original programmers attach to the Tone Board (patch CV controller) for the Solo keyboard. That board connects on an internal loop to the other manuals, so the programmers can be assigned to any manual for patch editing.
Under the surface there has been an incredible amount of work from Colin: he is in the process of producing a preliminary brochure for his MIDI retrofit, which makes fascinating reading and shows the depth of his exploration of the GX1's architecture - and his huge ability to problem-solve and create new possibilities as well. This brochure would of course be included with the GX1, along with all other literature available. It can also be emailed to prospective buyers on request via Peter Forrest.
At present the polyphonic manuals have full MIDI control. The Solo and Pedal manuals have external CV input Colin has been driving from Cirklon CV outputs. The Rhythm machine has external trigger inputs added, and they are being controlled by a Cirklon D-mux drum trigger module.
Extras: there are a lot of further permutations that could be arranged direct with Colin after the auction. This would depend on the new owner's wishes. For instance one person might want the GX1 as original as possible, and another might want bells and whistles - Colin has designed and prototyped a programmer for the extended sound capabilities he has envisaged, and if required, could extend the MIDI capabilities to the bass pedals.
Cosmetic condition: please see the photos. It is generally in gorgeous condition. The louvred flap on top of the keyboard seems to have some paint damage on the two inner sections, but that looks simple to remove to respray if necessary.
Transport: this is not as daunting as you might imagine. Colin has devised an excellent system for moving it, so that either transporting it by road or crating it for air or sea shipment will be well practicable and safe.
Extras: if the new owner is tempted by Colin's possible add-ons, such as his improved additional Sequentix GX1 Programmer, MIDI bass pedals, or other add-ons, these would be negotiated separately directly with him after the main auction payment."
Pictured are a few interesting items for sale from Mike Berman. You can find them here.
I asked him if it would be OK to capture the pictures here as I've never seen the "matrix pump" before. He gave me the all clear. Note this is the first post to feature one. This is a rare piece of synth history.
All Mike knows about it follows: "For me, the nature of the Matrix pump and its affiliation with EML is pure speculation. I always assumed it to be, at best, an unfinished one-off. If you magnify the photo you can read the labels on the controls and they are intriguing. The multi-pin socket on the left side of the MP accepts the same plug that EML sequencers use. That section is labeled 'Synto Interface'. I experimented with various patches and found some functionality in a few of the controls but I don't recall specifics beyond that. "
Below that you can see The Tim Smith box featuring the following section: Explonental Amp, Noise Generator, Lag Processor, and ENV/Gate Generator. I asked Mike is Tim Smith the same Tim Smith that was the Western Regional Tech Rep for Sequential Circuits , Arp, Moog and also contributed to the famous Vintage Synthesizers book and articles in Keyboard Magazine. He's not sure but believes it is.
Further below you'll find the MODEL EML-200, MANUAL CONTROLLER EML-300, multi-pin cables, EML 400 : EML 401, EML 500, EML POLY-BOX, X-Y CONTROLLER
This one is in via Justin3am who had the following to say:
"I cleaned out a storage space in Woodland Hills for Rob Ramply, who formerly worked at Alesis. There happened to be a book of Axel Hartmann's early concept drawings of the Andromeda, so I scanned them."
"This is the first video in a new series exploring the University of Iowa’s Electronic Music Studio. In addition to presenting its historic instruments (including a 1968 Moog IIIP with custom-made modules), and the famous musicians who have used them, these videos will extrapolate ideas to use in your own modular systems. This episode examines a unique random sequencer that was developed in 1974 by Paul Dingman, an electrical engineering student at Iowa. It then shows how it might be recreated using the third lane ('time') on Make Noise’s 0-Ctrl. NOTE: several other Eurorack sequencers also have this feature, as indeed does the Moog’s own 960 sequential controller; alternatively, use an LFO to clock any sequencer and patch the sequencer’s second lane/channel (if it has one) back into that LFO’s frequency input.
0:00 University of Iowa's Electronic Music Studio
0:42 Introducing Dingman's Probability Controller
1:58 Demonstrating the Probability Controller
3:50 Recreating the Probability Controller in Eurorack
My new album:
CREDITS
Thanks to Paul Dingman for answering my questions over Zoom.
Film sequences:
'Atom Smashers' (Encyclopaedia Britannica Films in collaboration with the Division of the Physical Sciences and the Institute of Nuclear Studies at the University of Chicago, 1952)
'The Meaning of Time In Science' (Encyclopaedia Britannica Films, d. Kent Smith, 1973); both archive.org
Music: Peter Tod Lewis, 'Gestes II' (1974), from the Mnemothèque Internationale des Arts Electroacoustiques (University of North Texas Music Library). Program notes for an EMS concert on April 13, 1979, described “Gestes II” as “the generation of musical gestures through coordinated operation of sequential controllers programmed to produce a large but finite collection of voltages, controlling variously oscillators, amplifiers, and filters” (University of Iowa Music Library)."
"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.
basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.
Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]
How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett
"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...
Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/
Show Notes
Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.
The Legacy and Mission of the Computer Music Center
The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.
The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.
One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.
Exploring the Labs and Studios
The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.
"Barnes & Mullins Percussionet 20 ANOTHER DRUM MACHINE FROM THE SANDS OF TIME Here is the post of all of the drum patterns! :- / part-3-drum-120094934 --------- THANKUS HUMUNGOUSO to :- caiden klassen beaksnout IgorBox mbcodeandsound God Orion Markku Rontu TheTechromancer Cameron Luteraan Ande Spenser David Boudreau The-Dutch-Rat Dan Patterson Polykit Matthew W David Dolphin Matt Followell (PDP-7) Miles Flavel"
You can find the post referenced here for additional details and pics, including one of the inside.
"Ultrarare presents another super rare device drum module - Lel MIDIDRUM. In MIDI format all knobs of the device do not work, volume commands are transmitted in the note mode. Thus, the only regulator is the volume knob in the lower right corner. The simplicity of the plugin is compensated by the uniqueness of the source. To date, no other working preserved copy is known. Also included in the delivery set will be 34 unique drum parts of Lel in midi format, the name of which is written on the device."
This appears to be the first one to be featured on the site.
This appears to be the first one to be featured on the site. You can find additonal NDK creations in previous posts here.
