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video upload by Cfpp0
"A beat gets added at 3:35 to demo the full sound of the machine, but otherwise this is just the sound of the Hewlett-Packard 241A oscillator (into the Heathkit ID-4101, padded down by a Rucci passive mixer) sent into the modulation circuit on the Maestro Rhythm King MK4. Each available preset is selected so that you can hear how the circuit chops up the external audio in relation. You can also combine two or three presets for more complex rhythms."
"We are going to sell this rare and great sounding Roland System 100 Model 102 Expander sometime this year, maybe even this month, so keep an eye on Christopher’s Boutique 489 on Reverb.com in the near future."
2/2/25 ARP 1613 + Roland System 100 Model 102 + Peavey DDL-3 + Yamaha EM-100
"This sounds like something Silver Apples might have done, or a delivery truck backing up. The Wiard 300 system is part of the synthesizer collection at Noisebug in Pomona, CA. I found it even more confounding than expected."
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11/16/23 Metasonix R-56 + Birdkids Unicorn Boom + Gieskes VU Perc + TR-606 + Tapco 4400 + CXM 1978 video upload by Cfpp0
"If not for Metasonix, I would never have bought any eurorack. Metasonix is a legendary company, producing legendary products. And, of them, this R-56 is amongst the rarest.
The R-56 has been out of production for years, and will never be re-released. We’ve all asked. The parts are simply not available. So these are rare, and expensive.
It’s a WTF sort of module. A spring reverb you can voltage control. It has a unique sound, even within the Metasonix realm. Customers complained about wanting MORE gain, said the great Tube Pioneer, so this module has it. That insane gain, plus the ability to feedback an electromechanical spring reverb, make it a module that requires finesse (and maybe an attenuator, or matrix mixer). If you are impatient, or unfamiliar with Metasonix‘s quirks, please pass on this listing. It’s odd. Really weird. Also it requires a lot of power for the cold inrush, power on, tube warm up, so you’ll need a nice beefy power supply like an RKP or Trogotronic.
The video in this listing’s photo section features the sound of this exact module.
More likely, you’ve been longing for this, but the blood sport that is Metasonix’s secondary market has kept you from your dark distorted springy dreams. Realize them now. Live them. Buy."
"The sequence and drum pattern are lined up differently in this take, with more emphasis on the upbeat. The E-licktronic 118a snare goes to the Roland 150 and gets a ring mod with one of the 112 oscillator outs, then that snare joins the kick in the 121 filter. The 112 oscillators are going to the other half of the 121, to the 172 phase shifter, to the 130 vca, enveloped by the 140. But the 112 oscillators also go to the 172 gate delay (thanks Alex Ball for the tip) for an extra sub oscillator layer, which goes back to the 112, but it’s not much of a feedback loop. CV from the RYK 185 and several LFOs modulate."
"Pearl DRX-1 for sale at Christopher’s Boutique 489 on Reverb. Has eight presets. You can alter various parameters for each drum sound (pitch, decay, filter, etc). Individual trigger ins and individual audio outs. The audio in this video is from the stereo mix outputs. Tiled room. The rack ears can be removed."
"We bought this Roland CSQ-600 “serviced” but there’s something wrong with it. Sometimes you go to record and it’s just silent, or the first few notes are silent. Anyways, we’ll get it fixed. Today I managed to record one sequence of notes into the CSQ-600 from the Roland System 100m 181 keyboard, then used the 181 to transpose the looping CSQ-600 sequence. This transposed sequence is modulating two 110 VCOs, and the 140 envelope is controlling the 110 VCAs. Offscreen I’m increasing the sustain and release, pretty much the whole time. The two 110s get mixed on the 130 mixer and the mono output is sent to the Roland RE-301 for tape echo, while the stereo reverb is preset 12 on the Alesis MIDIVERB II.
The audio output of the left Synthetic Sound Labs 1660 The Matrix Algorithmic Composer module is patched to the CV input on the Metasonix S-1000 Wretch Machine. The CV output on the right SSL 1660 is patched to the S-1000 pulser. The Corsynth VCLFO is patched to the S-1000 filter CV. The audio output of the right 1660 runs through the MegaOhm CdS VCF/A lopass gate. ALM Pamela’s New Workout clocks the left 1660 and triggers the S-1000 and the left 1660 gate output clocks the right 1660."
This is the first post to feature the Zerosum Inertia Horripilation.
"6/14/25 (abhorrent) Roland System 100m + Metasonix R-54 + Zerosum Inertia Horripilation + Peavey 1300 + Alesis MIDIVERB II
Some sludgy Sample & Hold. Pamela’s New Workout clocks the Roland System 100m 150 module’s S&H, which sends its clock out to the 140 envelope and its S&H out to both 110 VCOs, both 110 VCFs. The 140 envelope controls both 110 VCAs. The 150 LFO and the 140 LFO also modulate the VCFs on the two 110 modules. The upper 110 runs through the Zerosum Inertia Horripilation module, which is also modulated by the 150 S&H. The lower 110 runs through the Metasonix R-54, modulated by the 150 S&H signal. The R-54 runs through the Peavey 1300 and is panned center. The Horripilation signal is panned a bit left. Both signals receive some room reverb from the Alesis MIDIVERB II."
"This video contains more filter sweeps than the video previously posted on 7/10/23, and the MFOS filter cutoff settings cause the Zerosum Inertia 6AS6 Signal Combiner to generate different rhythms than in the previous video. Two MFOS LFOs (at audio rate) go to Zerosum Inertia 6AS6, get combined, go to the MFOS filter, and go one channel on the R-57."
"Haven’t been using the E-licktronic 118a 808 bass drum and snare drum clone lately, so this was a chopping-block patch. We’re going to keep the 118a module in the end, as it’s still the closest thing to a Roland TR-808 around here. This System 100m patch is based around two RYK Modular 185 sequencers. The right 185 is clocked by the left 185’s gate output. The 118a snare is being triggered by that same gate pattern and the snare audio output is running through the DeltaLab Effectron II delay, feedback maxed, panned left. Both 110 VCOs are controlled by two RYK 185 sequencers, and both VCOs pass through the right 110 VCF into the right 110 VCA into the Peavey 1300 delay with plenty of feedback, panned center. The 150 and 140 LFOs are on the 110 filters and modulating the 118a accent in and decay CV. Some reverb (preset 23) from the Alesis MIDIVERB II."
