"Rare transition example that has been used but very well looked after - supplied serviced and ready for use. Recent extensive servicing and modifications by Europe's premier EMS tech to create what we consider to be the ultimate Synthi AKS. All features are fully working and expertly calibrated. Includes many extras and upgrades (see description for full details). This is the AKS to buy if you want the maximum possible sonic options...
EMS Synthi AKS for sale in perfect working order - highly modified to be the ultimate AKS with an even greater range of sonic possiblities over a standard Synthi.
The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been "unlocked" and let loose through joysticks, switches, and a pushbutton. It is hard to describe the sounds I have already heard: distorted, glitchy, fuzz, bass synth, drone, full of clicks, 8 bit, and erratic synthetic hyperdrive.
4 Non-Return to Center Joysticks A green LED pushbutton that "unlocks" the pedal, allowing it to spiral out of control. 4 switches: Capacitor Envelope (Slow, Slower, Bypass) High/Low Tone Select Feedback Select (Audio, Voltage, Bypass) True Bypass In/Out/Power
Painted in Blurple Colorshift and coated in a thick bar top-type epoxy Low profile aluminum enclosure
I will add graphics.
Ridiculous. Insane. Brilliant. Wrong. Some adjectives I have heard to sum up musician's first impressions. I am flattered.
Why? Because I love the delicate monstrosity that is precarious noise. I also wanted to make at least an entry into the category of craziest pedal ever. Hope I can be yours.
I will manufacture these. Since I am emerging as a pedal artist, I will do a limited run of these (say about 10) over the next month or two. I am looking for investors and/or a collaborators smarter than me in the area of engineering and electronics, so that the push.pull can be even better. In the meantime, I will post videos and experiment and refine. If you would like one, email me about your interest at either pushpullpedal@gmail.com or coloringpad@gmail.com and I will keep you posted and definitely email you when they are ready.
via coloringpad "push.pull sputterbox pulsewidth synth harnmonics phase (un)locked loops
the end of your audio is saturated in tails of sputtering electricity sounds.
a crunchy analogue sounding bit-crushing synthy thing
a sputtering fm-tuning finish to notes
a fuzzy pitch shifter
a pulse width tremolo synth can be applied to the incoming audio
a similar sound to a blaster as wielded by Han Solo can be achieved pew-pew
a self-oscillating madhouse of recharging capacitors
an additive of not-usual effectology
a distorted, glitchy, fuzzy bass synth
a drone full of clicks and pulses
an 8 bit erratic synthetic hyperdrive
when a combination of knobs are turned up into inaudibly high frequencies, it self-oscillates in unusual ways, often only when an audible signal is not present. This unique self-oscillation can cause frequencies to pulse in the absences, creating synthetic pulses when applied to rhythms.
when a combination of knobs are turned down to droning audible frequencies, it acts like an Atari Punk Console with frequencies only modified by the incoming signal.
The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been “unlocked” and let loose through 10 knobs.
10 knobs makes your audio really, really loud true bypass/power priming switch voltage starve yellow led self-oscillation surface constructed from recycled circuit board thick epoxy makes it stompable 12v"
Looks like they fixed the joystick since this listing.
"Freshly serviced and discretely modified by an EMS specialist, in full working order with warranty.
Stunning example serviced and ready to ship.
EMS The Putney VCS3a Mk1 and The Cricklewood DK1 keyboard (modified to DK2 spec) for sale in excellent condition.
Broker sale on behalf of the owner: it has been extensively overhauled and discretely (and reversibly) modified by our favourite EMS specialist and is ready for action.
This is a rare chance to secure an original VCS3a in excellent condition. This is one of the most iconic and revered synths of all and is truly versatile: from Radiophonic Workshop (and Hawkwind) type bloops and bleeps, through Eno and Roxy Music and beyond. Paired with the DK-2, this is also a superbly expressive keyboard synthesizer. Tony uses his VCS-3 as much as an effects processor as synthesizer.
This has been freshly serviced and is in full working order with warranty. The face plate of the VCS3 was quite worn so it has had a factory refinish performed by EMS Cornwall and looks superb.
The DK-1 keyboard has been upgraded to factory DK-2 duophonic spec.
see pedal on website here: http://www.coloringpad.org
The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been "unlocked" and let loose through 16 knobs, a joystick, switches, and a light controlled filter. It is hard to describe the sounds I have already heard: distorted, glitchy, fuzz, bass synth, drone, full of clicks, 8 bit, and erratic synthetic hyperdrive.
16 knobs 1 Joysick contolling four oscillators Ocsillators intertwined in the PLL circuitry Spectrum Controlled light modulation and filters Filter section added Voltage Starve PLL Voltage Starve Oscillator Octave divider Strong Preamp 4 switches adding longer capacitator times and alternate routing of resistors Mixing section for oscillators Bright blue led pulses with PLL Self-Oscillate Mode
"May be the unique chance to purchase one of the first VCS3's made back in 1969 ! EMS VCS3 + DK2 + original documents / fully serviced/ many invisible and reversible mods added (see below!)
Serial # 214 VCS3
Fully serviced in 2014 by a reputed tech in Belgium.
Huge and quite expensive work !
VCS3 + DK2 have been fully calibrated according to the EMS service manual procedure.
Many invisible modification using matrix and push pull pots, no extra holes drilled in the panel :
1- OSC 2 and OSC 3 SHAPE CV via the reverb mix column - pull the SHAPE knob will connect it to the reverb mix column
2 - Audio/LFO RANGE fo each OSC - pull the SINE or SQUARE knob changes the range
3- SYNC of osc 1 slaved to osc 2 and/or osc 3 when their triangle know is pulled.
Os1 ramp knob selects 2 sync depths
4 – OSC 1 and 2 stabilisation (LM394H)
5 – Temperature compensation (TYCO tempco)
6 – Filter 4 or 5 pole selector (pull the frequency knob for 5 pole)
7 – Filter Response control (pull the response knob for voltage control via the meter column)
8 - filter slew/unslew - Pull up the « level » knob makes the filter receptive to audio range CV and allow nice FM and percussive sounds - excellent !
9 – Envelope ATTACK and DECAY times x10 + ON and OFF times x10 (both
mods together can produce cycles longer than 5 minutes !)
10 – TRAPEZOID polarity control - pulling the knob inverts the trapezoid
11 – Gate input modification on a control output jack socket
12 - 2 x 1V/oct precalibrated CV input on the HIGH LEVEL jack inputs, to have 1V/oct, set the corresponding input level pot to 10. Tracks ok on 5 octaves with the frequency dial in central position.
Buffers keep the CV stable regardless of the number of pins . new vernier dials firmly mounted to metal standoffs instead of the terrible rubber strip used on the very early units
via coloringpad where you'll find an additional video and info. Be sure to see their other projects while there.
"The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been “unlocked” and let loose through 16 knobs, a joystick, switches, and a light controlled filter. It is hard to describe the sounds I have already heard: distorted, glitchy, fuzz, bass synth, drone, full of clicks, 8 bit, and erratic synthetic hyperdrive.
16 knobs 1 Joysick contolling four oscillators Ocsillators intertwined in the PLL circuitry Spectrum Controlled light modulation and filters Filter section added Voltage Starve PLL Voltage Starve Oscillator Octave divider Strong Preamp 4 switches adding longer capacitator times and alternate routing of resistors Mixing section for oscillators Bright blue led pulses with PLL Self-Oscillate Mode
"For quick sale! Funding my life at the moment... this is a PLL pedal unlike no other, and I designed it for synths and drums. I hope you love it.
push.pull sputterbox
pulsewidth synth harnmonics
phase (un)locked loops
the end of your audio is saturated in tails of sputtering electricity sounds.
a crunchy analogue sounding bit-crushing synthy thing
a sputtering fm-tuning finish to notes
a fuzzy pitch shifter
a pulse width tremolo synth can be applied to the incoming audio
a similar sound to a blaster as wielded by Han Solo can be achieved pew-pew
a self-oscillating madhouse of recharging capacitors
an additive of not-usual effectology
a distorted, glitchy, fuzzy bass synth
a drone full of clicks and pulses
an 8 bit erratic synthetic hyperdrive
when a combination of knobs are turned up into inaudibly high frequencies, it self-oscillates in unusual ways, often only when an audible signal is not present. This unique self-oscillation can cause frequencies to pulse in the absences, creating synthetic pulses when applied to rhythms.
when a combination of knobs are turned down to droning audible frequencies, it acts like an Atari Punk Console with frequencies only modified by the incoming signal.
The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been “unlocked” and let loose through 10 knobs.
10 knobs
makes your audio really, really loud
true bypass/power priming switch
voltage starve
yellow led
self-oscillation
surface constructed from recycled circuit board
thick epoxy makes it stompable
12v
See video demos at
www dot coloringpad dot org
Comes with power supply. Accepts 1/4" ins and outs. Operates best with a line level signal or very loud level for other instruments. Very loud output!"
YouTube via yusynthman. via Yves of yusynth. Videos are from the Franco-Swiss meeting (previously posted here). The last video is a jam session featuring the MOS-LAB and other synths. Descriptions (in order of videos): "Our friend Push-pull discovering the magic of a modular synthesizer (MOS-LAB system16) in Oryjen's magical music cave. The system is driven by an external CV/GATE played by our host Oryjen.... yusynth patching and tweaking the MOS-LAB system16 in Oryjen's magical music cave.... yusynth (blue t-shirt) and oryjen (red shirt) blasting the loudspeakers with some untamed cross modulation !!!! The Memotron beneath the modular is crying for some strokes... Push-pull refines the settings of the bass sequence then Spookyman and Oryjen start a jam session :-)"
BTW, check out the MOS-LAB link under MORE: directly below for previous posts. I tag everything that goes up so you can always get more info by clicking on the tab or doing a search on the upper left search box on the site. Search for anything.
via www.coloringpad.blogspot.com "on my website are some photos of my many attempts at constructing boxes to transport and configure my gear over the years. why show them? seems a bit, well... showy. a few reasons:
1. they make me laugh, they make me sigh, they make me cringe. they all had some fatal design flaw: too heavy. too big for the car. too many wires to hook up before a set. new gear doesn't fit. old gear doesn't work. ridiculous. insane.
2. they are my only document to the evolution of the process with these pieces of gear and how i configured them. also i can't describe them in words.
3. inventors have failures, and glimmers of success in many of those failures. they also just have failures. embarrassing, public failures.
4. building a new one, fueled by inspiration, frustration, and (usually) new musical discoveries, is one of my favorite things to do.
5. some of them were really outrageous. i mean, come on: plexiglass sun lit up with lights? the super three shelf monster? the modular sun that didn't fit in the car? dude.dude. no one does a da boxes lika i a do!
6. i am driven by the following criteria for making a new one: a. weight when transporting ( just one gig up three flights has inspired a couple of these incarnations!) b. time to set up for live gig/rehearsal (the dream? left, right, power, on, go!) c. i draw schematics in my dreams d. new sound combinations mean some gear has to be next to one another (like sl20 > [left out] > wmd geiger > devi ever mangler > ring thing > microsynth > mixer [right out] push.pull > mixer , then options to four effects routing paths, from my newest configuration) sound confusing? well, imagine having to hook all that up in fifteen minutes before you go on stage, and remember what goes into where for who and why and is this left the other left and don't forget the midi in the spaghetti and is their enough outlets?! simplify, you say? where's the fun in that? toys toys toys! e. at last, that last box is dead. it was such a bad idea.this new box will be much better. it will solve all my problems. i will be happier. this new box is fantastic. absolutely perfect... well, except for... rinse, repeat. f-z. i do not have a roadie.
and until i do have a roadie, a & b will always be a factor. not that i ever get both! usually b (wiring) over a (weight). a is my nemesis. curses, you foul heavy thing!
...but just you watch out! for if i ever get a roadie, the box i make then will be one for the electronic gods: nonesuch as ever beheld! lo! the box! it burns mine eyes with perfection!
"push.pull + boss syb-5 + wmd geiger counter + eh microsynth + red panda bitcrusher (special appearance by the korg kp3) bitcrush pedal madness demo by coloringpad.org"
coloringpad | February 07, 2011 |
"bitcrush glitch static snippet from the upcoming album by coloringpad."
"Recreate these sounds with your own Moog semi-modular synthesizers!
A new patch book specially designed for exploring Subharmonicon with Mother-32 is now available for registered owners. Register your instruments or log into your account at https://www.moogmusic.com/register to dive into unique configurations like "Push Pull," the patch featured in this video."
The push.pull pedal is a synth effect based upon the PLL (Phase Locked Loop) IC, in which the PLL has been “unlocked” and let loose through 16 knobs, a joystick, switches, and a light controlled filter. It is hard to describe the sounds I have already heard: distorted, glitchy, fuzz, bass synth, drone, full of clicks, 8 bit, and erratic synthetic hyperdrive.
16 knobs
1 Joysick contolling four oscillators
Ocsillators intertwined in the PLL circuitry
Spectrum Controlled light modulation and filters
Filter section added
Voltage Starve
PLL Voltage Starve Oscillator
Octave divider
Strong Preamp
4 switches adding longer capacitator times and alternate routing of resistors
Well that's about as convoluted as it gets. I believe this is my first title link wrap! Remember the Innerclock Sync Shift? Title link takes you to shots of one pulled via this auction. This one via polyconnect.
"Features: 'Gridlock' Midi Clock to Din Sync Conversion with ultra-low, constant conversion lag time so your initial conversion offset remains fixed and tight.
'Brick Wall' Midi Input Filter - because the Midi Specification gives no priority to Midi Clock messages we felt that in order to get the best possible I/O sync integrity we had to make sure that all midi message other than strict Midi Clock were well and truly ignored.
Innerclock Sync-Shift Mark 1 real-time Din Sync offset/lag correction lets you compensate for common hardware and software Midi Clock and Din Sync start lag time issues plus it has two full bars of Shift available so you can easily syncopate sync slave devices or software against the master.
Rotary push-pull Shift 'Fine Tune' lets you rush or drag the slave against the groove in real-time with no loss of sync. Go from hard 16th swing to phase locked grid quantize and back again all in one bar and in real-time!
'Gridlock' Din Sync to Midi Clock Conversion - same ultra-low, constant conversion lag time but reverse engineered to provide Din Sync to Midi Clock.
Modular/Discreet design - no CPU personality disorders. We could have done all three jobs on one chip with a shared instruction set but we didn't. From experience - especially where synchronisation is concerned - sharing hardware resources is a bad idea. Each of the three core components that makes up the Mark II Sync Shift has its own dedicated IC and code. This means they work great in isolation and there is no loss in performance when you connect them together.
The Mark II Sync Shift is really three separate, ultra high quality devices in one compact package where the whole truly is greater than the sum of the parts.
Hands-On. Five pots - four switched and one free turning - work collectively to provide up to two full bars of Sync offset. The top three switched pots set Quarter divisions, Sixteenth divisions and Individual Clocks respectively. The bottom left rotary switch is for Bypass, Real-Time Shift and Shift Lock. The last free turning pot provides the real-time push/pull sync fine tuning between master and slave.
All three internal components have individual rear facing Midi/Din sockets for discreet I/O.
Use the Midi Clock to Din Sync conversion on its own or simply route the converted Din Sync signal back into the Mark II for real time lag correction and syncopation of your Din Sync Slave device. Now take the Shifted Din Sync signal back in to the Din to Midi Clock converter to apply the exact same real-time lag/offset correction and syncopation method to any of your Midi Clock slave devices.
The Sync Shift Mark II provides a simple, accurate, hands-on way to make all your gear lock the way it should - Hardware or Software, Master or Slave, Midi Clock or Din Sync/+5v.
YouTube via tradlessons — May 01, 2010 — "ConcertinaXL is a 30-button Jeffries-style C/G Anglo Concertina for the iPad.
This video is of the upcoming 1.1 update which adds the optional drone and tremolo features.
Anglo concertinas are commonly used for playing traditional Irish dance tunes, and is a much-favored instrument in County Clare, Ireland.
The Anglo concertina is diatonic, meaning the instrument plays a different note for each button depending on whether you are pushing or pulling on the bellows.
In the app, to play, place the iPad on your leg and simply tip the iPad to the left for a bellows push note, or to the right for a bellows pull note, and press a button.
The PUSH/PULL display on the top of the screen shows which direction the bellows is moving.
You may reverse the bellows while pushing a button simply by tipping in the opposite direction.
Multiple buttons (up to 5) may be pressed at the same time to play chords.
Note guide (touch the 'i' icon in the center) shows the note names in realtime for each button when pushed or pulled.
Adjust the tilt sensitivity and volume using the sliders at the top of the screen. All settings are saved when the app exits.
Touch the Uilleann drone puck image to enable/disable a D-drone. The drone volume may be independently adjusted.
Touch in the diamond area at the bottom of the screen to do tremolo effects.
The button layout and spacing for the iPad exactly matches a real standard 30-button Jeffries-style instrument.
Uses extremely high-quality audio samples recorded from a high-end Anglo C/G concertina.
Up to 5 buttons may be pressed at the same time to make chords."
"'MIDI Melodeon' is a WiFi-based wireless Button Accordion / Melodeon MIDI control surface for the iPad.
MIDI Melodeon doesn't produce any sound on it own, it is designed for controlling hardware or software VST-style MIDI synthesizers via a WiFi connection to a Windows or Mac OS X based computer.
The button layout is identical to the real instrument and, and the built-in note guide makes it easy to learn to play!
Touch the buttons with the fingers on your right hand to play. Buttons light up in green when touched.
Multiple buttons may be pressed at the same time to make chords.
This style of accordion plays different notes depending on whether you are pushing or pulling on the bellows.
Touch the anywhere in the bellows image at the top of the screen for PUSH notes, lift your finger for PULL notes.
The PUSH/PULL indicator shows the current bellows direction. Also, the sides of the bellows light up tracking the bellows motion
You may slide your fingers between the buttons.
Touch the MIDI connector icon to show the MIDI controls.
Using the controls, you may set the overall instrument MIDI volume, MIDI channel (1-8), key attack velocity, and transposition (+/- 12 semitones).
Select between B/C or D/G based layout. Other common tunings can be achieved by setting the transposition control.
For example, for C#/D tuning, select the B/C layout and set a +2 transposition. For G/C tuning, select the D/G layout and set a +5 transposition.
Touch the '?' icon to show the base layout note names for each button (without transposition).
Multiple iPads can run MIDI Melodeon on the same wireless network, each sending messages on its own MIDI channel to the hardware or software synthesizer.
All settings are saved when the app exits.
MIDI Melodeon requires two pieces of software to do its job. The first is the MIDI Melodeon app itself, running on your iPad.
The other is a small free open-source DSWiFiMIDI server application that you run on your PC or Mac before launching MIDI Melodeon.
The server application receives the MIDI messages from MIDI Melodeon via WiFi, and sends them along to either an external MIDI interface or a loopback MIDI driver to talk to software synthesizers running on the same computer.
Please read the instructions below for information on downloading and installing the open-source DSMIDIWiFi server application for your system.
For the most reliable performance with the lowest possible latency, I highly recommend that you connect the PC or Mac to the wireless access point that will be used by the iPad via a wired ethernet cable rather than use wireless for both the computer and the iPad. The computer and wireless gateway that the iPad is connected to must be on the same network.
To get the full benefit from MIDI Melodeon, you should be familiar with the use of MIDI control surfaces, hardware and/or software VST synthesizers."
