This one was spotted and sent in via xonox who noticed the following: "No mention is made in the auction but there is AFX scratched on the surface of the machine. According to Ed DMX (DMX Krew), Aphex Twin used one on his early tracks. Interview here. It is not my auction, i have no insider knowledge on anything either. Is it possible it's indeed one of AFX's drum machines or is it some classic AFX prank ?"
The following is the full description from the listing saved for the archives:
"Up for sale a unique extremely rare vintage drum machine. impossible to find it in another place. Many years ago I found this diamond and made the service in a professional workshop. Please note - this is an old gear for the collection and synth enthusiasts, this drum machine is in working condition, but I will not accept any returns and no compensation after the sale - please accept it. These are the first innovative electronic music devices and therefore you can see in the pictures the old technology of plastic coatings and touch buttons have traces of use, but all functions and buttons are well work.- It runs on 220 volt AC.The sound of this beast is very unique, the sound structure and flow are capable of creating incredible emotions and creative potency. The sound is incredibly relevant, I give a detailed description below. The package will be sent internationally, I pack the electronics well — a double strong box and a lot of bubble — look at my seller feedback.
This post is developing. Check back for new videos and updates below.
Street price appears to be $999. See dealers on the right for availability. In via Alex Timchak.
"We are delighted to announce the release of Syntakt – the 12 track drum computer and synthesizer that fuses digital and analog synthesis together in one music megabox.
Enter this sonic metropolis and experience epic sounds from the past, while pulling others into existence from the future. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too, giving you a musical melting pot with dozens of machines at your disposal.
Affect the sound of each machine with the intuitive and playful graphics. Add analog distortion and filtering to your mix or separate tracks, using the FX block. Run wild and free with the four expressive modifiers. Access a variety of different scales via the keyboard mode. And create dynamic soundscapes with its phenomenal sequencer.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds."
"Syntakt is a sonic metropolis of machines, fusing digital and analog synthesis together in one drum and melody megabox. A 12 track drum computer & synthesizer melting pot like Syntakt needs a majestic guide. Let the intrepid Elin Piel show you around the many features at your disposal."
Baseck Plays : Elektron Syntakt : 12 Track Analog & Digital Synthesizer / Drum Computer
"Elektron's newest device is finally here : The Syntakt ! A 12 Track Synthesizer and Drum Computer!
Let's see how far our friend Baseck can push this new machine.
Grab one NOW : https://bit.ly/3EEzgOE
"Our pal Mario from Elektron came down to the Perfect Circuit HQ and walked us through the ins and outs of their newest Synthesizer and Drum Computer : Syntakt
0:00 - Intro & overview
1:30 - Machines & Visual Language
3:27 - Beats To Melt Brains To
3:59 - Modifiers
7:40 - FX Track
11:50 - Outro Jams
"Elektron's new instrument, the Syntakt, is a powerful combination of analog drum sounds, digital synthesis, and new performance features not seen on any other Elektron product. In partnership with Elektron, watch as our host Fess breaks down these features."
"In this video I perform one of my new tracks using the Elektron Syntakt and the Octatrack MK2. All the sounds in this video are from the Syntakt, I am using the Octatrack with my performance template.
"Some patterns I’ve made with Syntakt. No processing.
Things I love: The machines! The flexibility!
It can be so many things.
8 tracks of Model cycles chord machines with deeper control, 2x LFO per track, full envelopes, dual filters, p-lockable FX track. Or half a Rytm , plus new digital drum synth and bass/lead synth machines.
Or a mix between.
All with a tasty chunk of analog Heat drive, filter, and EG, but p-lockable!
There is an inverted envelope shape in the analog fx that I use as a master compressor. The drive is lovely.
I also love using some of the analog kicks with a bandpass filter for textures. Can even get kinda of vinyl pops and clicks out of these.
Can have up to 3 simultaneous analog DVCO machines."
"The brand new Elektron Syntakt is here!
I'm doing a brief overview, followed by a SID emulation rendition of Rob Hubbard's theme music for the C64 game 'The Last V8' from 1985. Then it grows into a live jam, using all the 12 digital and analog tracks of the Syntakt, including the features such as analog distortion.
0:00 Intro
1:50 Song starts
3:57 Live jam!"
Full details:
12 Track Drum Computer & Synthesizer
Enter a sonic metropolis with Syntakt. Analog and Digital synthesis. Drum and melody. In full fusion.
All your sound crafting, sequencing, and performance needs are fulfilled, in an all-round music mega box that fits in your lap. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too. Experience epic sounds from the past, pulling others into existence from the future.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds. Adore now. Explore forever.
Meet the machines There are 35 sound-generating machines to call on, covering a wide range of drum and melodic sounds. Some machines have been reimagined from Analog Rytm and Model:Cycles, with deeper sound control for the latter, while others are entirely new to the world.
For you to create and personalize your sound, we’ve made sure you’ve got a set of parameter controls tailor-made for each machine. They let you quickly tweak the nature of each type of sound, showing you just the relevant options. Comprehensive without being overwhelming. Let loose with analog or digital overdrive, depending on the tracks you’re playing with.
The graphics more than play their part too, with plenty of animated icons offering visual guidance and extra clarity on how each parameter affects the sound. The joys of tweaking shouldn’t only be for the ears after all.
Special effects Syntakt lets you route any of your synth tracks or external audio sources through the FX block. This gives you analog distortion and filtering, and a couple of LFOs to go to town with. Additionally, you can also call on Delay and Reverb as powerhouse send effects.
And all of the above effects can be sequenced with the FX track. Have them kick in at just the right moment. Add accents and dramatic changes to the selected tracks or external audio. Or use it as a master track for ducking and gating effects.
Modify the moment Wield a little extra trig craft using the four modifiers, offering four varied levels of expression. Configure the first two modifiers to give you the retrig or velocity behavior you desire, and use the other two to access custom intensities of other parameters. They’re ready for action regardless of which synth track you’re using.
And the best bit is that they don’t just give you that extra playability fun in the here and now, you can also capture the moment by recording to the sequencer.
The keys to the city Syntakt’s keyboard mode gives you a whole bunch of different scales to play with.
There are some familiar faces and some maybe a little less familiar for you to try out, helping you discover new places and taking things to another level.
Play across a single octave like on a piano keyboard. Or use fold, and have several octaves laid out in front of you.
Deep sound-shaping Syntakt comes full of filter and envelope goodness. All tracks have a Multimode filter to put to use allowing you to emphasize different parts of your sound, with the digital tracks also able to call on Parametric EQ and a Base-width filter – an additional filter giving you even more sonic control.
Choose from two amplitude envelope types to define the ideal contour of your sound. Try out the ADSR envelope – for your wicked synth lines – or the simpler AHD envelope – perfect for transient percussive sounds.
1. The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)
"A non-stop DJ Continous Mix featuring some of the greatest and most popular Soundtracks from the early 90s Old School Amiga Demos.
Playlist:
0:05 "Deep Space" by Greg (from "Odyssey" by Alcatraz, 1992)
0:45 "Stardust Memories" by Jester (from "World of Commodore" by Sanity, 1992)
4:15 "Part6" by Greg (from "Odyssey" by Alcatraz, 1992)
6:35 "Hyperbased" by Firefox & Tip (from "Enigma" by Phenomena, 1991)
11:19 "Checknobankh" by Laxity (from "Desert Dream" by Kefrens, 1993)
14:25 "Elysium" by Jester (from "Elysium" by Sanity, 1991)
17:50 "Vite and Plack" by Virgill (from "Interference" by Sanity, 1993)
21:41 "Part3" by Greg (from "Odyssey" by Alcatraz, 1992)
23:21 "Overload" by Firefox & Tip (from "Voyage" by Razor 1911, 1991)
29:30 "Nagual Dance" by Jugi (from "Paradigma" by Complex, 1993)
33:35 "Demomodul#3" by Laxity (from "Desert Dream" by Kefrens, 1993)
37:55 "Cyberride" by Jester (from "Extension" by Pygmy Projects, 1993)
42:16 "A nice Day for a Walk" by Julius / Mad Freak (from "3D Demo II" by Anarchy, 1992)
"We are delighted to announce the release of Digitakt II - Send yourself to another sampling dimension, weaving splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI. Choose from several swappable filters for each track and utilize a wide assortment of effects and modulation, pull on massive processing power, and enough memory for a lifetime of samples. And with further tasty features like a Euclidean sequence generator, an extended 128 step sequencer, kits, trig modes, an extensive sample library, and a modular workflow to play with, your sonic-montage sculpting potential will know no beat-making bounds.
Digitakt II is available to purchase from the Elektron website or from retailers carrying the Elektron range of products. Pricing on elektron.se is 999 USD/1049 EUR."
"Digitakt II offers endless drum collage with 16 audio tracks all ready for stereo or mono samples or MIDI, swappable filters, 3 LFOs per track, a 128-step sequencer, expanded memory and power, and so much more. Here, Risa T talks through a bunch of the awesome features on offer, and takes us all on some sweet sonic escapades."
Review: DIGITAKT II vs OG Digitakt // Everything new in Digitakt 2 // Detailed tutorial
AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.
The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).
Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"
"At BAF 2025, Polyend introduced Step*, a stereo drum machine in pedal form. *Mitch from Polyend shared insights about this device, designed to facilitate quick and enjoyable beat-making while you play your instrument. The drum machine features a 16-step, 4-track sequencer and operates on a sample-based platform. It allows you to select from over 200 pre-loaded drum kits, with the ability to add and customize your own samples.
Control is made intuitive with a stomp switch, enabling effortless pattern changes and effects customization. You can utilize a tap tempo function for keeping in sync, and manage samples via USB and SD card connections. This pedal is particularly suitable for guitarists and synth players who desire dynamic rhythm accompaniment without interrupting their performance. The stereo playback and processing include panning, reverb, and delay effects. The pedal is now available for shipping at a cost of $499 USD/Euro."
"Acid on camera,
an improptu acid hardware jam with TD-3 , Drumbrute , Alpha Juno 2, and many modules , including M.I. Clouds as a send fx, Vermona Mono Lancet for the Bassline, Neutron oscillators sequenced from Beatstep Pro and then directly fed into Intellijel uVCA."
"Techno jam with a 90s vibe, Behringer edge with Arturia Drumbrute handle the rhythmic duties, TD-3 is squelching, Vermona mono Lancet is doing the bass rumble and Korg Minilogue is providing the stab chords. M.I. Clouds used as a send fx."
Two tone generators have been programmed to match the pitch of the other. Intervention using various components prevents one from ever quite reaching the other. Shadow falling on the photocells in the middle of the piece will allow the dance of the two pitches to be heard though sometimes they exceed the limit of human hearing in their ascents.
Burlap Series 2006
Burlap is a continuing series of work inspired by Peter Vogel and Marc Nimoy that explores the blurring of the electronic circuit and traditional two-dimensional art forms. Small interactive, physically programmed musical computers have been embedded, woven into a skin of burlap, creating an electronic music composition in the form of a reactive textile. Gallery guests interact with the pieces by casting shadows over embedded sensors. CMOS 4000 series ICs are configured into circuits which produce tones, sequencers, and dynamically behaving oscillators that respond to shadows cast by guests. Each composition explores themes of cyclical and chaotic structures, iterative sequence generation, and dynamical feedback systems. The visual form of the Burlap pieces takes its cues from traditional circuit design and is the result of a dialog between the functions of the different parts of the circuits and the nature of the signals shuttled from one part of the circuit to the next. Weaving the circuits into a canvas of burlap juxtaposes natural construction materials with electronic technologies, and thus presents a challenge to the notion of the circuit as something that is cold, calculated, and non-human. The Burlap itself is used as a semiotically rich signifier indicating, amongst other themes, the historical origins of computing in mechanized weaving, pre-industrial age textiles, and a return to reliance upon renewable natural resources."
AANN (Artificial Analog Neural Network) - Phillip Stearns
"http://www.art-rash.com/pixelform
This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).
AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.
The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).
Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
• Over 500 hand-drawn illustrations of vintage synthesizers, drum-machines, samplers and pre-modern electric instruments.
• A reference book for every synthesizer, drum-machine and sampler manufactured between 1963 and 1995 with key stats, fascinatingly quirky facts and company profiles.
• Destined to be the new ‘bible’ of synthesizer information, following in the footsteps of the classic ‘KeyFax’ series by Julian Colbeck.
• Tells the story and impact of the synthesizer on all forms of modern music and culture with geek appeal for the music fan and synth fan alike.
From acid-house to prog-rock, there is no form of modern popular music that hasn’t been propelled forwards by the synthesizer. As a result they have long been objects of fascination, desire and reverence for keyboard players, music producers and fans of electronic music alike. Whether looking at an imposing modular system or posing with a DX7 on Top of the Pops, the synth has also always had an undeniable physical presence.
This book celebrates their impact on music and culture by providing a comprehensive and meticulously researched directory of every major synthesizer, drum machine and sampler made between 1963 and 1995. Each instrument is illustrated by hand, and shown alongside its vital statistics and some fascinatingly quirky facts. In tracing the evolution of the analogue synthesizer from its invention in the early 1960s to the digital revolution of the 1980s right up until the point that analogue circuits could be modelled using software in the mid-1990’s, the book tells the story of analogue to digital - and back again.
via the seller: "I am the original owner of this beauty. I purchased Brand new in probably about 1982 and used it for some minor gigging, but mostly I used it in my song writing and recording. So it never was exposed to heavy traveling and abuse. It does have a couple of broken sliders which still work fine it's just that the little plastic sliders broke. I still have the pieces along with the little caps, and they could probably glued but I never had the desire to open up the chassis and do that since the sliders still work fine. You'll see what I'm talking about in the Contour Generator section. It's the Loudness - ATTACK & SUSTAIN sliders. They have red caps and those pieces are pushed into the the foam of the flight case. And also in the Mixer section it is missing the little green cap on the NOISE slider, which got lost along the way. Again it works completely fine without that little cap. You'll see all this in the pictures.
The Liberation was the first commercially produced Keytar style keyboard/synthesizer. It was big back in the 80's and is a classic analog machine. It has 2 monophonic VC Oscillators and a polyphonic capability so you can actually play organ type chords. But it's not like a 32 or 64 voice machine that you can play Big Lush chords. The Oscillators have Square, Triangle and Sawtooth waveforms. The keyboard is aftertouch sensitive. The neck of the unit features controls for Force, Glide, Mod Amount, Filter, Volume and a Pitch Bend Ribbon.
This unit does show some signs of normal wear and usage with minor scuffs and paint wear but overall it is in really good shape. It also comes in a Flight Case that, if I recall correctly, I paid a couple hundred for back in the day. This is a heavy duty case and not the guitar like case that I've seen. The case is in good shape although the foam padding has started to break down after all these years, so I've lined it with a moving blanket to help keep the foam from sticking to the keyboard..."
Title link takes you to more shots via this auction. Be sure to check them out. There are some great shots including a drawing of one, and a University of Illinois face plate.
Details: "This machine was manufactured in 1972. The HSL-II has 3 sine wave generators, a square and saw wave fuzz generator (awesome!), and a pink and white noise generator. These can be seen clearly on the far left of the HSL-II. The signal path flows from left to right and is patchable with mini-banana cables (included in the auction). There are 3 filters which allow patching through hi/lo/mid pass sections. There is a phase inverter, limiter, frequency counter (with a classic red LED display) , 4 attenuators (volume), 2 mixer sections, a VU meter, and a few mystery functions that affect the sound but that I am not qualified to describe. there is also a gate sequencer, so you can basically set two different lengths of tones to trigger as you desire. The sequencer is weird and rudimentary, but functions perfectly.
Below are some long recordings of the HSL-II into a Deltalab Effectron Jr. digital delay. I ran this into a decent DJ mixer and into apple's Garageband. I clipped up the audio to make it a little shorter and give you an idea of a portion of the range that you can achieve with the HSL-II.
You cannot control the pitch from an external controller as of now. They were not designed for that. You can control the frequency manually, which in turn affects the perceived pitch, and believe me, with all 4 or 5 sound sources going through some delay and reverb, you have a wicked modular synth, sample source, drone machine....Silver Apples meets Aphex meets Eno.
I spoke with a synthe technologiste who thought that there would likely be a way to add c/v control to the sound source circuits...I have included a close up of a single sine sound source...it is the one circuit photo that has had the color altered and sharpened to give someone some idea what they are dealing with if they are so inclined to pursue the c/v route. Alas, there are no schematics and I have searched high and low on the internets.
The cabinet is absolutely VCS3-esque. There are a few areas of flaky veneer about the edges, as can be seen in the photos.
Also...you can run audio through the filters and even do some sort of weird sonic destruction by patching the fuzz output into the same input as the audio source. There are many many routing capabilities. These machines have provided me with plenty of inspiration. I will be moving soon, so please look out for all sorts of audio related stuff."
"In this video resident expert Rae shares some of the sounds she made after taking the Strymon NightSky home for a few nights. Rae conducted 3 studies with the NightSky showing off some favorite sounds/modes while processing the Roland SH-01A.
Create vast soundscapes with just a few notes from your instrument. Apply mind-bending pitch and harmonic manipulation to your reverb tails, with synth-like filter sweeps. Enter a world of new sounds that blow away the boundaries of what is possible with reverb. With pioneers and adventurous sonic explorers in mind we created a reverb pedal that can go where none have gone before.
Reverberant Synthesis Machine. NightSky is a reverberant synthesis workstation, and a powerful, hands-on experimental sound design platform. NightSky gives you real-time continuous control of reverb pitch/processing rate/core size, harmonics, and even a synth-like resonant filter with multiple modulation waveshapes, plus a step sequencer with variable glide. You haven’t heard a pedal like this before.
The Rules of Space and Time Have Been Rewritten. New Sonic Territory. NightSky is a reverb pedal you will want to get your hands on. Deep and powerful sound manipulation with instant response knob-tweaking and no menu diving set a new standard in experimental reverb sound design.
Warp Core Reverb. NightSky achieves some of its most mind bending sounds by using a Variable Process Rate for its reverb core, allowing you to simultaneously change the size of the reverb as well as the pitch. This pitch change can be completely smooth, or quantized to a variety of musical scales. And it can be sequenced.
Harmonic Sculpture Machine. Use Shimmer to shift the harmonic structure by selectable musical intervals. Add Glimmer to dynamically enhance the harmonic spectrum. Turn up Drive to generate saturated overdriven harmonics. Then sculpt the resulting signal with NightSky’s synth-like variable-resonance low pass filter.
Challenge The Conventions. NightSky evolved from a desire to push the envelope and challenge the conventions of traditional reverb while also paying homage to the experimental reverberant sounds from decades past.
It started with the variable rate core. Once that was nailed down, we knew we had to complement it with a set of sound-shaping features that could take full advantage of the unique possibilities and expand them exponentially. This led us to a full-featured modulation section, a 4-pole resonant filter, and a unique Voice section to control the reverb’s harmonic structure.
"Time-Warped Reverberator.
Create vast soundscapes with just a few notes from your instrument. Apply mind-bending pitch and harmonic manipulation to your reverb tails, with synth-like filter sweeps. Enter a world of new sounds that blow away the boundaries of what is possible with reverb. With pioneers and adventurous sonic explorers in mind we created a reverb pedal that can go where none have gone before.
"Vintage Strings MkIII is a new super realistic virtual string machine that perfectly recreates the lush sound of analog string machines.
The string machine (also called string ensemble or string synth) was invented by ken freeman in 1970 as an attempt to replicate the sound of orchestral strings. It was so successful that it shortly became beloved instrument in its own right.
The distinctive sound of vintage string machines like the Arp Solina or the Crumer Performer can be heard on numerous music productions. It has been used by various musicians like: Pink Floyd, Air, Beck, The Eagles, Kraftwerk, The Cure, Joy Division, Josh Wink, Morrisey, Tangerine Dream, Keane, Japan, and New Order to name few.
Like these old machines, Vintage Strings MkIII is a synthesizer that was especially designed to produce rich warm string pads. It make no use samples, so any of its presets can be tweaked, and new ones can be easily created, making Vintage Strings MkIII as user friendly as it is toneful.
And now, The third version of Vintage Strings presents various new features that expand its sound capabilities and make it even better:
- The color control in the timbre section enables the creation of new beautiful choirs and pad sounds. - In the envelope section you can now choose the analog envelope mode, for an accurate emulation of vintage string machines envelopes. - The reverb section was completely revamped and now enables you to select between a smooth studio reverb and an authentic spring reverb. - The new 7th buttons enables each strings section to play seven notes above the original pitch, for thicker string sounds. - New user interface.
If you desire the classic sound of analog strings machines, don't miss Vintage Strings MkIII!"
"The Metasonix Wretch Machine. Nothing else comes close to the sound of this beast. Through a weird twist of fate I ended up owning two of these things. This is the newer of the two, and other than a quick 'does it work' power on test, it's pretty much unused. Owning two of them is just excessive, so this one has to go. The new price on these has increased recently (now $3300). This is your chance to get one at the old price.
Comes with all the original box, manual and metal 'beer shield' cover for the tubes. (Recommended only for use during shipping to protect the tubes, unnecessary when in use though you can leave it on if you desire)."
"ebay item 180562967270, running through general sequences."
"showing midi controller triggering sounds."
"the little keys"
"effects processor for external input"
via this auction "This is a weird little box made by Farfisa. It's a groove box like machine from the 1990's. I really don not know much about it and web stuff is salesman pitch information. What I do know; all the sounds are from the Roland Sound Canvas's of the 1990's and they even have the same name. They only sounds that are the same is any Roland specific sound (The 808 bank is called Analog). There are 128 sounds plus the drum kits. The little keyboard is funky, you do not use it in real time to control sounds. You do use it to set up your orchestration pitch or the key you desire in chord patterns, see video. To use the sounds you must hook a midi controller (see video), it's a sound module as well. A really cool feature is the mic/audio inputs, you can ran a signal through the built in effect processor(see video) or the vocal harmonization(no video, I do not have a mic, but I have processed a signal trough it, to ensure that it works). The internal sequencer is a 16 track sequencer but not really, you get for 4 banks and 4 tracks each.(intro, break[intro], outro[intro], verse, chorus1, chorus2) If you use an external sequencer, you only get three tracks per sequence, 2 of the sounds banks share the same midi channel and I have not figured out away around this, the midi is mapped out goofy. All the presets are editable, there is an effects processor for the built in sounds as well, a mixer for drums, all 4 sounds banks, and audio inputs. The unit uses 3.5 disk, I will include about 100 blank disk. The OS is already loaded in the machine and you do not have load in it ever again(backups OS disk included). I bought this on ebay under the false pretense that it has a sampler, it does not. There is a sample section, but it's for "sampling" sounds off sounds disk that were once made for this.
* 128 sounds (Roland SC sound module sounds) plus drum kits * 16 track sequencer * 4 audio outputs * 2 mic/line inputs for vocal harmonizer or effects processor * Manual included plus 100 disk * Drums are either preset or user manual * Fully programmable and editable"
"Elektron's new Digitakt II is here! One of Elektron's most successful drum machine samplers has grown up with a plethora of new features beat makers are going to love. Most notably the Digitakt II is a 16 track, stereo sampler with 16 MIDI tracks, 128 step sequencer, 20GB of storage, 400MB RAM with access to 1024 samples per projects. In this video we unbox the new Digitakt II and have our first play with this sampling powerhouse. All the sounds on this video are purely from the Digitakt II, no additional processing or external sound sources were used.
The Digitakt has gained almost cult like following since its release in 2017. Beat makers across the spectrum of electronic dance music have loved how immediate the original Digitakt was at sampling and performing especially with that legendary parameter locking Elektron sequencer, all in a neat little package. The original Digitakt truly fulfilled its potential to the max.
Elektron have listened and designed the new Digitakt II in a familiar shape, with all the same recognizable playfulness, but now offering so much more than before. Original Digitakt users will salivate over the new Digitakt II features with more machines, more LFOs, more filters, more effects, more everything! The new features on the Digitakt II makes it more of a groovebox; a potent addition to your studio and for performing live with.
Here's what Elektron are saying:
Send yourself to another sampling dimension. With Digitakt II, you can weave splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI. Choose from several swappable filters for each track and utilize a wide assortment of effects and modulation, pull on enhanced processing power, and enough memory for a lifetime of samples. Further tasty features like a Euclidean sequence generator, an extended 128 step sequencer, kits, trig modes, an extensive sample library, and a modular workflow to play with ensure your sonic-montage sculpting potential will know no beat-making bounds."
"Superb ELKA EK-44 in near mint conditions. The synth comes with all the 5 expansion cartridge featuring 32 patches each, for a total of 224 sounds (including the 64 internal ones). Here you will get 5 ROM card (expansions 1->4) and 1 RAM card (expansion 5). The machine is in perfect working conditions and just looks great. Professional packing and UPS Express Saver shipping guarantee.
History
The 80s saw Yamaha dominate the synthesizer industry with its groundbreaking FM synthesis. The release of the DX7 in 1983 caused a deep crisis for manufacturers specialized in analog synthesizers. Yamaha not only patented the new synthesis model but also produced cost-effective and reliable chips for digital sound generation making these new keyboards more powerful and reliable, more cost-effective and easily industrialized. The blow to Italian companies was severe, even for those that had long invested and innovated by introducing digital systems into their projects. They faced significant challenges because the 'core' of their equipment remained anchored to traditional analog generation, which was no longer competitive.
Italian FM
But some companies, despite suffering a setback, managed to reorganize and respond with some interesting proposals after a few years of hardship. Specifically, ELKA, the company that designed and marketed the glorious ELKA SYNTEX just a few years earlier, successfully acquired a series of ICs capable of generating sounds and waveforms using FM technology. With these components, ELKA created a range of highly interesting products for that era. Although the chips used (the YM2203) were manufactured by Yamaha and primarily intended for the video game and arcade console sector, ELKA's creative engineers successfully integrated them into their musical instruments, creating a new FM product line.
EK-44 : The flagship FM Synth
The top-of-the-line synthesizer created with these new chips was the EK-44, a multi-timbral 4-OP FM synthesizer with 18 voices of polyphony and 8 oscillators. Inside, it houses two identical sound generators named DCG1 and DCG2, each employing 6 YM2203 chips (4 operators with 8 different FM algorithms), making it capable of generating multiple sounds simultaneously — a remarkable feat for its time. The 2 voice processors can be split, layered or played as 8 independent parts with own Midi channels and mix volume.
Usability
The EK-44 operates in a similar manner to the Yamaha DX7, except that the its LCD display is a little more informative, although some information (the equivalent of the DX7's algorithm charts) is hidden from the user so you don't have to worry about it. So, when we go through the basic parameters, keep in mind that most of them are represented in the LCD display by an eight-section bar chart. Whether we're talking about oscillator volumes, frequencies, envelope levels or whatever, eight little columns in the display give you a good visual indication of the current state of affairs, while the first eight of the sixteen Performance Registration buttons directly beneath the display allow you to choose which of the available levels you're editing.
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