video at the auction and below.
"All circuits are totally analogue with the exception of the MIDI interface. This is the brand new Version 2 Vostok with 3 analog oscillators and new metal case!
Dimensions
Dimensions shown do not include feet/handles/catches/corners pieces.
Complete closed case: 274 (H) x 440 (W) x 188 (D)
Weight: 19 pounds with the lid on.
Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
Colossus slim has been designed to elegantly stack on top of a Colossus classic for a grand double-height system.
If you already have a Colossus classic, you can still buy the slim at a later date and stack this on top - or just keep it separate.
Both work as stand-alone systems, but can be cross patched together, or with other 3rd-party synths.
A double system is supplied as 2 separate units. You will need at least 2 people to lift the slim on top. A 3rd is recommenced for moral support.
The slim is secured in places by a selection of bolts, forming one rigid unit.
AS100 Colossus ‘Classic’
This is the original and best system - the full console version. It comes with a CRT scope as standard.
AS200 Colossus ‘Slim’
A small footprint version of the classic - taking over 50% less desk space. Features all the same audio and modulation circuits of the classic.
AS200 comes with an LCD two-channel scope as standard. CRT is available as an optional upgrade.
The matrices are smaller and are totally independent. They are not internally wired. This can be seen as an advantage (it’s a matter of your personal needs) since you can patch external gear into the matrices. The matrices are half-height compared to the Classic’s.
AS200’s mixer has more inputs.
As the slim loses the touch keyboards, play using external MIDI to CV keyboards (such as Arturia KeyStep), or using a MIDI to CV converter. Slim retains the 64-step analogue sequencer. So sequence with this and/or external CV sequencers."
via Noisebug on eBay "Full Spec: All circuits are totally analogue with the exception of the MIDI interface. This is the brand new Version 2 Vostok with 3 analog oscillators and new metal case!
Dimensions Dimensions shown do not include feet/handles/catches/corners pieces. Complete closed case: 274 (H) x 440 (W) x 188 (D) Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
Remember this post on the Drumbuddy going up for auction? It looks like the time has finally come.
images via this auction "Up for auction is a brand new Quintronics DRUM BUDDY, a one of a kind light activated analog synthesizer / rhythm machine hand crafted by New Orleans musician and inventor Quintron. The basic principal of operation is that there are cadmium sulfide light sensors hidden inside the colored tubes around the rotating black can and as the light holes pass them by, the various oscillator sounds are charged, filtered, bleeped and blooped in a variety of different ways. Each of the 4 oscillators is represented by a different color and each has been designed to complete a total rhythm kit, much the same way that the different elements of an acoustic trap set go together. The Blue pipe is the “kick drum”, the red is the “snare drum”, and the green is the “organ oscillator”. This green oscillator is raw VCO melodic organ tone controlled by “general” and “fine” tuning knobs for playing songs in a whole new way - no chromatic scales on this instrument. The yellow is the “space” or “scratch” oscillator which is plain un-effected, eerie sine wave tone which increases and decreases directly depending on the amount of light that is shed upon it. There is a 10 turn / 10K potentiometer wired to control the spinning can motor speed. This allows the player to precisely beat match DRUM BUDDY rhythms to DJ records, drum machines, railroad crossing signals...whatever. There are also various oscillator filters, on / off switches, and momentary buttons on the top panel and a general volume mixer on the front. There is also a light dimmer on the top panel which is a way to uniformly change the overall sound of all oscillators together. At its core the DRUM BUDDY is a straight up old school analog synth (built from scratch with the finest components) with a VERY unusual activation system which allows the player to create a variety of different fixed rhythms or to “scratch” the different sounds by using the momentary switches and spinning the can by hand. In addition to the sound synthesizing capabilities of the DRUM BUDDY, it is also a signal processor and can filter any instrument THROUGH to produce a strange ethereal bubbling effect onto the original signal. This is called the “WOBBLE FEATURE”. There is a bypass on the top panel for this feature and the best thing about this new 2008 addition is that the wobble feature is a totally separate circuit from the DRUM BUDDY synthesizer sounds so that you can play BOTH at the same time and they will be in perfect rhythmic tandem....the possibilities for new sounds and rhythms are endless. ABOUT THE CABINET: The cabinet was built by New Orleans furniture maker Marvin Hirsch out of 100% virgin pecky cypress. The wood for this particular one came from the original Cypress harvest (sometime between 1880 and 1930) and the tree itself could have been hundreds of years old when it was cut. The pecky dark streaking is quite rare and is the result of a fungus that only effects older cypress trees. This special swampy wood is a living antique and most certainly predates the purchase of Louisiana by the United States in the early 1800s. Only 10 cypress Line Drum Buddies were built and there are no plans to build any more ever. The Drum Buddy up for auction here is serial #1 and was originally intended to belong to Quintron (he decided to keep serial #6 with a strange cracked knot in the back as well as #10 - a green sinker cypress cabinet). All Drum Buddies in the world (less than 50 total and only 10 Cypress-Line) except this one here have found homes. This is it for a long long time....possibly ever. The cabinet is truly one of the most beautiful ever made and very unique. Profffits from this sale will go to the New Orleans Musician’s clinic. Please visit http://www.neworleansmusiciansclinic.org to learn about their tireless effort to provide health care to noninsured New Orleans musicians. This Drum Buddy comes with two different cans - a “TWO STEP” can and a “SLOW RIDE” can as well as a manual, power cord, and a static DRUM BUDDY DUSTER for cleaning the instrument. Also included will be a special kit for instructing how to cut your own cans! You will also receive the original broadcast version DRUM BUDDY INFOMERCIAL on Vhs tape and a rare signed test pressing of the original DRUM BUDDY DEMO lp. We understand that this price is very high for your average musician but please keep in mind that the many duties of this auction are being handled by a third party furniture store in Brooklyn called FRESH KILLS and that part of the auction profffffits will go to the New Orleans Musician’s clinic. Fred and John at FRESH KILLS are old childhood friends of Quintron and are very friendly. Don’t hesitate to stop in and see the Drum Buddy in real life and take a test drive or PLEASE don’t hesitate to email me thru this auction with any questions. SEE DRUM BUDDY DEMO VIDEO. VISIT FRESH KILLS: 50 North 6th Street, Brooklyn NY 11211 (718) 388-8081"
"Dr. Rhythm Graphic (DR-110) offers a wide selection of sounds, preset patterns, a large number of programmable patterns, and the ability to chain patterns together to form songs. The simple step programming is aided by an LCD grid showing the individual notes in the current pattern. In addition to step programming there is also a "tap write" programming mode.
This instrument is powered by a 9v adaptor (not included) or four AA batteries (also not included). The original manual can be download here.
The sounds are Kick, Snare, Closed Hi-Hat, Open Hi-Hat, Cymbal and Clap. The sounds are totally analog, and sound crisp and punchy, thanks to tone generation circuitry. A balance knob alters the level of the Kick, Snare and Clap relative to the other sounds, while an accent knob controls the amount of emphasis applied to accented steps. There is also a volume knob, which controls the overall level of both the main and headphone outputs. The main output is mono, but has an unusual feature whereby plugging in a suitable wired lead with a stereo jack plug allows for the feeding in of another signal to be mixed with the drum sounds. Another socket provides for a trigger signal, emitting a pulse for every accented step in a pattern.
The patterns are organized into four banks of eight patterns each. Banks C and D are the presets, while banks A and B are programmable. Each pattern can be switched between 12 or 16 steps, for a 3/4 or 4/4 time signature. Two songs can be programmed, each containing a maximum of 128 bars."
"Full Spec:
All circuits are totally analogue with the exception of the MIDI interface. This is the Version 2 Vostok with 3 analog oscillators and new metal case!
Dimensions
Dimensions shown do not include feet/handles/catches/corners pieces.
Complete closed case: 274 (H) x 440 (W) x 188 (D)
Weight: 19 pounds with lid on.
Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
Audio Modules
VCO1: Saw / Square / Tri waves, Glide, Sync
VCO2: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
VCO3: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
Noise: White noise source
Voltage Controlled Multimode Filter
2 Filters based on Korg MS20 circuitry. Independent Cut Off and Resonance for Low Pass Filters and High Pass Filters. The VCLPF and VCHPF combine to produce a 3rd filter type, Band Pass
"I already played in a band back in my school days, and because I couldn’t afford a real guitar, I built one myself. It was built from a finger-board which I got from a broken travelling guitar found in the garbage, a body from flake board, with self-wired pickups.
We played songs from the Beatles, Stones, Spencer Davis Group and what else was heard on the radio in the 60s.
Later, during my studies (physical technology, from atomics through acoustics to electronics), I played the organ. (a Farfisa) Synthesizers were still unknown. At some point in ’70 I heard a song from Emerson Lake & Palmer on the radio and it totally struck me. I believe it was the song “Lucky Man” with that synth solo near the end. One must keep in mind that my ears had never before come to hear such a sound. From that day on I was a complete Emerson fan.
I immediately asked myself what kind of musical instrument this could be and also how such an instrument could function. Particularly the Portamento Effect pointed to the fact that it was an Oscillator which doesn’t have a fixed pitch (like with an organ), but is freely controllable.
Because I knew quite a lot already about transistors and the other components, I built a VCO, like I had in my mind. To control it, I built a Pitch-to-Voltage converter which generated a control voltage from the sounds of the organ and triggered the VCO..."
"This is a true analogue classic: a paraphonic ensemble / string synthesiser with an incredibly lush, warm, rich sound. It's graced a thousand hits and inspired a load of in-the-box computer emulations, but none of them can come close to the real thing. The String Melody 2 offers a split keyboard, with "bass" tones in the left and "treble" in the right. Each has their own set of sliders to control the mix of analogue waveforms that make up the sound. The "Cello", "Viola" and "Violin" tones are actually all the same sound, but transposed up an octave in each case; by mixing these, you can rapidly create very thick ensemble pad sounds which can then be further tweaked with the Attack and Sustain sliders (Sustain here effectively means Release – it controls how long the sound takes to decay to silence after you let go of the keys).
Adding to the three basic tones are Bass and Percussion, both of which are monophonic with lowest-note priority. They operate to the left of the split point only, and can add real weight and extra warmth to low tones and bass parts. Dialing in analogue pads, string ensembles, rich textures and soundscapes, or string leads is an absolute synch.
The String Melody II adds to the basic controls with a set of five "preset" buttons which are actually way more versatile than mere presets. These alter the analogue waveforms used to create the sound, the chorus effect, and the amount of vibrato applied; so that a slider setup will sound totally different depending on whether you have "Organ" engaged or "Orchestra". These buttons offer starting-points from which you can then sculpt the sound to taste, and really add to the versatility of the instrument.
The waterfall keyboard is four octaves of real quality: it's a delight to play – a real player's machine! It comes in its own Tolex case to protect it, and is mains wired for the UK."
The first is the new thing: the MooSonics Vanilla Envelope. It is a 1MU envelope generator and VCA based on a certain 1970s cream-coloured synthesiser. I have also settled on the knobs I'm going to use for this product line, kind of an MXR style. I think this looks better for these modules than the aluminum inlay knobs I use for the aluminum panel modules.
Ample can be as complex or as simple as you want it to be: We have given this synth a large and diverse number of controls, that alongside the patch sockets, will give even the best and most experienced synthesist endless possibilities.
We have presented the controls in a user-friendly and familiar synth layout that, together with this manual and other resources, enables even the new guy to get great sounds.
SYNTH – PERCUSSION – AUDIO PROCESSOR
"Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU-stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so-called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound. The Best of all Ample combines the best elements of several of our recent products. -The sound elements of Fusebox -Jack patch points of Concussor Eurorack -Patch pin matrix of Vostok -Echo from Dr Strangelove -Sequencer and CV touch pads of Generator It shares all this yet still has its own sound!
See http://users.ece.gatech.edu/~lanterma/ems11/projectideas_sp11.html. I mirrored this below for the archives as it's on an edu site and they have been known to disappear after interest is gone. There are some interesting details on various synth designs including the Rhodes Chroma VCO, Yamaha CS-80 filter, Roland Jupiter-6 filter, Korg MS-20 sytle VCO, Buchla 148, Tau 1005 Utility VCO, Korg Delta, and more.
YouTube Uploaded by theraywilsonshow on Sep 9, 2011
"LFO, VCA and AR generator all in one module and wired for delayed modulation. Totally cool and frees up a VCA, LFO and AR generator. You can see the entire project at musicfromouterspace DOT com. Enjoy!"
KEY FEATURES OF VOSTOK:
All circuits are totally analogue with the exception of the MIDI interface. This is the brand new Version 2 Vostok with 3 analog oscillators and new metal case!
Dimensions
Dimensions shown do not include feet/handles/catches/corners pieces.
Complete closed case: 274 (H) x 440 (W) x 188 (D)
Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
via the seller: "The wait time was 6 months! and i worked to make it just what i wanted.
anyways it has exactly:
6 OSCILLATORS SAW WAVE HZ/VOLT WITH OSCILLATOR CONTROLS AND SEPERATE CV INPUT PER OSCILLATOR WITH SEPERATE OUTS
2 VOLTAGE CONTROLLED LFOS FROM THE DUO DESIGN (SAW SINE TRI OUTS CV IN RATE CONTROLS )
2 LFOS MORE WITH SHAPE SWITCH, RATE CONTROLS.
2 VCA'S CV INPUT , SOUND INPUT CONTROL OUTPUT
1 SIX CHANNEL MIXER CAN MIX AUDIO ALSO CAN MIX CV
1 LPF SELF OSCILLATING CUTOFF RESO, WITH CV INPUT
1 LPF /HPF SELF OSC RESO CUTOFF WITH CV IN
1 ANALOG DELAY
1 LOFI PITCH SHIFTER
this is totally modular with everything being seperate and not hard wired together (ie semi modular) comes with 15 cables. this synth is very well designed and can be a serious sound designing tool and funk machine..."
KEY FEATURES OF VOSTOK:
All circuits are totally analogue with the exception of the MIDI interface. This is the brand new Version 2 Vostok with 3 analog oscillators and new metal case!
Dimensions
Dimensions shown do not include feet/handles/catches/corners pieces.
Complete closed case: 274 (H) x 440 (W) x 188 (D)
Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
Audio Modules
VCO1: Saw / Square / Tri waves, Glide, Sync
VCO2: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
VCO3: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
Noise: White noise source
Voltage Controlled Multimode Filter
2 Filters based on Korg MS20 circuitry. Independent Cut Off and Resonance for Low Pass Filters and High Pass Filters. The VCLPF and VCHPF combine to produce a 3rd filter type, Band Pass
Voltage Controlled Amplifier
VCA With 1/4" jack audio output.
Ring Modulator: AC ring mod
CV Modules
EG 1: ADSR envelope generator, Norla/Inverse output, Repeat function
EG 2: ADSR envelope generator, Normal/Inverse output, Repeat function
VCLFO1: Ramp, Reverse Ramp, Square,Triangle waves, Voltage controlled frequency
VCLFO2: Ramp, Reverse Ramp, Square,Triangle waves, Voltage controlled frequency
Sample and Hold: S+H with Slew
Utility Modules
Mixer
CV / Audio Mixer. 6 input with Normal and Inverse output
Signal Meter: The meter input is taken from the Mixer output.
Multiples 1 and 2
2 multiples, each is 4 way
Adaptor 1: 6.35mm / 3.5mm jack socket converters
Adaptor 2: 6.35mm / 3.5mm jack socket converter wired into the matrix board
Matrix Patch Panel
Utilising 'EMS VCS3' style patch panel with 22x22 connections. The patching versatility of a modular without the need for confusing & front-panel interfering patch cables.
Lead Patching
Jack socket patch points provided for additional internal & external patching & interfacing.
LEDs
13 of them! 4x7 segment wavetable display
Case
Portable suitcase with key-lock catches, Carry handle & lift off cover. The unit has rubber feet attached to the back and the base, so the main unit can sit flat or upright."
"KORG is pleased to announce Pa4X OS NEXT, the new Operating System for the Pa4X Professional Arranger.
Pa4X OS NEXT is a fresh new approach for our award-winning flagship arranger, the Pa4X featuring a renewed, luscious, dark and glimmering display and new technological advances driving powerful features to deliver beautiful contemporary musical materials in our award-winning flagship arranger.
This is more than a simple update, this feels like an all-new Pa series arranger as OS next raises the bar for what a professional arranger can do. This is because we talk a fresh approach to considering how to deliver the most powerful arranger possible to musicians around the world.
As usual, Korg offers this operating system update at no charge for all existing users. Since the beginning of our Pa-Series adventure we have always tried to provide great new features via system updates (while some other companies deliver updates in a different keyboard). A KORG Professional Arranger is designed to keep growing, increasing its value through the years.
In addition to increasing performance through free software updates, Korg arranger keyboards preserve their value by reading sound and style data from our older models. When you think it is time to switch to your next arranger, do it together with all your sounds, songs and styles.
Pa4X OS NEXT will be available late February 2019.
Soundtrack composed and arranged by Roberto de Luca
Video concept by MC2U Video"
"Here’s what's new in this free Pa4X OS NEXT system update.
New Dark-Glimmering GUI (Graphical User Interface)
KORG Professional Arrangers were the first to feature a touch-screen display, making interaction between keyboard and performer much easier and more natural. Since then, musicians worldwide have come to appreciate the power and user friendliness of a touchscreen display. Pa4X OS NEXT takes this to a new level becoming even more attractive and easy to use. There is no need to learn a totally new way of working, instead you can enjoy our advanced GUI.
With Pa4X OS NEXT we continue to offer the same arrangement of the GUI’s elements, letting you find them where you expect, while using color contrast so the most relevant components come to the foreground, while the static elements sit back unobtrusively. Color coding is more evident than ever, helping you navigate the power of the Pa4X OS NEXT in a world full of colors.
Direct reading of User Samples from disk
The User Sample memory is now more than three times larger! You can now load 1.5 GB of User Samples, which becomes 3 GB when using our fast compression algorithm.
Easily Copy Keyboard Sets
You can now copy Keyboard Sets between Styles and SongBook Entries to easily shift programming to other songs and styles.
Improved mono solo instruments
The Mono Legato and Portamento Time parameters have been revised to make monophonic solo instruments more realistic when playing legato. By finely adjusting the timing and stretching when connecting notes, the sound will now play smoothly making it more inviting for the performer and audience. There are a few new sounds showcasing this new feature.
Improved Drawbars
Drawbars organs are so important to many musical styles and the Drawbars page has been revised to feel more like the classic organ console. And the Drawbar sound has also been refined to be even better!
Consolidated Record dialog
When pressing Record, you can now choose what you want to record - independently from the current Operating Mode. Record styles, songs, pads, or access the song’s Quick Record or the style's Creator Bot, as well as recording everything to an MP3 file: you can now quickly and easily choose what you want to record.
Improved Quick Record
Quick Record is the fast way to create your own songs with the accompaniment of our styles. This is now more straightforward making it the same as the main page using just a few record indicators in the mix.
Get wired!
It is now very easy to connect small keyboards, mixing surfaces, percussive pads – the full catalogue of our KORG nano series of controllers! Just connect them to the USB HOST port, choose the dedicated MIDI Preset, and you are ready to go with a pad controller, second keyboard or remote control of the sound
General improvements
While we were there, we also added the ability to select more Song Book entries at once, lock the selected Keyboard Sets, remotely control the Synchro Start/Stop function via MIDI and of course tightened and smoothed out the whole performance system."
Shots pulled from this post on craigslist. Details below.
Details:
"This is a completely assembled and working modular synth.
( Those unfamiliar with Formant may wish to google-search for background. Search "Formant Modular" or "Elektor Formant" )
They were kits that hardcore electronic wizards assembled. This one has been built by a professional electronic technician and I have never seen so much attention to detail paid to the soldering, wiring layout and assembly. The builder was totally anal about putting this together.
This is a complete "Book 1" Kit, all hard-wired in a cabinet with a keyboard. 3 x VCO (multi-waveforms out) 3 x LFO (multi-waveforms out) 1 x VCA 2 x VCF 1 x RFM (parametric eq) 1 x COM (main output with bass, treble and mid eq) 2 x Ring Modulators With patch-cables and connector for 61-note keyboard that has portmento and vibrato.
A 2x8 sequencer is also included. The synth itself is hardwired, meaning you don't need patch cables to make sounds. But you can add patch cables for extra deep modulation, sweeps, etc.
The VCFs cover the full range of Moog, Arp and Oberheim sounds via the LP, HP, BP and Notch selectable filters. In addition, there are unique sounds that the Formant is good at that I have never heard out of any other synthesizer.
It is basically (more than) equal to a Minimoog or Arp 2600, but allows deep depth for those wishing to create complex and layered custom synthesizer sounds like a filter sweep that goes on for days and days and days.
$2500 Firm."
NOTE: This is not for sale via Matrixsynth. Just pulled the details for reference and posterity. If you are interested in the unit, click on the title link and contact the seller.
"This year marks the 50th anniversary of the creation of the ARP 2500
Introduced in 1970, the 2500 was Alan R Pearlman’s first commercial product, being sold under his company’s name Tonus Inc. Alan had come from an engineering background, having worked as a designer for a company providing equipment for NASA, which was used on the Gemini and Apollo space programmes. Indeed, some of the circuitry and hardware that was sent into space was actually used in the 2500 synthesiser, giving an indication of the quality and precision of the instrument he was responsible for creating
The team that developed the 2500 must have put much time and thought into the development of the system before it was finally put into production. Contemporaneous equipment consisted only of modular systems, and therefore the concept of the pre-wired keyboard synthesiser had not yet been formed, and the only instruments (other than electric organs) that were available were fully or semi-modular in nature
With the 2500 the decision was made to do away with the patch-cord method of interconnecting the various signals and control voltages, replacing them with a series of matrix-switches to make the connections. There are several advantages with this design philosophy, but there are also a few disadvantages which I will describe later. The biggest advantage I can see is that it makes patching the system very neat and tidy, there being no cables to work around when building sounds. On a conventionally patched system, the amount of cables can build up very quickly to become a mass of tangled wires, which can obscure the control surface and legending on the synthesiser, making it hard to see what is going on. On the 2500 the controls are always kept clear
