Showing posts sorted by relevance for query Return of the Synth. Sort by date Show all posts
Showing posts sorted by relevance for query Return of the Synth. Sort by date Show all posts
Sunday, April 21, 2019
Yorick Tech LOW FREQUENCY EXPANDER for OB-6 or Prophet 6 Manual
Click the images to view or print. See this post for some demos.
Text follows:
"LOW FREQUENCY EXPANDER For OB-6 or Prophet 6 By Yorick Tech
Introduction
Thanks for buying this Low Frequency Expander (LFE). I bought my OB-6 in February 2019 and loved the sound and build quality but quickly found it really lacked modulation possibilities. It’s got just one LFO, which is global (affects all 6 voices together), and lets you share the filter envelope to modulate a limited number of destinations. You can also use VCO 2 as a polyphonic (per-voice) LFO, but you lose a precious VCO by doing this. What I needed was a way of adding a number of extra modulators and to be able to route them to a lot more destinations. So I developed the Low Frequency Expander!
Wednesday, March 23, 2011
M-Audio Venom Review and Interview with Product Manager Taiho Yamada
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
LABELS/MORE:
Avid,
Featured,
iOS,
iPad,
M-Audio,
Matrixsynth,
Matrixsynth Review,
The Missing Link,
TouchOSC,
Updates
Tuesday, May 10, 2022
THE OBERHEIM OB-X8 HAS ARRIVED
video upload by Oberheim Official
"For the first time in over 40 years, a legendary analog synth sound returns.
The OB-X8 combines the three different voice architectures of the classic OB-X, OB-Xa, and OB-8 synths into a single incredible instrument. The individual filter types and other unique characteristics of each model have been faithfully reproduced, along with an uncompromising 100% analog signal path, giving you the most authentic and satisfying OB experience possible.
Oberheim is BACK!"
Oberheim OB-X8 INHALT Sound Design Demo No Talking
video upload by INHALTVIDEO
https://inhalt.bigcartel.com
"My history with Oberheim runs deep. Probably the most important synthesizer for me was the Oberheim OB-8. I connected deeply with its melancholic and midnight music sounding tone which matched very well what I was doing with INHALT at the time. But never to be beguiled by softer emotions, the flick of the unison switch instantly took the OB-8 into an aggressive "body" music. It was the perfect writing tool due to the even tone across all octaves and the fact that its intrinsic musicality was unavoidable. Around the time I got the OB-8 I also got a vintage 2 Voice (thanks for restoring that one Chok) and both were heavily used on many records that I made. Those were my MVP's for many years.
When I received the call from my colleagues at Sequential that not only was a new Oberheim in the works, but that it was to be THE Oberheim, I couldn't wait for the beta testing and sound design to start. And when the prepro unit arrived, I knew that the newly reborn and official Oberheim company, in tandem with the team at Sequential, created something incredible. Something so comprehensive, deep, detailed, featured and yet immediate and simple, with no possibility of making a bad sound. Every sound I made sounded exactly as it should, and they ALL embodied that unmistakable Oberheim sound. That magic that is often imitated but never accomplished. Until now.
I'm not going to get into specs, those have been already covered everywhere, but I will say this: as someone that has used all of the "big" Oberheims, and that has made many records in commercial studios with the OB-8 and a vintage 2 Voice, I can definitively say that this Oberheim does all of those sounds and more. Its charisma changes from filter to filter and it seamlessly traverses from X, Xa to 8 with the Page 2 voice offset and vintage knob, but it ALWAYS sounds like the genuine Oberheim that it is. This incredible team, that I've had the pleasure of working with, has created something that might possibly be the ultimate polyphonic analog synthesizer. And I can't wait to use it on the many upcoming projects at Infinite Power Studios.
This is a recording I made of many of the patches I created for Oberheim and the shipping factory library that will come with the synth.
Please note, the OB-X8 in the video is a prototype unit and I recorded this with a beta firmware. As such, while the synth was largely done there were some changes both to the panel and to the OS that are in the final shipping version (obviously). The OB-X8 was recorded straight into Pro Tools HD and no post processing or fx were added. What you're hearing is the raw synth."
The Sound of the Oberheim OB-X8 - Julian "J3PO" Pollack [custom knobs on this one]
video upload by J3PO
"Oberheim has released a new synthesizer--the first in many decades--the OB-X8. It is a faithful recreation of all three of the classic OB-series synthesizers in one: the OB-X, the OB-Xa, and OB-8. It is an incredible synth.
In this video, you will hear a bunch of presets I created for the OB-X8. Some of my sounds will be included factory with the OB-X8 while most of these presets will appear in a presets pack I will release soon (check www.j3po.net for the release of my official sound bank). This particular unit is an early prototype with non-production knobs. The final production units will look slightly different.
It is important to note that the OB-X8, like the original OB's from back in the day, does NOT contain any onboard effects. In this video, I used some external reverbs and delays to give certain presets the ambience and resonance they deserve. Light compression and limiting was applied for the purpose of uploading to YouTube and balancing the sounds."
Update: Oberheim OB-X8 Preset Demos
video upload by james terris
"I'm always reluctant to post something in prototype form. When I had this unit it was sonically pretty close. Obvious at a glance are the knobs and 3D printed bender box levers. The synth itself sounds great and such a dream to play with a nice modern key bed."
And the press release:
Oberheim Returns to Operations and Releases Its First New Synth in 35 Years

Today, the company is launching its first new product, the OB-X8: an eight-voice polyphonic analog synth that combines all of the key features of the legendary OB-X, OB-Xa, and OB-8 products from the 1980s – including all the original presets that gave them their signature sounds.
“I wanted to come back strong with a new design that brings together the sounds of the greatest instruments from across the OB range, together with the distinctive sound and styling of those synths,” said Tom Oberheim. “But we took it even further. You can now combine the various OB voice architectures in ways that produce unique and interesting new sounds and capabilities.”
Originally founded by Tom Oberheim in 1969, Oberheim Electronics created ground-breaking products that fueled the electronic music revolution throughout the 1970’s and early 1980’s. After ceasing operations in 1985, these instruments attained near-mythical status, with highly prized vintage models selling for many times their original price on the secondhand market.
Since that time, Tom Oberheim had created a handful of limited-production instruments and co-designs with various partners under other names. But in a recent significant development, he regained control of the Oberheim trademarks and IP, and now, in partnership with Focusrite PLC, has decided to once again introduce new products under the Oberheim brand name for first time in more than 35 years.
“I’ve always had a very optimistic outlook on our industry and the future in general. I felt that one day, when the time was right, Oberheim would return. A big part of this was the fact that so many musicians have contacted me over the years to ask how to get hold of an original Oberheim. So when I finally reacquired the Oberheim name, it was clear that the time was finally here,” said Oberheim.
The catalog of artists associated with the original products is long, and includes innovators like Prince, Van Halen, and Herbie Hancock. For many, it was much more than just an instrument. A handful of A-list artists such as Trent Reznor, creative force behind Nine Inch Nails, and Golden Globe, Academy Award, and Primetime Emmy-winning composer got pre-release previews. “When I was shown the new OB-X8, I was immediately impressed with the forensic level of detail that went into its design and the respect for its lineage,” remarked Trent. I will be making room in my studio for one and I’m excited more people will be able to experience this classic instrument.”
Creating a new company out of thin air was no small feat. “I’m excited to work with my old friend and audio industry innovator Marcus Ryle, along with some other members of the original Oberheim team again,” said Tom. “And thanks to an exclusive partnership with Focusrite group company Sequential LLC, we have the ability to design, manufacture, distribute, and support new instruments on a global scale.”
For Marcus Ryle, one of the inventors behind the ADAT, the QuadraSynth, and Line 6 guitar amps and effects, this represents closure of sorts: “Synths were my first love and the reason I entered this industry. Tom hired me when I was 19, and I feel lucky to have been a part of the Oberheim design team during its glory days. Now, a whole new chapter in the story of analog synthesizer-based music is about to get written.” Dave Smith, founder of Sequential and himself a legendary figure in synth history, also collaborated with Marcus (an Oberheim team member from the 1980s) and Tom to create the new product. “We’ve already developed other interesting design ideas with Tom for follow-up products that will allow us to take Oberheim into the future as a synth brand,” commented Smith. “It’s a very exciting time to be a musician.”
The OB-X8 eight-voice analog synthesizer will be available at the end of June with a US MAP of $4,995.
For more details visit www.oberheim.com.
About Oberheim
Oberheim is the 21st century return of the legendary company that helped fuel the electronic music revolution. Now, just as then, Oberheim is guided by the vision of engineer and inventor, Tom Oberheim. Tom’s genius for innovation introduced the world to the first commercially available poly synth and other groundbreaking electronic instruments that literally changed the sound of music. Today, Oberheim reawakens this legacy by bringing the famed Oberheim sound to a new generation of instruments and artists. The company’s passion remains unchanged by time or technology — to once again provide the world with the finest-sounding analog synthesizers ever made. Oberheim brings its products to market with the help of the Focusrite organization and renowned synth maker, Sequential."
OBERHEIM OB-X8 SPECIFICATIONS


• Two discrete SEM/OB-X-lineage VCOs per voice deliver classic punchy Oberheim tone
• Discrete SEM-lineage VCFs deliver authentic OB-X-style tone and presence
• Genuine Curtis filters add bold OB-Xa/OB-8 character
• Meticulously modeled envelope responses match each OB model: OB-X, OB-Xa, and OB-8
• The 61-key FATAR velocity- and touch-sensitive keyboard allows unparalleled expression and responsiveness
• Bi-timbral capability allows two presets simultaneously for splits and doubles
• 400-plus factory programs, including the full set of factory sounds for the OB-X, OB-SX, OB-Xa, and OB-8
• Integral, fanless, heatsink-free power supply
• Real walnut end cheeks
• High-resolution OLED display enables patch management and easy access to advanced features
• Classic Oberheim Pitch and Mod levers allow expressive note bending, vibrato, and access to arpeggiator functions
ENHANCEMENTS
• Additional SEM filter modes add high-pass, band-pass, and notch functions to the classic OB-X filter
• Vintage knob allows variable amounts of voice-to-voice variability to emulate the behavior of vintage instruments
• Velocity sensitivity adds expressiveness to volume and filter
• Channel Aftertouch adds real-time performance-based modulation
• Enhanced unison allows variable voice stacking from 1-8 voices
• Variable triangle wave cross-modulation
• Over 600 user-programmable preset locations
• Programmable per-program pan allows wider stereo presence
• Variable oscillator and noise levels
INS & OUTS
• Stereo and Mono outputs
• Volume, Sustain, and Filter inputs
• Arpeggiator clock input
• MIDI In, Out, Thru
• USB
• Dimensions:
• Weight: 32.5 lbs
• Dimensions: 40.5” L x 16.67” W x 5.87” H
Monday, December 31, 2012
Happy New Year!
Happy New Year everyone!!! I hope 2012 treated you well and I wish you the best in 2013!
As I do each year, I thought I'd reflect a little on the past year. These posts are always difficult to write, and I always wing them, so bear with me. It's impossible to justify a whole year's worth of synth coverage in a single post. The following is just a small bit of what comes to mind when looking back. You'll find a top ten list of posts with the most page views followed by my picks for the year further below. Apologies if I miss anything, and of course, if you have anything to add, feel free to leave a comment below. I'm curious what you, the readers of the site, felt stood out in the world of synths this past year.
First, I want to begin this post with a HUGE THANK YOU!!! If you are reading this it obviously means you have come to this site and some of you have been coming here for years! Thank you for sticking with me. This site is a journey I hope to continue for years to come. Thank you to everyone that has taken the time to showcase their synths, and thank you to those that share what they find! Thank you to those that link to the site and help spread the word on MATRIXSYNTH via Twitter, Facebook, Google+ and your own websites! And of course, THANK YOU to all the sponsors on the right who believe in the site enough to support it!
A nod to previous New Years posts, pictured to the left is the MATRIXSYNTH world domination map. :) I always think it's worth taking a look at who's watching the site. Synths are global and you are looking at a map of the readers of MATRIXSYNTH. Everything you see in green represents a visit from that country. The darker the green, the higher the number of visits. This is just for the year, but for the life of the site, we still haven't gotten a single hit from North Korea! I don't know what they have against synths! ;) You'll find the top 10 visits by country further below.
This is the eighth New Year the site has gone through! The focus for the site this year has been the same as previous years, and I plan to keep it that way. This site is about showcasing specific synths, not just synths in general, and not just news and press releases. The focus is on the individual synths that have existed throughout history, the technology behind them, and the lives they lead with their odd owners, myself included. :) Yes it is about the gear, their makers, and their players. It has always been my opinion that synths in general have a tendency to be undervalued. Compared to say collectible guitars, they are often discarded and devalued in favor of next year's model, next year's technology. It has always been my opinion that every synth has something of value to offer, something specific and something unique that gives it its character. I built this site to showcase that. This site is about the history of synths as their history unfolds - videos and images of synths being played and used, by both those that make them and those that play them. Vintage synths being offered in the second hand market, being exchanged from one sonic explorer to the next. It really is a wondrous thing. Think of the magic synthesizers bring into your world. That is what this site is ultimately about. Some posts may not seem to make sense now, but they will in time, because they will be a look back in time. A day in the life of a particular synthesizer. I love analog and I love digital. I love all synths and this site celebrates that.
And now for a little reflection on the year. This year we had a total of 16678 posts including this one. That comes out to roughly 45.69 posts a day. Not a single day of the year went without a post. So what dominated the synth year? Mobile, modulars and a few dedicated hardware synths.
As I do each year, I thought I'd reflect a little on the past year. These posts are always difficult to write, and I always wing them, so bear with me. It's impossible to justify a whole year's worth of synth coverage in a single post. The following is just a small bit of what comes to mind when looking back. You'll find a top ten list of posts with the most page views followed by my picks for the year further below. Apologies if I miss anything, and of course, if you have anything to add, feel free to leave a comment below. I'm curious what you, the readers of the site, felt stood out in the world of synths this past year.
First, I want to begin this post with a HUGE THANK YOU!!! If you are reading this it obviously means you have come to this site and some of you have been coming here for years! Thank you for sticking with me. This site is a journey I hope to continue for years to come. Thank you to everyone that has taken the time to showcase their synths, and thank you to those that share what they find! Thank you to those that link to the site and help spread the word on MATRIXSYNTH via Twitter, Facebook, Google+ and your own websites! And of course, THANK YOU to all the sponsors on the right who believe in the site enough to support it!

This is the eighth New Year the site has gone through! The focus for the site this year has been the same as previous years, and I plan to keep it that way. This site is about showcasing specific synths, not just synths in general, and not just news and press releases. The focus is on the individual synths that have existed throughout history, the technology behind them, and the lives they lead with their odd owners, myself included. :) Yes it is about the gear, their makers, and their players. It has always been my opinion that synths in general have a tendency to be undervalued. Compared to say collectible guitars, they are often discarded and devalued in favor of next year's model, next year's technology. It has always been my opinion that every synth has something of value to offer, something specific and something unique that gives it its character. I built this site to showcase that. This site is about the history of synths as their history unfolds - videos and images of synths being played and used, by both those that make them and those that play them. Vintage synths being offered in the second hand market, being exchanged from one sonic explorer to the next. It really is a wondrous thing. Think of the magic synthesizers bring into your world. That is what this site is ultimately about. Some posts may not seem to make sense now, but they will in time, because they will be a look back in time. A day in the life of a particular synthesizer. I love analog and I love digital. I love all synths and this site celebrates that.
And now for a little reflection on the year. This year we had a total of 16678 posts including this one. That comes out to roughly 45.69 posts a day. Not a single day of the year went without a post. So what dominated the synth year? Mobile, modulars and a few dedicated hardware synths.
Friday, November 27, 2009
circuit bent yamaha tg33 vector synth
tg33 revision
YouTube via spunkytoofers
via this auction
"- circuit bent yamaha tg33 synth with vector joystick (retains full functionality pre-bent when all bends are deactivated)
-breakout box with 32 banana jack patchbay which effects the awm waveforms
-4 switches activates 8 dedicated banana jacks located on side and back of box for switching
-8 stackable banana cords provided
-getlofi ltc1799 precision oscillator replaces internal clock frequencies for smooth pitch control of approximately 5+ octaves on any given note. (until the sound breaks into sound grains)
-1 switch selects precision oscillator or original fixed frequency clock
-1 fm/awm waveform glitch and resynthesis 4 position rotary switch with one center off-momentary on/lock on switch to activate rotary.
-replaced internal memory battery with a fresh battery.
-db25 connector cable from breakout box to synth
-db25 jacks on tg33 and breakoutbox
-1 vintage blue beehive lens with bright led lighting
-1 vintage milk glass lens with random slow phase lighting
-original owners manual
-bend diagram jpeg and tips and tricks sheet emailed to winner
-cd-r of manual, many great patches, and editor program
-power supply included (north american supply only, international countries will need to supply their own adapters. the tg33 is regulated to handle anything from 9-12 volts dc with a positive tip around 700 ma is best)
(check out video below)
this is probally my secret weapon of choice at the current moment. it's quite unique from other synthesizers and will reward those that take the time to program/tweak this thing.
although this isn't the most difficult synthesizer to program it will require the user to dig in a little bit and study the manual. the editor also accesses some very in depth synthesis options. vector synthesis is pretty straightforward and intuitive to work with but there are elements like assigning midi controls, selecting voices to work together, envelope shaping, indepndant lfos, sending sequences/controllers, and recording vector movements to really make the best of the possibilities. it's pretty simple to work with but has real power shaping sculpture.
if designing from scratch is too much for you to deal with it still would be easy tweak or play many of the included patch banks straight and all patches will respond to circuit bending.. the synth also features a random vector voice create feature!!! the included backed up sound banks are really well designed and have alot of sounds to keep you busy. but. those without a decent midi controller, basic midi knowledge, basic synth design, tweaks, and assigning controls from menus, etc, this may not be a good synth to start with if you are starting out or don't work with midi, otherwise be prepared to meet a truly unique synth!! "nice to meet you" it says..
the synth works with 4 waveforms in the vector per note of polyphony (think 4 oscillators per note). 2 of which are fm, 2 are awm based sampled waveforms. the awm waveforms are bendable. so approximately half of the 300+ available waveforms are circuit bendable. each waveform is independantly circuit bendable with it's own response to the pressures of bending. what makes that interesting is that when you play with the vector you can assign the circuit bent waveforms to the vector and also assign waveforms that aren't circuit bendable to the vector to either stack voices or morph a voice from the strange abstract sounds and aleatoric responses of circuit bent synthesis into a more traditional synthesis by use of the vector joystick or by assigning the x-y grid to two midi controllers. you can also record exact movements in the vector into the voice's program everytime you trigger a note. either way the awm waveforms can be circuit bent or left alone. the circuit bends depending on how you patch the waveform can have subtle tonal results such as stutter, tonal variations to extremes of complete self composing glitches or dense walls of sound. there are too many results to try to describe here.
instrument has an added getlofi precision oscillator which controls the total pitch of the synthesizer. all midi functionality is retained in the tuned frequencies of the oscillator. the oscillator is on a switch with the original clock signal if the user should not want to use overall pitch control. pitch bend internally by midi and pitch bending on the precision oscillator are not unlike each other but they are certainly completely different then each other.
the instrument is completely stable. able to go to completely strange circuit bent sounds and back to normal without any hitches at all in the system or voices!!!
now here is where things get completely chaotic!!!!
4 fm/awm brain scramble bends are allocated on a rotary switch. the rotary switch is activated by a switch is a 3 way switch which can either disconnect the rotary,momentary snap connect or lock into position. each bend interacts with the others to push it different directions sonically. these bends are completely chance orientated but more often then not great new patches are made and mysterious soundscapes occur. a switch activation cycles through complete mutations to the fm sounds, sound patch restructing, auto accompainments, self compositions, bizzare playing responses in reaction to sent control data. each throw of the switch creates a new sound either slightly altered to extremely altered with often mysterious and good results. since these bends are chaotic i've kept them seperate from the awm extention box as the awm bends of this instrument is completely stable and will not alter the sound of the patch when bends are deactivated. the fm bends are chance orienated and often alterations are extreme which make it better for studio work. although with some careful fm waveform assignments to the vector. you can find fm waveforms which aren't quite as extreme and make more subtle alterations and bent sounds. you can then improvise with the circuit bent fm/awm waveforms with some planning in regards to creating your own unique patches or finding the best presets and saving them into internal memory.
when fm waveforms are bent they can still be bent further with another activation from the fm switches but will not return the original patch without a power cycle on/off on the instrument. when the instrument is booted up the patch returns to its original form and nothing is lost in memory.
db 25 connector is in what used to be the cartridge slot with industrial strength adhesive. the connector already fit in the slot pretty nicely but the industrial strength adhesive sets the connector in it permanetely and securely. since the cartridge slot is occupied that closes up the option for using memory cards. this shouldn't be much a problem since the cartridge is proprietary and finding the exact card is extremely difficult since they are extremely rare and if you do find one they're pretty expensive not to mention all the time you'll be spending on ebay trolling for one.
the unit however has internal memory for patch storage as well as the ability to dump and recive patches via sysex. the unit's memory back up battery was replaced with a fresh lithium battery and a battery clip easily located so it would be easy to replace the battery in the future by the user or any tech.. as is, the fresh battery should last from 5-10 plus years depending on the use of this machine. the battery should last much longer than that, the battery i replaced was the original and was working fine before replacing and that battery had lasted nearly 20 years!! also a pdf manual, patch editor and many banks of great professional patches are included on a cd-r with this auction. i can include some patch notes of my own to illustrate how to organize a patch notebook to facilitate bending patches based on this system."
circuit bent yamaha tg33 vector synth and akai ewi 4000s
previously posted
circuit bent yamaha tg33 vector synth
Sold For: US $333.33
YouTube via spunkytoofers

"- circuit bent yamaha tg33 synth with vector joystick (retains full functionality pre-bent when all bends are deactivated)
-breakout box with 32 banana jack patchbay which effects the awm waveforms
-4 switches activates 8 dedicated banana jacks located on side and back of box for switching
-8 stackable banana cords provided
-getlofi ltc1799 precision oscillator replaces internal clock frequencies for smooth pitch control of approximately 5+ octaves on any given note. (until the sound breaks into sound grains)
-1 switch selects precision oscillator or original fixed frequency clock
-1 fm/awm waveform glitch and resynthesis 4 position rotary switch with one center off-momentary on/lock on switch to activate rotary.
-replaced internal memory battery with a fresh battery.
-db25 connector cable from breakout box to synth
-db25 jacks on tg33 and breakoutbox
-1 vintage blue beehive lens with bright led lighting
-1 vintage milk glass lens with random slow phase lighting
-original owners manual
-bend diagram jpeg and tips and tricks sheet emailed to winner
-cd-r of manual, many great patches, and editor program
-power supply included (north american supply only, international countries will need to supply their own adapters. the tg33 is regulated to handle anything from 9-12 volts dc with a positive tip around 700 ma is best)
(check out video below)
this is probally my secret weapon of choice at the current moment. it's quite unique from other synthesizers and will reward those that take the time to program/tweak this thing.
although this isn't the most difficult synthesizer to program it will require the user to dig in a little bit and study the manual. the editor also accesses some very in depth synthesis options. vector synthesis is pretty straightforward and intuitive to work with but there are elements like assigning midi controls, selecting voices to work together, envelope shaping, indepndant lfos, sending sequences/controllers, and recording vector movements to really make the best of the possibilities. it's pretty simple to work with but has real power shaping sculpture.
if designing from scratch is too much for you to deal with it still would be easy tweak or play many of the included patch banks straight and all patches will respond to circuit bending.. the synth also features a random vector voice create feature!!! the included backed up sound banks are really well designed and have alot of sounds to keep you busy. but. those without a decent midi controller, basic midi knowledge, basic synth design, tweaks, and assigning controls from menus, etc, this may not be a good synth to start with if you are starting out or don't work with midi, otherwise be prepared to meet a truly unique synth!! "nice to meet you" it says..
the synth works with 4 waveforms in the vector per note of polyphony (think 4 oscillators per note). 2 of which are fm, 2 are awm based sampled waveforms. the awm waveforms are bendable. so approximately half of the 300+ available waveforms are circuit bendable. each waveform is independantly circuit bendable with it's own response to the pressures of bending. what makes that interesting is that when you play with the vector you can assign the circuit bent waveforms to the vector and also assign waveforms that aren't circuit bendable to the vector to either stack voices or morph a voice from the strange abstract sounds and aleatoric responses of circuit bent synthesis into a more traditional synthesis by use of the vector joystick or by assigning the x-y grid to two midi controllers. you can also record exact movements in the vector into the voice's program everytime you trigger a note. either way the awm waveforms can be circuit bent or left alone. the circuit bends depending on how you patch the waveform can have subtle tonal results such as stutter, tonal variations to extremes of complete self composing glitches or dense walls of sound. there are too many results to try to describe here.
instrument has an added getlofi precision oscillator which controls the total pitch of the synthesizer. all midi functionality is retained in the tuned frequencies of the oscillator. the oscillator is on a switch with the original clock signal if the user should not want to use overall pitch control. pitch bend internally by midi and pitch bending on the precision oscillator are not unlike each other but they are certainly completely different then each other.
the instrument is completely stable. able to go to completely strange circuit bent sounds and back to normal without any hitches at all in the system or voices!!!
now here is where things get completely chaotic!!!!
4 fm/awm brain scramble bends are allocated on a rotary switch. the rotary switch is activated by a switch is a 3 way switch which can either disconnect the rotary,momentary snap connect or lock into position. each bend interacts with the others to push it different directions sonically. these bends are completely chance orientated but more often then not great new patches are made and mysterious soundscapes occur. a switch activation cycles through complete mutations to the fm sounds, sound patch restructing, auto accompainments, self compositions, bizzare playing responses in reaction to sent control data. each throw of the switch creates a new sound either slightly altered to extremely altered with often mysterious and good results. since these bends are chaotic i've kept them seperate from the awm extention box as the awm bends of this instrument is completely stable and will not alter the sound of the patch when bends are deactivated. the fm bends are chance orienated and often alterations are extreme which make it better for studio work. although with some careful fm waveform assignments to the vector. you can find fm waveforms which aren't quite as extreme and make more subtle alterations and bent sounds. you can then improvise with the circuit bent fm/awm waveforms with some planning in regards to creating your own unique patches or finding the best presets and saving them into internal memory.
when fm waveforms are bent they can still be bent further with another activation from the fm switches but will not return the original patch without a power cycle on/off on the instrument. when the instrument is booted up the patch returns to its original form and nothing is lost in memory.
db 25 connector is in what used to be the cartridge slot with industrial strength adhesive. the connector already fit in the slot pretty nicely but the industrial strength adhesive sets the connector in it permanetely and securely. since the cartridge slot is occupied that closes up the option for using memory cards. this shouldn't be much a problem since the cartridge is proprietary and finding the exact card is extremely difficult since they are extremely rare and if you do find one they're pretty expensive not to mention all the time you'll be spending on ebay trolling for one.
the unit however has internal memory for patch storage as well as the ability to dump and recive patches via sysex. the unit's memory back up battery was replaced with a fresh lithium battery and a battery clip easily located so it would be easy to replace the battery in the future by the user or any tech.. as is, the fresh battery should last from 5-10 plus years depending on the use of this machine. the battery should last much longer than that, the battery i replaced was the original and was working fine before replacing and that battery had lasted nearly 20 years!! also a pdf manual, patch editor and many banks of great professional patches are included on a cd-r with this auction. i can include some patch notes of my own to illustrate how to organize a patch notebook to facilitate bending patches based on this system."
circuit bent yamaha tg33 vector synth and akai ewi 4000s
previously posted
circuit bent yamaha tg33 vector synth
Sold For: US $333.33
Sunday, September 13, 2015
An Interview with Barry Schrader
Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
Thursday, October 01, 2020
Sequential Re-Introduces the Prophet-5 and Prophet-10 Synthesizers
"The new Prophet-5 is Dave Smith's return to the analog poly synth that changed the world. It embodies all three revisions of the legendary synth — Rev1, Rev2, Rev3 — and now, the Rev4. History never sounded better.
Soundtrack exclusively by Prophet-5. Yes, even the drums."
Both models will be available in October. The Prophet-5 has a US MAP of $3,499. The Prophet-10 has a US MAP of $4,299. Note there is an additional video demo by INHALT further below.
And the press release (pics below):
"Sequential Reintroduces the Prophet®-5, the Synth that Revolutionized an Industry
San Francisco, CA—Oct 1, 2020—After months of clandestine development, Sequential today announced the reintroduction of its most famous and beloved instrument: the Prophet-5. Timed to coincide with founder Dave Smith’s 70th year, the instrument revisits a landmark era in American analog synthesizer design and marks an authentic and authoritative return to roots for the legendary pioneer of electronic instruments.
“It’s not often that you get to revisit your past, retrieve some of its magic, and give it new life,” said Dave Smith. “The Prophet-5 was one of the most exciting instruments to appear in an equally exciting time for music and technology. It’s gratifying to rediscover that its sound and aesthetics are just as appealing now as they were then.”
Faithful to the original, the new Prophet-5 features five voices with two multi-waveform analog oscillators, resonant analog low-pass filters and amplifiers, and a filter and amplifier envelope per voice. Modulation is provided by a multi-waveshape LFO and Poly Mod, a ground-breaking modulation scheme for its time that allowed the filter envelope and oscillator B to be routed to a variety of destinations including filter cutoff frequency, oscillator A frequency, and oscillator A pulse width.
The new Prophet-5 features original, genuine Curtis VCOs and filters as used in the Prophet-5 Rev3, as well as the Dave Rossum-designed SSI 2140 filter, the modern counterpart of the original SSM 2040 Rossum designed in the Prophet-5 Rev1 and Rev2. “We made the new Prophet-5 the best of all Prophets by embodying all three revisions of the original. We did this by adding a Rev switch to the front panel, so you can choose your preferred filter.”
Smith continued, “We also researched what made the original P-5 sound the way it did — organic and alive — and found that a lot of that desirable character was due to fluctuations and differences in the response times and frequencies of the individual oscillators, filters, and envelopes from voice to voice. So we also added a Vintage knob that loosens all of them up like they were in the old days. You can dial in progressively more vintage character as you go from a very stable “4,” as in Prophet-5 Rev4, all the way to “1,” as in Prophet-5 Rev1, which was the most temperamental of all Prophet-5s. We’ve even included the original factory sound set for the full vintage experience.”
Other modern enhancements include velocity sensitivity and aftertouch to increase expressiveness, as well as MIDI and USB connectivity. Control voltage and gate ins/outs are also present for connecting modular synths and other gear. The new Prophet-5 is housed in a collector-worthy, premium-quality, steel and hand-oiled sustainable black walnut heartwood body, with a full, five-octave, semi-weighted Fatar keybed.
Sequential is simultaneously offering the Prophet-10, a ten-voice version of the synthesizer with the same sound engine and collector-worthy design. “I originally designed the first Prophet in both five-voice and ten-voice versions. But the five-voice model was the one that achieved mass production. We thought it would be fun and fitting to reintroduce the ten-voice as well, to make the circle complete.” Sequential Circuits’ later product, the dual-manual, bi-timbral Prophet-10, was a different instrument in both concept and execution.
Both models will be available in October. The Prophet-5 has a US MAP of $3,499. The Prophet-10 has a US MAP of $4,299."
Sequential Prophet 5 Rev4 INHALT Sound Design of Factory Patches Demo
"There are few synthesizers that spark deep emotions and reverence. The Prophet 5 is one of them. Its history is marked by both the counter and the dominant cultural works; wether listening to the independent outings of New Musik and Skinny Puppy, the art of Japan and Sakamoto, the disco of Cowely, the soundtracks of Carpenter or the pop of McCartney and Madonna, it collectively becomes clear that the Prophet 5 is the great enabler of the modern musical expression. If the Model D is the left hand the Prophet 5 is the right. And rightly so, as its genius and genuineness transitioned the 5 from "tool of novelty" firmly into the place of an exuberant enabler of the creative expression. From decade to decade, its design and purity allowed it to slot into a music production unweathered and unbiased by whatever style is in vogue. Yet, it's always fashionable and it always sits right where it's supposed to. Put simply, it's a workhorse that inspires. Whatever the revision. And now, that story, that lineage continues with the Rev 4.
It's with absolute honor, gratitude, and exhilaration that I accepted the offer to work on the factory patches for Sequential's latest chapter in the story of the Prophet 5. Sound designing alongside the superb voicing team has been a wonderful collaboration with a company I consider family and my way to give thanks for the career that the Prophet 5 has helped me build. Unlike other projects I've done in the past, part of my testing of the Rev 4 included putting it through an actual studio music production. I'm currently in the middle of producing two LP's (the artists Some Ember and Patriarchy) and the Rev 4 got used heavily on both. The main question I sought to answer: "does it handle the same as a vintage unit". What became abundantly clear: the Rev 4 isn't like a Prophet 5, isn't inspired by a Prophet 5, ins't referencing a Prophet 5; it is a Prophet 5. Through and through in every sense of the very defining characteristics of the 5. It's a Prophet 5. Period. And in many regards it's better. Why?
Rapid fire MIDI, Fatar keybed, both genuine SSM (SSI) filters and VCAs, genuine Curtis filters and oscillators, a perfectly tuned LFO and envelopes, the ability to actually save LFO amount settings, velocity, aftertouch, the same voice allocation as the original ... and zero repairs needed with no sacrifice to the soul of what makes the 5 the 5. It looks the same with minor additions that can be completely ignored if you choose. You can play it like the original and you can expect it to do exactly what the original does. Or you can take advantage of all of the modern facilities. I also made a set of patches that were the same sounds on both a vintage 5 and the Rev 4 and quickly cycling playing the same passage on the 2 instruments, for all in the room, it was impossible to tell what's what and who's who.
The amount of care, attention to detail, and workmanship that has gone into the Rev 4 is remarkable and I am honored to have been a part of the team putting it through the paces. Sequential is a special company. It's marked by integrity, friendship, care, and carries on a tradition of producing musical instruments from that platform. The Rev 4 is a Prophet 5 and ONLY Sequential can make that.
Please note, the Rev 4 in the video is a prototype unit and I recorded this with a beta firmware. As such, while the synth was largely done there are some changes both to the panel and to the OS that are in the final shipping version (obviously). The Prophet 5 was recorded straight into Pro Tools HD and no post processing or fx were added. What you're hearing is the raw Rev 4."
All the press pics:
LABELS/MORE:
Buchla,
documentaries,
Emu,
Interviews,
New,
New in 2020,
New Synths,
new synths in 2020,
News,
Sequential Circuits
Tuesday, June 26, 2012
Ensoniq ESQ-M Sound Module
Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"In 1986 Ensoniq released the ESQ-1 synthesizer at a list of $1,395. The ESQ-1 became a big seller and continued the company’s good fortune they had with the Mirage. Due to this success, Ensoniq released the ESQ-M, a rack mount of the ESQ-1 which had all the features of the ESQ-1 except for the sequencer, 5 octave keyboard , and the 80 character display. However the ESQ-M allowed you to set individual volumes for each track (patch) of a mix.
The ESQ-M features eight voice polyphony and is eight part multitimbral with dynamic voice allocation. It can also do basic splits and layers which can be saved as part of a patch and split key is designated by the user. (Very impressive for a synth that was released in 86/87.) The unit features no on-board effects but does allow you program the pan position of a voice and the position may be modulated any modulation source. Also ingenious (other manufacturers please note) is that while you are playing a voice you may change the voice and the original will continue to sound and any new keys will reflected the newly selected voice. While using the unit in full multitimbral operation I did not notice audible delays in the machine’s performance.


"In 1986 Ensoniq released the ESQ-1 synthesizer at a list of $1,395. The ESQ-1 became a big seller and continued the company’s good fortune they had with the Mirage. Due to this success, Ensoniq released the ESQ-M, a rack mount of the ESQ-1 which had all the features of the ESQ-1 except for the sequencer, 5 octave keyboard , and the 80 character display. However the ESQ-M allowed you to set individual volumes for each track (patch) of a mix.

Friday, November 23, 2012
Self Destruction - DJ Lace vs RC Dahle & The Passenger
via Lace Dj on The MATRIXSYNTH Lounge. More pics here.

The track started out as a quick jam to a 77 bpm beat using the box bass & the song developed from there.
The box bass has an oak neck and poplar box. It’s nailed together so it resonates, the string is a spare low string from L&M. The pickups are a pair of dimarzio Twang kings. Their are placed to the side of the string, facing each other and offset. The top pickup is on a hinge.
The bass was plugged into the Focusrite ISA one with the gain all the way up. The ISA can take a lot of drive and sounds great squared off.

At mix down the guitar is run through a tube screamer plugin and an ssl vst channel pulling back 350 and pushing 5k up. It is panned hard right and left dry. An effect send from the guitar channel feeds an intersound spring reverb with 1k pulled back about 6db. The dry guitar signal and reverb return are matched back to stereo in a late 60s fashion.



Another of the the clock divider outputs feeds the MS 20 trigger input. The pink noise generator on the MS 20 is patched back into it's own external input. This noise runs through the ms 20 filter sections under control by envelope generator 2, and the on board LFO.
This is what creates the tom like sounds and the helicopter warble synth noises when the song picks up at the end.
Yet another output of the clock divider feeds an A140 envelope generator which is triggering the spare VCA on the ms20. The white noise of ms 20 goes into the audio input of this VCA and into the analog input mod of the TR 606. Inside the 606, this rhythmic noise pattern is cross modulated by the high hat pattern and you can hear the result in the track. The swung out effect of the high hats is a direct result of this, as the 606 has no swing function.
The drums are distorted 909 samples, run as a stereo drum mix into a Duende SSL bus compressor. The background vocals are a 5 part harmony, sung in 6 duplicates each mixed down to mono comps, then spread out into a 70s rock opera stereo field. There is a 375ms ping pong delay on the two high vocals and a long reverb on the two low ones. The middle ones are dry. The chorus lead is sung twice and double tracked, shifted by hand in various parts of the song to pull the effect forward and backwards. The front verse and the chorus share the same tempo delay. The delay is slightly bit crushed.
In order to give the idea of the background vocals slowly destroyed under the pressure of the drums, they shift to vocoded versions of themselves losing a bit of pitch tracking in the process and get bit crushed into nothing by the time the last chorus ends. This is done with 5 individual vocoder plugins and 5 bit crushers and automated ramps.
The desperation vocal in the break down and rebuild is mostly dry albeit for a small amount of TC reverb that sits behind the whole mix. The vocal has one effect on it, a boss ds1 plugin with mild gain. An SSL channel is used to shelf the bottom out completely and bring the top end up a bit, giving the vocal a “small” feel.
The pro 1 brings a bit of bass to complement the guitar, but it’s mixed pretty low in the mix, leaving the kick drums to do more work and get to a hard-techno / hard-style sound. The sample at the end is from a loop of the second chorus that just sounded so cool I decided to tag it at the end of the track, taking yet into one more direction before an old school FM radio fade ending.
The track was mixed down on a Tascam DM4800, using the onboard TC reverb and and external intersound reverb unit. Enjoy"
Saturday, October 12, 2024
Machina Bristronica 2024
video uploads by sonicstate
Playlist:
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.2. Bristronica 24: Circuit Happy ML2M Clock Sync module updates
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.
More Info:
https://myvolts.com/
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.3. Bristronica 24: Archaea Exchange Patching Module
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.
LABELS/MORE:
Archaea,
Circle Guitar,
Circuit Happy,
Componental,
Dreadbox,
Halftime,
Landscape,
Machina Bristronica,
MATRIXSYNTH Members,
Midicake,
myVolts,
News,
Patching Panda,
Toadstool Tech,
u-he
Sunday, September 15, 2019
Rare Dewanatron Swarmatron FM Modulation Analog Ribbon Synthesizer
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"For your consideration is a very rare Swarmatron 8 Oscillator FM Modulation Analog Ribbon Synthesizer. It is in excellent physical, and 100% operational condition. Please refer to the specs and description below. Payment via paypal to include $ 85.00 shipping in the Continental U.S. within 48 hours of auction end. Overseas or International shipping is set at $ 250.00
This is a synth like no other, eschewing conventional controls, nomenclature and even an ordinary on/off switch. Is it destined to become a cult classic?
via this auction
"For your consideration is a very rare Swarmatron 8 Oscillator FM Modulation Analog Ribbon Synthesizer. It is in excellent physical, and 100% operational condition. Please refer to the specs and description below. Payment via paypal to include $ 85.00 shipping in the Continental U.S. within 48 hours of auction end. Overseas or International shipping is set at $ 250.00
This is a synth like no other, eschewing conventional controls, nomenclature and even an ordinary on/off switch. Is it destined to become a cult classic?
Friday, October 25, 2024
Arturia Origin Desktop Synth
Note: Auction links are affiliate links for which the site may be compensated.
via this listing
"The Arturia Origin desktop Synth is literally a one of a kind very rare synth. What follows are answers to these iterations and explanations to the complexities and idiosyncrasies of the Origin.
1. In building the synthesizer, Arturia put virtually all their synthesizer and TAE (true analog emulation) technology, making it into both many and one instrument. The Origin not only gives you the latest sounds and sequences, it gives you powerful, easy to use tools for playing, combining, and controlling these dynamic sounds/sequences. All in real time, due to the amazing interface.
via this listing
"The Arturia Origin desktop Synth is literally a one of a kind very rare synth. What follows are answers to these iterations and explanations to the complexities and idiosyncrasies of the Origin.
1. In building the synthesizer, Arturia put virtually all their synthesizer and TAE (true analog emulation) technology, making it into both many and one instrument. The Origin not only gives you the latest sounds and sequences, it gives you powerful, easy to use tools for playing, combining, and controlling these dynamic sounds/sequences. All in real time, due to the amazing interface.
Thursday, June 02, 2022
Dave Smith Was an Ironman Triathlete
In case you missed it in this post, Roger Linn noted Dave Smith was "an avid athelete, cyclist and triathlete. He actually participated in the Hawaii Ironman Triathlon in his younger years..."
@birdkids reminded me of an article on the development of the Prophet VS archived on the WaybackMachine. In it, Chris Meyer mentions Dave was in Hawaii prepping for the tournament during that time. I thought it was interesting and worth sharing. I captured it below.
"Date: Wed, 15 Jan 1997 07:55:41 -0800
From: Xrystal
MIME-Version: 1.0
Subject: Birth of the Prophet VS
I thought the following might be of interest to you. Xrystal
_____________________________________________________________________
The Birth of the Prophet VS
By Chris Meyer, ex-employee of Sequential Circuits
reprinted from the VS WaveWrangler User Guide by permission of Interval Music Systems,
©1991 Interval Music Systems.
It all started somewhere in 1985. We were still working on the Prophet 2000 sampler,
and as resident historian (in other words, I had the most magazines and manuals) another
engineer was asking me to explain how various instruments performed crossfades. I had
finished discussing the Fairlight, and had moved on the PPG - explaining its wavetables,
and the ability for it to scan a group of waves first in one direction and then back again,
While I was scrawling this back and forth motion in my notebook, suddenly a little twinge
went off in the back of my head, and myhand drew the next line arcing down the page.. and the
concept of crossfading beween waves in two dimension, not just one, was born.
Saturday, September 02, 2017
Synth Diy Guy Featured Builder: Vinicius Brazil!
Published on Sep 2, 2017 Synth Diy Guy
"A visit and a chat with my partner and teacher Vinicius Brazil of VBrazil Modular.
Here´s a translation of our conversation:
https://www.dropbox.com/s/slwj5baadyx..."
" SYNTH DIY GUY - Featured Builder - Vinicius Brazil
Q - Hi Vinicius! V - Hi
Q - All good? V - All great!
Q - Tell us a little bit about your path, how you got started with electronics and music.
V - I arrived at electronics thanks to music. When I was a kid, 15 years old, I got my first guitar, and in Brazil it was very expensive to acquire guitar pedals. So I started to take some of my friends’ pedals and study their insides, this was in the 60 ́s, and from there I started making my own pedals. Copying at first, then creating muy own solutions. This got me excited and I went on to study Electronics and graduate college as an Electronic Engineer.
Q- Cool, and what kinds of pedals did you make at first?
V - All were guitar pedals. I started of course with fuzz and distortion, then on to more sophisticated things like flangers, phasers and delays. This was during the 70 ́s. In the end of the 70 ́s synthesizers started attracting me. That ́s when I built my first semi modular synth in 1978/79.
Q - Do you still have that synth?
Sunday, March 23, 2014
Macbeth Elements Synthesizer VIDEO 1
Published on Mar 23, 2014 macbethsynthesizers·106 videos
"Presenting the MacBeth Elements Synthesizer!
The MacBeth Elements synthesizer is a full scale Electronic Music Synthesizer built around analogue circuits and sound!
Where to start? I get lost 7 minutes in!
This VIDEO 1.....Video 2 shortly!
The Elements Synthesizer is currently available to order at Alex 4/Schneiders Buero, Analogue Haven and Awave it can be bought directly as well"
MacBeth Elements SynthesizerVIDEO2
Published on Mar 24, 2014 macbethsynthesizers·108 videos
"Here is another video of the MacBeth Elements Synthesizer...more spaced out meanderings! I will be doing what I call *standard* demos....but some people seem to like the off beat stuff that I'm doing...! All sounds on here- one machine! Available for purchase from Analogue Haven/Schneiders/Alex4/Awave....and direct! Release date June 2014"
MacBeth Elements SynthesizerVIDEO3
Published on Mar 24, 2014
"Here's a slightly more dramatic video- a face off between the Elements Synthesizer and the MacBeth MK1 Monster 5U Modular Synthesizer! The keyboard and modulation functions are driving the bottom row of the Mk1 Modular - that is (including the Elements synthesizer) 6 audio oscillators. The Elements Spring Reverberator is well active here too....! The row above on the Mk1 is another 3 Oscillators/Mixer/Filter/EGs etc and that is being driven in a percussive way froma Korg SQ-10 Voltage Controlled sequencer...watch out for one of my (own) x-series modules fly out of the rack I'm at as I bash away! I wasn't screwed in- and it made a soft landing! As mentioned in previous videos- the Elements Synthesizer is available for pre-order from Analogue Haven/Schneiders'/Alex4 and Awave! THings should be out in June!"
MacBeth Elements Synthesizer VIDEO4 (A)
Published on Mar 25, 2014 macbethsynthesizers·109 videos
"Here's a short burst of arpeggiated sound coming from the MacBeth Elements synthesizer.....for me, it's a familiar sound from some of my favourite Brit records from the seventies! It's a short burst- and the demo is called VIDEO4 (A) as my darned cam battery ran out out of charge! I'll do 4 (B) shortly....but this gives you another taste of things coming!"
MacBeth VIDEO5: Elements Synth- Spring Reverberation- Send/Return
Published on Apr 9, 2014 macbethsynthesizers·110 videos
"This VIDEO5 of the Macbeth Elements synthesizer! Here I explore some of the qualities of the deep Spring Line Reverberator that come with the synth- there is a Send/Recieve to the Spring Line Tank- it's not just the Spring line that you can attach to the Elements- as was suggested to me at the Frankfurt Musik Messe- why not use other things too......towards the end of this video- I've connected a Yamaha RX50 that I dug out to experiment with. I use pitch shifting and echo! The best part of the Spring Line unit circuit that I've done- is that it is practically, noise free!"
MacBeth Elements Synthesizer VIDEO6: Look North.
Published on Apr 11, 2014 macbethsynthesizers·111 videos
"This is my Sixth video of the Elements Synthesizer which features the 'Send/Return' Jack on the back! I've coupled once again the somewhat ancient Yamaha RX-50 effector that I have here. Also used- a Korg Sq-10 sequencer and some of the MacBeth Mk1 5U modular units...I wanted to record this as I was pretty blown away by the hugeness of sound! Again- whilst plying the Elements- it's the control/tactile feel of the larger controls that makes this thing very instrumental/mental!"
VIDEO7: DRONE- LIKE! MacBeth Elements Synthesizer
Published on Apr 14, 2014 macbethsynthesizers·112 videos
"I recently got asked to do a drone-like video of the Elements Synthesizer.....! So, here I go- can't keep my hands off the synth though! Also included- some sample and hold from the Mk1 Modular....again, I've put the vintage Yamaha RX-50 in the effects loop instead of the Spring Reverberastion Tank!....and indeed, that curatain needs fixed!"
Thursday, September 04, 2014
BLUE-II goes to Hollywood... with composer/producer Paul Haslinger!

- Paul Haslinger, 2014 (composer/producer)
HOLLYWOOD, CALIFORNIA, USA: virtual instrument and plug-in developer Rob Papen Soundware is proud to announce that Hollywood composer/producer Paul Haslinger has added BLUE-II — an all-new reworking of the Dutch business’ breakthrough BLUE soft synth for Mac (OS X 10.6 or higher) and PC (Windows Vista, 7, and 8) — to his well-stocked, state-of-the-art studio setup...
Self-confessed synth freak and world-renowned sound designer Rob Papen is no stranger to rave reviews with his popular namesake range of virtual instruments and effects plug-ins, a music technology ‘tradition’ that continues unabated to this day with BLUE-II, the latest soft synth to bear his highly-regarded name, one which has been busy making musical waves on both sides of the Atlantic since its eagerly-anticipated springtime release earlier this year. “Rob Papen has made a name and sound for himself in the soft synth world,” pronounces Paul Haslinger, himself held in high regard as an in-demand composer/producer.
Across the Atlantic, Haslinger has been busy making a distinguished name for himself in Hollywood film and television circles, thanks to his unique approach to sound, blending electronic and acoustic elements into his scores with a sizeable body of work ranging from the Emmy- and Golden Globe-nominated TV series Sleeper Cell and historic action movie The Three Musketeers through to the captivating sci-fi thriller Underworld: Awakening and beyond.
In truth, Haslinger himself is no stranger to the wonderful world of synths and sampling with which he first found fame and (good) fortune in the mid-Eighties to early-Nineties as a former pivotal member of Berlin-based German electronic trailblazers Tangerine Dream, extensively touring the world and scoring several significant soundtracks in the process, pioneering the use of computer- based sequencing on stage and in the studio before gravitating towards the Hollywood Hills. Which is exactly why he is arguably better qualified than most to professionally pass judgement on BLUE-II — and at a time when his highflying career sees him tipping his musical hat towards his Eighties electronic roots while scoring engrossing Eighties computer drama Halt And Catch Fire (scheduled to return to TV screens next summer). “BLUE-II is a revelation in realtime sound control and depth of programmability, and, as such, is perfectly suited to EDM-specific needs,” notes the trailblazer-turned-Tinseltown-worker, whose exemplary ears were first attuned to BLUE-II’s blue sky thinking during a personal demonstration at the 2014 NAMM Show in Anaheim, California. Completing the soft synth’s generous sound banks back in Holland ready for release, Papen was moved to name one of its 3,200 phenomenal presets ‘Haslinger’s Move’ so the admiration is evidently mutual!
Basically, BLUE-II excellently embodies Rob Papen’s present-day vision to devise a powerful dream synth by building upon the success of the original BLUE, a bona fide soft synth classic developed in close collaboration with RPCX (Rob Papen ConcreteFX) partner and music software developer Jon Ayres nigh on a decade ago — cleverly combining FM and subtractive synthesis with Phase Distortion and waveshaping synthesis to create ‘Crossfusion Synthesis’ — and skyrocketing its innovations onwards and upwards... quite literally into the blue, too! Taking the useful XY pad features from its popular Blade brethren — a state-of-the-art additive soft synth powerhouse with a helpful human touch — and transplanting them into its own out-of-this-world workflow, together with six oscillators beating powerfully at its musical heart alongside two analogue-style modelled stereo filters with no fewer than 27 different filter types, an astounding array of processing and modulation options, serious sequencer, and an amazing arpeggiator, BLUE-II is perfect for time- based movements and vector-type sounds like no other. Scoring films need never be the same again!
Little wonder, then, that Haslinger has seen (and heard) the (musical) light. Let BLUE-II lend a helping hand to trade new dreams for old, Tangerine-tinted or otherwise. And who knows? Those Hollywood Hills could come calling and a musical move might well be on the cards... if you play them right. Just ask Paul Haslinger!
BLUE-II can be purchased as a boxed version from authorised Rob Papen dealers worldwide for €149.00 EUR (including VAT/tax)/$179.00 USD or downloaded directly from Rob Papen here: http://www.robpapen.com/buy-blue-2.html (BLUE owners can upgrade to BLUE-II for €44.00 EUR/$49.00 USD.)"
Friday, April 17, 2009
NUSofting Strings Dream

"Strings Dream is able to reproduce the infinite array of rich, analogue pads from the most famous strings machines in synthesizer history. Emulate the classic Eminent Solina as well as its sister keyboards from Elka, Crumar and even their Japanese cousins.
"Strings Dream Synthesizer" will be released in May 2009 first as VST plugin and later as AU. Extimated price 89 USD
Nice intro to strings machines features and history Check it out! [excerpt below]
SDS GUI screenshot Check it out!
First beta recording Check it out!"
"'Strings Dream Synthesizer' writings for docs,
2009 Luigi Felici nusofting.com
Edited by Scot Solida and Cj
About Strings Machines.
A remarkable number of musicians recognize the desirable sonic character of “string machines”. String machines were unique to the Seventies and nearly every major manufacturer offered some variation on the theme. ARP’s biggest selling instrument was in fact their Omni, an instrument that combined a string machine with a simple synthesizer. Even Moog got in on the act with their Opus 3.
Just as the Rhodes piano and Hammond organs were intended as portable solutions to musicians who desired the sound of more cumbersome (and expensive) instruments, string machines were seen as the gigging musician’s alternative to the orchestra. Or, at the very least, it was easier to carry around than a Mellotron! Of course, the string machines didn’t sound like an orchestra, but had a character that today’s musicians find quite appealing on its own merits.
Thursday, April 11, 2013
UVI© Digital Synsations - Yamaha SY77, Korg M1, Roland D50 & Ensoniq VFX
Digital Synsations | Official Trailer UVI©
Published on Apr 11, 2013
❐ Buy Digital Synsations : http://bit.ly/digital-synsations
❐ UVI Official Website : http://www.uvi.net
❐ UVI Official Blog : http://blog.uvi.net
"A brand-new massive library inspired by four 90s classic keyboards -- the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations
Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.
We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.
If you're looking for a new take on the 90's sound, or just some new classic synth inspiration then look no further.
———————————————————————————
* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners.
** iLok required"
"UVI introduces a massive library inspired by four 90s classic keyboards – the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations
A NEW BREED
In the late 80's and early 90's the synthesizer landscape began to change. A new breed of keyboards began appearing in shops, records and on stage; matte black behemoths eschewing the familiar knob arrays for uniform clusters of discrete buttons and glowing green LCD screens. They signaled more than a shift in interaction with our musical counterparts‚ they ushered in the era of the digital synth.
To those willing to forgo the immediacy and ease-of-editing of the analog synth world these keyboards offered amazing features for the time; massive polyphony, extensive on-board sequencers and pattern memory, removable storage and digital effects. In addition to the immediate benefits of digital processing some of these keyboards also dawned innovative hybrid synthesis techniques, combining sample playback with classic methods allowing synthesists and musicians the opportunity to explore new sonic territory.
4 CLASSICS, MASSIVE PATCH LIBRARY
The possibilities with a few of these classics was more than we could bear and became the inspiration for our new project, Digital Synsations. We took 4 classic keyboards from the era and set our sound designers loose, tasking them to return with boundary-pushing sounds‚and they did. Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.
PRISTINE SOUND, DEEPLY EDITABLE
We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.
If you're looking for a new take on the 90's sound or just some new classic synth inspiration then look no further.
SYNSATIONAL INSPIRATIONS
The SY77 combines next generation FM synthesis with 16-bit sampled sounds from internal memory or stored on removable ROM cards. The AFM engine on these synths allows you to freely apply filters and envelopes to any of the sampled sounds and then roll the resulting waveforms back into the FM algorithm prior to further filtering. This novel approach, dubbed RCM hybrid synthesis, can be used to yield extremely versatile sonic results.

The M1 employs AI (Advanced Integrated) synthesis, a hybrid synthesis engine that allows the creation of sounds made up of 16-bit multisamples or harmonic tables generated from by digital analysis from sample data similar to additive synthesis. These methods can be employed in parallel for even greater sonic diversity.
The VFX used a wavetable like synthesis method similar to that of the PPG Wave. Up to 6 waves can combined and layered into a single patch which feeds an impressive array of dual multi-mode filters, three 11-stage envelopes, an LFO and a 24-bit effects processor. Advanced parameter mapping allows up to 15 sources to be used for extremely complex modulations and sound shaping.
The D50 provided a purely digital signal path allowing the combination of 8-bit PCM samples with linear arithmetic synthesis to produce single hybrid sounds or complex cross modulations between the two. Furthermore you could layer two of these sounds together into a patch for a total of 4 digital OSCs. Each OSC could be independently programmed resulting in a remarkable variety of tonal possibilities.
* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners."
Published on Apr 11, 2013
❐ Buy Digital Synsations : http://bit.ly/digital-synsations
❐ UVI Official Website : http://www.uvi.net
❐ UVI Official Blog : http://blog.uvi.net
"A brand-new massive library inspired by four 90s classic keyboards -- the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations
Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.
We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.
If you're looking for a new take on the 90's sound, or just some new classic synth inspiration then look no further.
———————————————————————————
* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners.
** iLok required"
"UVI introduces a massive library inspired by four 90s classic keyboards – the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations
A NEW BREED
In the late 80's and early 90's the synthesizer landscape began to change. A new breed of keyboards began appearing in shops, records and on stage; matte black behemoths eschewing the familiar knob arrays for uniform clusters of discrete buttons and glowing green LCD screens. They signaled more than a shift in interaction with our musical counterparts‚ they ushered in the era of the digital synth.
To those willing to forgo the immediacy and ease-of-editing of the analog synth world these keyboards offered amazing features for the time; massive polyphony, extensive on-board sequencers and pattern memory, removable storage and digital effects. In addition to the immediate benefits of digital processing some of these keyboards also dawned innovative hybrid synthesis techniques, combining sample playback with classic methods allowing synthesists and musicians the opportunity to explore new sonic territory.
4 CLASSICS, MASSIVE PATCH LIBRARY
The possibilities with a few of these classics was more than we could bear and became the inspiration for our new project, Digital Synsations. We took 4 classic keyboards from the era and set our sound designers loose, tasking them to return with boundary-pushing sounds‚and they did. Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.
PRISTINE SOUND, DEEPLY EDITABLE
We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.
If you're looking for a new take on the 90's sound or just some new classic synth inspiration then look no further.
SYNSATIONAL INSPIRATIONS
The SY77 combines next generation FM synthesis with 16-bit sampled sounds from internal memory or stored on removable ROM cards. The AFM engine on these synths allows you to freely apply filters and envelopes to any of the sampled sounds and then roll the resulting waveforms back into the FM algorithm prior to further filtering. This novel approach, dubbed RCM hybrid synthesis, can be used to yield extremely versatile sonic results.

The M1 employs AI (Advanced Integrated) synthesis, a hybrid synthesis engine that allows the creation of sounds made up of 16-bit multisamples or harmonic tables generated from by digital analysis from sample data similar to additive synthesis. These methods can be employed in parallel for even greater sonic diversity.
The VFX used a wavetable like synthesis method similar to that of the PPG Wave. Up to 6 waves can combined and layered into a single patch which feeds an impressive array of dual multi-mode filters, three 11-stage envelopes, an LFO and a 24-bit effects processor. Advanced parameter mapping allows up to 15 sources to be used for extremely complex modulations and sound shaping.
The D50 provided a purely digital signal path allowing the combination of 8-bit PCM samples with linear arithmetic synthesis to produce single hybrid sounds or complex cross modulations between the two. Furthermore you could layer two of these sounds together into a patch for a total of 4 digital OSCs. Each OSC could be independently programmed resulting in a remarkable variety of tonal possibilities.
* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners."
Monday, April 04, 2011
New KORG Monotribe In the Flesh

via KORG
Click each image for the full size shot.
"Analogue Ribbon Station"
This one in via Soviet Space Child

"Korg Monotribe Analogue Ribbon Synthesizer Station


True Analog Synthesis
The monotribe's sound engine uses technology old and new, merging the powerful sound of analog synthesis with the dexterity and playability required in today's groove making environments. Analog technology is essential for fast and responsive control, and delivers the full sonic spectrum from warm and easy-going to full-throttle rampage.
Three-Part Analog Drums
The monotribe provides a three-part rhythm section powered by discrete analog circuitry; bass drum, snare, and hi-hat. These three sounds were the key elements in a generation of analog beat making, and are still in demand today. Use these powerful drum sounds to generate distinctive beats attainable only from the monotribe.
Tuesday, January 10, 2017
Moogfest 2017: Program Themes & Lineup Announcement
Just a heads up, the lineup for Moogfest 2017 has been announced. As always, check out moogfest.com for full details on the event. The following is a small capture for the archives via the Moogfest newsletter.
"Hailed as 'the most adventurous and cutting edge' festival of 2016, Moogfest returns with a commitment to futurist conversations and performances that wrestle with our historic moment, and reflect on the festival’s home in North Carolina.
In celebration of its 11th iteration, Moogfest will unveil its lineup over the next 11 weeks through their weekly “Future Thought Future Sound” email newsletter, inviting the Moogfest community to explore program themes like Transhumanism, Techno-shamanism and Protest.
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH