"The module format follows industry standard (synthesizers.com/ Moog/Curetronic/Mos-Lab etc.)
Module Size: 1 unit space
The M 565 E Quantizer Controller allows to limit the output voltages generated by the M 565 v2 Quad Quantizer to any desired key, chord or note interval.
Using the array of 12 keyboard-like arranged toggle switches on the right, notes can be activated or deactivated in any combination.
The adjusted scale works over the whole quantizing range of the M 565 (10 octaves), and controls all four quantizing-units in parallel.
Up to two M 565 E Quantizer Controller modules can be connected to a single M 565 v2, which allows two different keys/scales to be used at once.
Quantizer 1 and 2 depend on the first quantizer controller, quantizer 3 and 4 on the second. The 12-position rotary switch transposes the output voltages of the connected quantizer(s) in semitone increments to the desired key
A M 565 v1 Quad Quantizer module can be updated to a v2, then allowing the connection of M 565 E Controller Modules.
Configuration of the M 565 Quantizer connected to one M 565 E controller module:
Option 1 M 565 E controls all four channels of the M 565 v2 Connect cable to the 565 v2‘s „Expander 1“ slot, do not remove the jumper on the M 565 E.
Option 2 M 565 E controls only channel 3 and 4 of the M 565 v2 Connect cable to the 565 v2‘s „Expander 2“ slot, remove the jumper on the M 565 E.
Configuration of the M 565 Quantizer connected to two M 565 E controller modules:
The first M 565 E controls channel 1 and 2, the second M 565 E controls channel 3 and 4
Do not remove the jumper on the first M 565 E, connect cable to the 565 v2‘s „Expander 1“ slot.
Remove the jumper on the second M 565 v2, connect cable to the 565 v2‘s „Expander 2“ slot."
"Some sounds from the Osmose. An initial impression of what it sounds like straight out of the box. This will no doubt be making an appearance on my next solo album on DiN records."
"This is different. It's a new journey to embark on. and I love it. Please hang out with me on my first proper sit down with the production model Osmose. I love how expressive you can be with every patch."
"After a perfect storm of COVID and global parts shortages. The Osmose instrument from Expressive E is now shipping to the backers, next step is full production.
The instrument has an incredibly sensitive playing action with a custom keybed combined with the Eagan Matrix - a highly expressive and complex sound engine offering physical modelling, FM and a lot more besides.
We had a visit from Christopher who's the main product guy for the Osmose to show Gaz Williams where this exicting new instrument has got to.
00:00:00 Start
00:01:59 GPU Sponsor Mac Support
00:02:51 Overview
00:06:15 Eagan Matrix
00:09:01 Sounds
00:11:52 Controller?
00:15:42 Pedals
00:17:56 Control Section
00:22:18 Macros
00:25:59 Sensitivty
00:33:12 Portamento and Arp
00:36:49 Percussive voices
00:41:47 MPE
00:45:09 Case and Wrap"
And the press release with pics:
"Expressive E is proud to announce Osmose, the new universal standard for musical expressivity. Osmose is a polyphonic synthesizer that unlocks new ways to control sound and features a powerful sound engine created in collaboration with the leading-edge audio company, Haken Audio.
The conclusion of an epic adventure
Three years ago, Expressive E embarked on an ambitious adventure by opening the pre-orders for their standalone synthesizer, Osmose.
Osmose elevates a playerʼs experience by introducing a new landscape of features for musicians to interact with sound and produce music in new ways. It does this while not only respecting, but also enhancing the playerʼs existing keyboard skills. Every note can be articulated independently with unique expressive possibilities, such as those seen in this Osmose gesture compilation video: https://youtu.be/AA5xe7k4OrM
To achieve that goal, the Expressive E engineers set out to industrialize a new generation of expressive keybed which is at the core of Osmoseʼs playing experience. The biggest challenge was to implement all expressiveness-related technologies into the familiar keybed form factor of the piano that musicians have been using for centuries. Creating a new kind of keybed generated many industrial production obstacles and ultimately required a total symbiosis between DSP and hardware to connect all players to Omoseʼs sound through the use of natural gestures.
Expressive E engineers conducted hundreds of on-field test sessions to fine-tune the complex design of the synthesizer. Artists played a tremendous role in the refinement of Osmose by providing precise feedback about playing sensations and helped shape a new ergonomic tool, relevant for musicians from various music scenes and cultural horizons. Thanks to their support as well as the early adopters and partners, the wait is finally over: Osmose has now started to ship.
First deliveries and re-opening of preorders Expressive E are thrilled to announce the delivery of the first Osmose units to early adopters of the project. The first products had already been delivered in late 2022 and early backersʼ shipments will keep flowing continuously.
Expressive E have thus decided to reopen pre-orders on January 5th 2023 for all musicians interested in purchasing Osmose. The pre-order scheme has been reconducted to allow Expressive E to anticipate demand as efficiently as possible and organize their production schedules accordingly. Despite a tense economical environment driven by inflation, component shortages and the resurgence of epidemics, the company will still commit to guaranteeing a $/€1,799 retail price, within the limits of allocated stocks.
Interested musicians can now pre-order their Osmose on Expressive Eʼs website or through an affiliated dealer. [see the dealers on the right]
A new kind of synthesizer From its inception, Osmose was designed as a solution to connect musicians with electronic instruments more intimately while still retaining the sound-design abilities of modern-day and vintage synthesizers.
Backed by a powerful sound engine made in collaboration with pioneering audio company Haken Audio, Osmose offers more than 500 creativity-boosting presets. Each of them was fine-tuned to offer performance and recording-ready macros. Preset curation covers many musical genres including modern pop, urban, film scoring, electronic music, sound design, and traditional instrumental music. Made to inspire, Osmose offers a playful experience based on familiar features and thus presents a gentle learning curve. It offers the benefits of MPE instruments without the need to relearn the instrument entirely.
From the beginning, Osmose has been a collaborative project with artists from many musical backgrounds. They have been involved in the development of Osmose to make it a musical companion to fit their creative and ergonomic needs. Expressive E celebrates these artist collaborations with the release of a video series recapping the Osmose adventure and the reaction of artists to the new, dynamic, inspiring synthesizer.
Shot in Chennai (India), Paris (France), and Los Angeles (USA), the video series features musicians and producers like Flying Lotus, AR Rahman, Jean-Michel Jarre, Mike Dean, Cory Henry, André Manoukian, and Tarik Azzouz. It shows their approach to musical expression, how they interact with Osmose, and how this new synthesizer has influenced the way they play. A trailer for the series is now available on YouTube.
During Q1 and Q2 2023 Expressive E will regularly release clips focusing on each individual artist from the main trailer video. The first three episodes of the series are now available on YouTube. They feature musical icon A.R. Rahman (Grammy winner and film scorer for 127 Hours and Slumdog Millionaire), jazz virtuoso J3PO (a prolific solo artist and keyboardist for Marcus Miller), and trap beatmaker veteran Tarik Azzouz (a Grammy winner who has worked with Jay-Z, DJ Khaled, 2 Chainz, and many more)."
"XILS-lab creates KaoX as virtual instrument inspired by legendary FM synthesizer bolstered by virtual analogue and chaotic algorithms
GRENOBLE, FRANCE: virtual instrument- and effect plug-in-specialising software company XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather — as of April 12…
To appreciate its iconic inspiration is to truly appreciate the power of KaoX, XILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!
Put it this way: with KaoX, XILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNE, DRIFT, GLIDE, VIBRATO, FREQ (vibrato frequency), DEPTH (vibrato), W (wheel), TREMOLO, FREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUS, DELAY, PHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.
Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source.
Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoX, XILS- lab’s latest virtual instrument par excellence — from France with love... and all without the need for very-large-scale integration chip mass manufacture!"
via the Santa Clara Vanguard: "Ed worked for E-MU and was a key contributor to their growth into America's premier producer of innovative electronic musical instruments. Ed was personally involved in the conceptualization and development of technologies and instruments that literally revolutionized the way that music is created by both professionals and amateurs around the world. The legacy of those accomplishments lives on today and will do so for years to come."
via the E-Mu Corporate History page: "It was April of 1973 when the first E-MU modular synthesizer was sold to future Director of Manufacturing Ed Rudnick, who had started hanging around E-MU looking for a job so he could learn how to design and build synthesizers. E-MU spent most of the 1970's designing ultrastable VCOs, lab-quality filters, digital/analog sequencers, dedicated music ICs, and polyphonic voltage control keyboards."
"GRENOBLE, FRANCE: after almost a year of diligent development, music software specialist XILS-lab is proud to announce availability of V1.0 of StiX by Xils — a virtual analogue and multi-synthesis-driven drum machine with sophisticated sequencer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and 7/8), inspired by a whole host of trailblazing drum machines that have helped make music technology what it is today, all adapted to the modern-day digital paradigm and fast-footed user workflow with ease — as of April 5…
35 years is a veritable lifetime when it comes to music technology. Today’s computer-based music-makers bombarded by staggering software developments on an almost daily basis may mock at the idea of hefty hardware blazing the trail back in the 1980s. But breakthroughs came throughout that genre-defining decade — often at a prohibitive price. Take the wonderful world of drum machines, for instance. Innovative American designer Roger Linn’s revolutionary Linn LM-1 Drum Computer was first to use digital samples of acoustic drums — albeit at 8-bit/28kHz — and also one of the first fully-programmable drum machines to boot. But back in 1981 most musicians could only dream about accessing a $5,000 USD digital drum machine, revolutionary or otherwise!
Only programmability in itself would be a dream come true for many musicians of the time, tied to realistically restrictive constraints when it came to auto-accompaniment budgets. But the technological tide turned in their favour that same year with the timely arrival of the STIX PROGRAMMA ST-305 from (now-long-lost) Italian manufacturer SoundMaster as one of the first affordable analogue drum machines to feature programmable patterns rather than just presets. Proactively, perhaps, the STIX PROGRAMMA ST-305 included individual outputs for several sounds — unlike its main competitor, the breakthrough Boss DR-55, though, similarly, ‘programmability’ was restricted to basic bar-based patterns, which would soon become its downfall. Within a year, Roland’s radical TR-606 Drumatix was a better buy as an affordable analogue drum machine offering a higher number of fully-programmable patterns and, crucially, an ability to chain them together into songs, such was the speed of technological change… before long, the advent of MIDI (Musical Instrument Digital Interface) and affordable digital drum machines changed everything. Endgame? Paradoxically, an ‘analogue renaissance’ is still being felt (and heard) today — a fact far from lost on XILS-lab CEO Xavier Oudin.
Obviously, times change as, of course, does technology — music and otherwise. Today, then, StiX by Xils takes the best ideas (and subtly-different, yet strangely contemporary-sounding sounds) from the likes of the STIX PROGRAMMA ST-305 and Roland TR-606 Drumatix — and many more notable drum machines besides — and successfully transports them to a virtual analogue and multi-synthesis drum machine plug-in for Mac and PC, pumped up for a truly 21st Century computer-based music-making experience that is second to none.
Central to the StiX by Xils workflow with fast-footed users in mind — and centrally positioned in a GUI that’s as easy on the eye as it is to understand — is its engagingly-expressive XoX Sequencer, boasting a multitude of fanciful features, including a multilane editor with customisable steps per beat; per step division trigger (for fills and stutters); customisable beats per bar; and global swing, as well as a single line editor (for in-depth editing of individual sequencer lines), plus pattern and song modes (for speedy song building).
Building upon traditional analogue drum machine design, several sounds — BD (bass drum), SNARE, HH CL (hi-hat closed), HH OP (hi-hat open), TOM L (tom low), TOM H (tom high), and CRASH — are always accessible — alongside additional user-definable PERC 1 (percussion 1), PERC 2 (percussion 2), and MISC (miscellaneous) ones — via the drum pads bar at the top of that intuitive GUI. There the similarity ends, though, as StiX by Xils takes things to another level entirely as an inspired piece of contemporary software design that leaves the historic hardware from which it took its initial inspiration standing (way back in the early-Eighties)! Fit for today, StiX by Xils comes complete with 10 full-featured synthesisers — one for each sound being hosted by those 10 drum pads, each of which can call upon several sound engines, including virtual analogue (with components closely modelled upon a selection of prestigious and rare analogue synthesisers for percussion and drum sounds with unmatched analogue authenticity) and FM sine oscillators (with wave shaping and a third oscillator that can load samples), as well as easy and advanced synthesis pages. Put it this way: yesteryear’s hardware drum machine users couldn’t have imagined such heightened levels of control in their wildest dreams!
Desirable StiX by Xils features well worth noting in that regard include MIDI output (for controlling virtual instruments or recording MIDI data within a DAW); MIDI learn (with full automation of all synthesis parameters of each drum pad and associated mixer, etc); multi-criteria database (for finding the right preset efficiently as well as creating custom tags); randomise (drum kits, sequences, and full patterns); live control (for chaining patterns, plus muting/un-muting tracks on the fly); multi outputs (with volume, groups, and pan preservation); high-quality effects (including natural-sounding reverb, analogue delay, and analogue phaser, plus per drum crusher and distortion); sample-accurate synchronisation and audio engine (to create the tightest beats imaginable); hundreds of simultaneous modulation targets; and gang mode (to edit sequencer lanes, mixer, and effects sends).
Stacked with 390 exclusive samples — including 15 drum kits sourced by production partner Wave Alchemy from classic drum machines of the past (including Roland’s revered TR- series as well as trailblazing digital dream machines such as the E-mu SP-12 and LinnDrum); 2,000 presets; 120-plus global presets; 720-plus patterns; 700 drum pads; and 60 drum kits, StiX by Xils means more sounds and styles are available to the modern-day discerning (virtual) drum machine user than ever… roll on some truly 21st Century computer-based music-making!
StiX by Xils is available to purchase as a USB eLicenser or iLok (soft or USB iLok dongle) protected plug-in for an introductory (30% discounted) price of €125.00 EUR until April 30, 2016 — rising to €179.00 EUR thereafter — from the XILS-lab web store here: https://www.xils-lab.com/products/StiX-by-Xils.html
StiX by Xils can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit-compatible virtual drum machine plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/StiXbyXils_Download.html"
"Published on Jul 5, 2017
Lab 0008 is made with our Eurorack modular synth, sequenced by the DIY Ornament & Crime and mixed live with the Elektron Octatrack.
Gear used:
-Sampler player: ES Disting MK3
-Arp: Doepfer A110 + A106-5 + MI Peaks
-Bass: Ladik VCO1 + RYO Aperture + ALM Pip Slope
-High Voice: MI Warps
-Befaco Midi Thing is used to clock the modular.
Mixed in Octatrack. Mastered in Logic with minimum effects.
Filmed in Mini-DV with a Sony Handycam DCR PC9E PAL
This is our musical laboratory, a place to cook new compositions, where we experiment with our music toys. Some of them will end in our albums, some not. Time will tell..."
This one in via David Vandenborn of DVDBORN on The MATRIXSYNTH Lounge. theEMUs.com has an interview up with E-mu's founder David Rossum. The following is just the first question and answer for the archives. Click through above for the full interview.
"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.
What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?
To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.
We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.
The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.
E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.
We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).
We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.
The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.
So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.
So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.
The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."
Details:
"The D-Lab Classic Multi-Plexer in Baked ON-Dark Metallic Blue
I have had request’s to keep the unit simple for those that enjoy the sound and liked the original look, this unit is it! with a few updates:
1. New design Main circuit board (just received this week!)
2. New FREQ range pot (for better response).
3. Blue Metallic Bezel paint and Yellow LEDS. For a bit of 1970’s style.
4. Overview sheet.
Found this website write-up on my device! I guess they share synth technology.
The Multi-Plexer will produce those famous sounds that you grew up hearing on Lost and Space, The Forbidden Planet, Star Trek and other Sci-Fi classics. The name was assigned, simply because that’s what it does. The circuit sends an analog signal around in a circle, bending and distorting it, like a ring modulator. However, the MP is a FREE RUNNING Synth. No input is required for it to operate. But if you input a signal (like your guitar) it will ride the MP self generated wave. The end product is a result of many manipulations. I cannot describe its sounds in words. Please listen to the links and judge for yourself.
Circuit:
The circuit is a basic pure Analog Synth (not noisy digital) with Depth, Sustain, Impact, Rate, Frequency and Volume adjustments. Only TOP Quality components were utilized. “Spared no expense” Runs on 2- 9vdc batteries (included). Totally isolated circuit will not produce hum or ground loops on your Guitar amp or stereo as other plug in the wall synths do. This is a great gadget to add to your rock band as a creepy, self running, sound generator. It’s also a lot of fun to just play with on your home stereo. Works best with Bass guitars or Keyboards, since the frequency is basically low.
Check out the MP3 files that my friend in OK sent me (see links above). The original circuit was developed in the 1970’s. Over 60 of them have sold on the ebay so far. See my feedback for great comments on this device. This gadget is not available anywhere besides D-Lab. In other words, you will be getting a very unique item. My investment per unit is $70.00 (parts), excluding numerous hours of layout and construction time. The cost have elevated due to the cosmetics I have been incorporating, plus quality components. I am doing my best to provide a top notch product. I realize that my gadget is small league compared to the big hitters (Moog, Paia & Korg). I just hope that you enjoy it. Bands around the country have been e-mailing me with great reports incorporating the Multi-Plexer's weird sound into their gigs.
This device is intended for fun or interface with your band equipment, not for development of a new Outer Limits episode. The cost is much less than store bought models and it is fully portable, unlike anything else on the market. Please e-mail me with questions or concerns before bidding. Unit comes with a nifty overview sheet for operating this crazy instrument. I can accept PayPal or M/O’s only. Payment must be received within 5 days of auction end. Shipping will be via Fed X ground ($9.00) to a street address, NO P.O. boxes. Thanks for looking and for your consideration.
NOTE: GREAT HALLOWEEN Sound effects device! Last one till 1 Nov."
"Tornano a Torino anche gli ingegneri di @enjoyelectronics6070 che avevamo conosciuto con Reminder nel 2019 e che ora sono campioni di incassi con l'effetto 'Godfather', fonte inesauribile di effetti e modulazioni!
LINKS ENJOY ELECTRONICS su Soundmit: https://soundmit.com/en/exhibitor/enj... ENJOY ELECTRONICS https://www.enjoy-lab.com/
"The engineers from @enjoyelectronics6070, whom we had met with Reminder in 2019, are also returning to Turin. They are now champions of revenue with the 'Godfather' effect, an inexhaustible source of effects and modulations!
Les ingénieurs de @enjoyelectronics6070, que nous avions rencontrés avec Reminder en 2019, reviennent également à Turin. Ils sont désormais les champions des recettes avec l'effet 'Parrain', une source inépuisable d'effets et de modulations !
También regresan a Turín los ingenieros de @enjoyelectronics6070, a quienes conocimos con Reminder en 2019 y que ahora son campeones de ingresos con el efecto 'El Padrino', una fuente inagotable de efectos y modulaciones.
Si ringraziano per il video @pvmlab6423 - Max Esposito e Gabriele Guarnieri #soundmit #enjoylab #godfather #synthesizers #modularsynth #torino"
"Demo and reallife-test for an organ drumcomputer PCB i got from ebay. I put it in a 19" case and added a midi trigger interface. Please don't take the music to serious, it turned out to sth like an epic middle-age accordeon polka. All drums coming from the Wersi WM-32. Furter gear: Micromonsta (middleage fiddle), Ambika (Bass, Akkordeon, Synthvoice) and JV1080 (Horns & Strings). There is an article about this PCB on my website in the 'Research lab/E-Drums' section containing a downloadable HQ Sample WAV pack with all sounds of the Wersi WM-32"
Title link takes you to shots of the NYU Analog Synth Lab. Via Paul Rothman.
"Here are 5 pics from the analog synth lab at New York University. I
spent spring break putting together the new MOTM modular we got. We
made the custom cabinet out of white oak and I designed the module
layout. It has 7 VCOs, 2 Noise Gens./S+H, and a nice selection of
filters including a CS-80 and GX-1 filter as well as 4 LFOs, 4 EGs and
4 VCAs. The other synths include 2 Buchla 100's, an EMS VCS3 Putney,
Korg MS-20, E-mu Emulator, Octave Cat, and Roland JP-8000. I'm
currently trying to restore our ARP 2600 with keyboard, and ARP 2800
Odyssey."
Modular synthesizer fair, workshops and performances with the best manufacturers and artists in the industry.
The press release:
March 2019, Italy - Tiptop Audio, the Californian modular synthesizer brand, in partnership with Lattexplus leading event organisation in Florence since 2010 and Synth Café the Italian synth web community are proud to announce the third edition of MEFF at the Impact Hub Florence and BUH! Circolo culturale urbano on the 6th and 7th of April 2019. The fair will involve more than 30 International synthesizer brands and distributors with workshops and performances in an event free to the public.
MEFF returns to Impact Hub coworking in Florence and BUH! Circolo culturale urbano to set up its event, which will include an Exhibitor area where attendees can explore, learn, interact, demo and purchase instruments. The Performance area, called the Auditorium, part of BUH! Circolo culturale urbano is a room acoustically designed by the sound designer and engineer Donato Masci. In the evenings, the location will host workshop and performances including a soldering workshop by Brno brand BASTL Instruments.
"Here a small test of some of the main features of new OS combined with enhanced mode editing with Noritake Gu-280 display.
Some other useful features are in, like pedal assign to editing parameters, SysemxDump, Sysex single patch send/receive and more...."
Details:
"GETLOFI.Com
The Multi-Plexer will produce those famous sounds that you grew up hearing on Lost and Space, The Forbidden Planet, Star Trek and other Sci-Fi classics. The name was assigned, simply because that’s what it does. The circuit sends an analog signal around in a circle, bending and distorting it, like a ring modulator. However, the MP is a FREE RUNNING Synth. No input is required for it to operate. But if you input a signal (like your guitar) it will ride the MP self generated wave. The end product is a result of many manipulations. I cannot describe its sounds in words. Please listen to the links and judge for yourself.
Circuit:
The circuit is a basic pure Analog Synth (not noisy digital) with Depth, Sustain, Impact, Rate, Frequency and Volume adjustments. Only TOP Quality components were utilized. “Spared no expense” The circuit board was custom manufactured using a photo-etch system. It runs on 2- 9vdc batteries (included). Totally isolated circuit will not produce hum or ground loops on your Guitar amp or stereo as other plug in the wall synths do. This is a great gadget to add to your rock band as a creepy, self running, sound generator. It’s also a lot of fun to just play with on your home stereo. This device runs at a low frequency, therefore, it responds well to Bass guitars and keyboard inputs. It's initial design was intended for generation of neat sound effects. The input jack came later.
Check out the MP3 files that my friend in OK sent me (see links above). The original circuit was developed in the 1970’s. 30 of them have sold on the ebay so far. See my feedback for great comments on this device. This gadget is not available anywhere besides D-Lab. In other words, you will be getting a very unique item. My investment per unit is $70.00 (parts), excluding numerous hours of layout and construction time. The cost have elevated due to the cosmetic upgrades. I am doing my best to provide a top notch product. I realize that my gadget is small league compared to the big hitters (Moog, Paia & Korg). I just hope that you enjoy it. Bands around the country have been e-mailing me with great reports incorporating the Multi-Plexer's weird sound into their gigs. This device is great for Band Background weird noise or making your instrument act crazy!
This device is intended for fun or interface with your band equipment, not for development of a new Outer Limits episode. The cost is much less than store bought models and it is fully portable, unlike anything else on the market. Please e-mail me with questions or concerns before bidding. Unit comes with a nifty overview sheet for operating this crazy instrument."
After more than 40 years, the Moog 16 Channel Vocoder is officially back in production.
Originally introduced in 1978 (and heard most famously on the title track of Giorgio Moroder’s E=MC2), the instrument has been used to transmute vocals, transform synthesizers, and electronically encode sound for decades.
The Moog 16 Channel Vocoder’s analog voice circuits, derived from the original schematic, are hand-soldered at the Moog Factory in Asheville, North Carolina to preserve the original instrument’s classic sound."
"The history of the vocoder is as unique as the sound it produces.
In the 1930s, Bell Labs introduced the technology as a telecommunications device that could deconstruct the most fundamental elements of human speech and then reconstruct a new electronically synthesized voice. During WWII, the US military used this advancement to electronically encode classified audio messages that could be reconstituted on the receiving end.
Over the following decades, music technologies would explore the artistic applications of the vocoder, whose robotic vocal articulations would soon find their way into mainstream music, television, films, and games. The influential sound machine has been used by the likes of Stevie Wonder, Herbie Hancock, Dr. Dre, Kraftwerk, Daft Punk and many more.
The Moog 16 Channel Vocoder, originally introduced in 1978 (and heard most famously on the title track of Giorgio Moroder’s E=MC2), has been used to transmute vocals, transform synthesizers, and electronically encode sound for decades.
With the instrument’s reintroduction, Moog Music has gone to great lengths to ensure that this distinct electronic voice carries on. Derived from the original vintage schematic, the Moog 16 Channel Vocoder’s analog voice circuits are hand-soldered at the Moog Factory in Asheville, North Carolina to preserve the original instrument’s classic sound. Updated mechanical connectors and a modern power supply improve reliability and long-term serviceability while ensuring that the analog soul of this instrument—and its unique character and idiosyncrasies—remains unchanged."
Moses Sumney | Conveyor at the Moog Sound Lab
Published on Feb 4, 2020
'Moses Sumney, accompanied by a full band, recently visited the Moog Sound Lab in Asheville, North Carolina to perform a reimagination of 'Conveyor' from his forthcoming album ‘græ.’
In this rendition of the unreleased track, Sumney processes his vocals through the Moog 16 Channel Vocoder, using the Matriarch synthesizer to serve as the vocoder’s carrier signal in order to transform and resynthesize his voice. Sumney also incorporates a looper pedal to manipulate both the dry and vocoded vocals, creating rhythmic patterns throughout the track. He is accompanied by Zach Cooper on bass, Mike Haldeman on guitar, Darian Thomas on violin, and Ian Chang on drums and sensory percussion.
Moses Sumney’s upcoming release includes collaborations with a diverse array of contributors and is his first work to be written in his new home of Asheville, North Carolina—also the home of Moog Music Inc. Double LP græ will be released via Jagjaguwar Records, with the first part due digitally this month; the second part, as well as the physical album, will be available May 15th."
"The launch of the new Expressive É Osmose was last week - the 49 key, keyboard based instrument introduces a new concept in keyboard expression, with a completely custom keybed that controls: - initial pressure (highly sensitive), secondary pressure and lateral movement (side to side).
We were very keen to see it for ourselves and had a visit from Expressive É with a prototype of Osmose - it will be changing - larger LCD, industrialized production etc. This was a mockup of the key-bed, connected to a laptop running the sound engine, the finished unit will be stand alone."
