Oberheim Introduces the TEO 5 Desktop Module

video upload by Oberheim Official

"The TEO-5 desktop module delivers the same signature sounds and synthesis features as its acclaimed keyboard counterpart. With genuine analog oscillators, the Oberheim SEM™ filter, and an intuitive knob-based interface, it fits seamlessly into your setup, offering powerful, hands-on control in an even more compact size.

Music by Peter Dyer
All sounds from TEO-5

Learn more at https://oberheim.com/products/teo-5/"


Press release follows:

Compact Creativity: Redefine Your Studio with the TEO-5 desktop

San Francisco, CA – [July 1, 2025] – Oberheim is proud to announce the release of the TEO-5 desktop module, a compact yet powerful addition to their venerated line of synthesizers. Designed for musicians and producers who want the iconic Oberheim sound in a space-saving format, the TEO-5 desktop module delivers all the same signature sounds and synthesis features as its sibling, the acclaimed TEO-5 keyboard.

TEO-5 boasts genuine analog oscillators and the legendary SEM™ multimode filter, allowing users to recreate the classic Oberheim sounds that have shaped decades of music. With extensive modulations, including linear, through-zero FM, and modern effects, the TEO-5 desktop module offers new sonic frontiers to explore.

The intuitive knob-based experience of its keyboard counterpart is also carried over into the TEO-5 desktop module. And all synthesis features are still easily accessible from the top panel, allowing users to make the real-time adjustments needed to fine-tune their sound with ease. This hands-on approach ensures that musicians can quickly dial in the perfect Oberheim tone for their music.

Ideal for synthesists with limited studio space, the TEO-5 desktop module provides all the exceptional presets and sonic control of the keyboard version in a footprint that's less than half the size. This compact design allows the TEO-5 desktop module to fit seamlessly into any creative workflow, making it a versatile addition to any setup.

“The meaning of the word ‘module’ has changed quite a bit since I first designed my Synthesizer Expansion Module or SEM back in 1974,” said Tom Oberheim. “But even back then, musicians appreciated getting tons of great sounds in a compact package. The TEO-5 keyboard has already gone farther and wider than SEM, and I’m excited to see this desktop module version introduce even more people to the magic.”

The TEO-5 desktop module is available now, with a US MAP price of $1,399.

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NRSynth's SEM Module - The "Solo": An "Extended" Version of the SEM

video uploads by Séraphin PALMERI

Playlist:

1. "Pink Floyd On The Run" Module SEM NRSynth

"On The Run" de Pink Floyd avec un clone amélioré du module SEM d'Oberheim, fabriqué par NRSynth, une lutherie éléctronique made in France #pinkfloyd #ontherun #oberheim #sem #NrSynth

2. Tangerine Dream Intro "Ricochet Part 1"

Le module SEM de NRSynth est vraiment parfait pour reproduire l’intro de « Ricochet Part 1 » de Tangerine Dream. https://nrsynth.fr

3. Module SEM NrSynth Démo 1

00:00 Midnight Express
00:57 Star Cycle
01:41 Dervish D.
02:06 Stranger Things
02:44 Il était une fois le Prophet

4. Module SEM NRSynth Démo 2

00:00 Basse 1
00:13 Basse 2
00:26 Fun For Me
00:38 ABACAB
00:54 Welcome To The Machine
01:24 Caverne
02:33 Tange FX
02:49 Chinox
03:04 Percox

5. Tangerine Dream « Monolight (Part 2) » With the Sequential Prophet 6 & Korg Kronos



Details via NRSynth (Google translated)

Oberheim Legacy: In 1974, Tom Oberheim imagined a small synth as an accessory to his DS-2A digital sequencer. But it was Dennis P Collins, a gifted ARP engineer, who designed the multimode filter of the Synth Expander Module (SEM). This unique filter is a 12 db filter that cannot deny its lineage with the ARP 1047 (ARP 2500) and ARP 2023 (white Odyssey MK1) filters, 12 db filters also designed by Dennis P Collins. With two very fat VCOs and a devastating sync (also close to the Odyssey VCOs), the small SEM offers a powerful sound, very present in the mix and very different from Moog and other synths with 24 db filters. So despite its simplicity and a filter that does not enter self-oscillation, we can get a lot of sounds out of it. Accessible and easy to use, the SEM is a success. In 1975, Tom paired first two, then four, into a huge keyboard case, creating the first "true" polyphonic instrument in history, the "Four Voices." In 1976, the SEM was even expanded to eight. Nicknamed the "White Elephant," its sound was as enormous as the instrument itself! But in 1978, the brilliant Prophet-5 made it obsolete, and Tom designed the OB-X, whose channel cards were also clones of the SEM. Subsequently, the OB-XA and OB-8 used Curtis chipsets and no longer had quite the same sound. In 2010, Oberheim reissued the SEM identically, but with all surface-mount components. In 2011, the SEM PRO added just a MIDI interface.

NRsynth "Solo": This is an "extended" version of the SEM, handcrafted with traditional through-hole components. Only the envelopes have been modified for a punchier result; the rest is identical to the original synth. Additionally, the Solo features a sub-oscillator, a glide, white noise, and many more modulation options than the SEM. MIDI velocity is also supported. Finally, the white metal case gives way to a luxurious, classically crafted cabinet with waxed oak sides and black tolex, similar to a Marshall amp.

A patchbook of all Séraphin Palmeri's sounds is included with the device.

Specifications:

VCO: Two discrete VCOs with hard sync, saw, pulse + PW (same as SEM)
Sub-oscillator: Pulse wave – 1 octave below VCO1.
Noise: 100% analog white noise
Multimode 12 dB filter: Same as SEM with LPF, HPF, notch, and bandpass mode. VCA: Analog (same as SEM)
LFO: Analog, triangle wave (same as SEM)
Envelopes: Analog (same as Pro-1) with deactivatable "Release".
Digital LFO: 8 waveforms + tilt, 3 frequency ranges, sync.
Sample and Hold: Analog, sync.
Glide: Analog portamento circuit at the input.
Patchbay: 15 I/O points on 3.5mm jacks (Eurorack compatible).
Rear Connections: Audio I/O and sync on 6.35mm jacks. Reset button.
Dimensions: 30x24x15 cm

Price: €1,390

Arturia updates Oberheim SEM V and Wurlitzer-V Analog Classics

"GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of Oberheim SEM V 1.1.6 and Wurlitzer-V 1.0.5, the latest updates to its software recreations of the classic Oberheim Synthesizer Expander Module® and Wurlitzer EP 200A electric piano...

These free updates bring performance, stability, and MIDI improvements to two of Arturia’s most popular Analog Classics, the Oberheim SEM V and Wurlitzer-V, respectively released to critical acclaim in 2011 and 2012. The best just got a whole lot better!

Using Arturia’s TAE® (True Analog Emulation) technology, Oberheim SEM V faithfully reproduces the analogue warmth and ingenious interface of the classic Oberheim Synthesizer Expander Module® (SEM) to which it owes its inspiration and name. Created by legendary synth designer Tom Oberheim back in 1974, the dual-oscillator SEM was originally conceived as a way of beefing up weaker-sounding compatible analogue monosynths of the time before becoming a sought-after sound in its own right — so much so that its American creator came up with a series of successive SEM-based instruments, first pairing up two SEMs with a 37-note keyboard and a simple analogue sequencer to form the Two Voice, Oberheim’s first compact, programmable, polyphonic synthesizer in 1975, followed by the larger Four Voice (featuring four SEMs) in 1976 and enormous Eight Voice (eight SEMs) in 1977. Though these instruments were groundbreaking, polyphony was achieved with multiple SEMs so each voice/module had to be programmed independently, which was quite a daunting task — even by somewhat shaky Seventies standards!

But that was then, this is now. Today, Arturia’s eight-voice, MIDI-controllable, multitimbral Oberheim SEM V software solution brings many more truly 21st Century developments to the table — or even desktop (or laptop)! Additional ARPEGGIATOR, PORTAMENTO, SUB OSC, LFO 2, OVERDRIVE, CHORUS, and DELAY parameters, plus an in-depth Modulation Matrix module, all combine to considerably widen its sonic palette and appeal above and beyond merely mirroring the original Oberheim SEM hardware. Oberheim SEM V valiantly does that, too, of course — right down to replicating the behaviour of Oberheim’s original multi-SEM synths’ specific voice assignment and triggering, thanks to its advanced ‘fold-out’ 8-Voice Programmer, for example.

Arturia has taken a different approach with Wurlitzer-V, however. Unlike traditional sampling libraries, its embedded physical modelling engine readily reproduces the agreeable acoustic properties of the well-known Wurlitzer EP 200A electric piano’s musically distinctive reeds, key action, and amplification characteristics by ‘constructing’ played notes in real time. In doing so, it realistically recreates a staple sound of the Seventies in a cost-effective performance package fit for 21st Century compositions.

Yet those beloved bright and overdriven ‘Wurly’ sounds so ingrained in popular music culture thanks to artists as musically diverse as The Beatles, Supertramp, and Marvin Gaye are as much down to a creative combination of admirable amplification, mic placement par excellence, and precision processing, with multiple analogue chorus, phasing, and tape echo units often being used to fashion a deeper, luscious tone. Which is exactly why Wurlitzer-V effectively places its users in an authentic-sounding Seventies-style recording studio, complete with classic tube amp emulations, modelled mics, and stompboxes galore — everything needed to achieve that vintage vibe, in fact. But that’s not all. Alongside additional in-depth performance parameter controls, Wurlitzer-V also lets users choose between three output modes — Studio, Stage, and Rotary, each with a distinctly different sound.

Anyone wishing to transport those tricky still-sought-after sounds of the Seventies screaming and kicking into the convenience of present- day DAW-based workflow simply owe it to themselves to check out Oberheim SEM V 1.1.6 and Wurlitzer-V 1.0.5 — now better than ever, thanks to those latest updates!

Oberheim SEM V and Wurlitzer-V can each be bought from the Arturia online store (http://www.arturia.com/evolution/en/buy/online-shop.html) as software downloads for €99.00 EUR/$99.00 USD or as boxed versions for €119.00 EUR/$129.00 USD.

Existing Oberheim SEM V and Wurlitzer-V users can download the latest updates for free from here: http://www.arturia.com/evolution/en/downloads/updates.html"

Oberheim SEM SUB-oscillator Mod

video upload by Eric Beam

Also see this post.

"I saw this SEM SUB-oscillator floating around the internets and had to give it a go. 5 stars would go again. Available here from ‪@Lackan110f‬ https://reverb.com/shop/peters-gear-g..."

via this listing

Note the Marion Systems logo on the board. As readers of the site likely know, Marion Systems was Tom Oberheim's follow-up company after Oberheim.

"SUB-oscillator module for the New Oberheim SEM Pro (2009). Installation is very simple, you just have to solder one wire to the +15V point and then attach three connectors.

The +15V point can be located in various places depending on if it is a Marion or Oberheim, and also what model it is. So a multimeter is recommended to verify +15V.

This will give you a -1 octave SUB-oscillator using the EXT-IN knob #1, or a -2 octave SUB-oscillator using the EXT-IN knob #2.

You can also mount it so that you keep EXT-IN on #1 and have SUB -1 OCT on #2 (SUB -2 OCT is then omitted). Se illustration.

Does NOT work in an older vintage SEM (1974-1979) due to different connectors. (the video shows a vintage SEM, but this product is for the New TOM SEM Pro 2009)"

CLICK FOR MORE »

SUB Oscillator for the Oberheim SEM Module

video upload by Lackan

"This is a demo of a SUB Oscillator for the Oberheim SEM Module. It is very easy to install using the Molex connectors, thus being totally harm free to the Oberheim SEM. Available at www.usefulsynthcircuits.com"

Introducing the Dave Smith Instruments Pro 2

Published on Jun 19, 2014 Dave Smith Instruments·26 videos

Update: DSI eurorack filter module at 5:00. Also note the multiple 1/8" CV Ins & Outs on the back of the Pro 2.  Some conversation on The MATRIXSYNTH Lounge.

"Special thanks to Peter Dyer (http://peterdyer.net).

One Voice to Rule Them All
Dave Smith calls the Pro 2 his "most powerful mono synth ever." It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word "fat."

Full info and specs: http://www.davesmithinstruments.com/p..."

"One Voice to Rule Them All
Dave Smith calls the Pro 2 his 'most powerful mono synth ever.' It shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. The Pro 2 raises the bar for mono synths and redefines the word 'fat.'

A New Classic for a New Generation
The Pro 2 is a fusion of classic analog synthesizer design and cutting-edge digital technology. It boasts four high-resolution digital oscillators, plus a sub oscillator. The oscillators produce both classic and complex wave shapes and can frequency and amplitude modulate each other in any operator and modulator configurations you choose for harmonically-rich FM and AM sounds. A set of Character controls adds high and low frequency boost, bit and sample rate reduction, and tape saturation emulation to the Pro 2's sonic palette.

Two New Filters Based On Vintage Designs
At the heart of the Pro 2's gutsy sound is its all-new dual filter design. Filter 1 is a 4-pole low-pass design inspired by the original Prophet-5 filter. Filter 2 is a state-variable design inspired by the Oberheim SEM and can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. The two filters function in either serial or parallel, or anywhere in between. Two of the four oscillators can be routed through Filter 1 with the other two routed through Filter 2 for a broad range of tonal possibilities.

Advanced Sequencing
One of the most exciting features of the Pro 2 is its sequencer—possibly the most powerful step sequencer ever designed for a synth. With up to 32 steps and 16 tracks, it provides real-time input, rests, and variable-length sequences. It also syncs to MIDI clock and external audio input. Sequence tracks can control any parameter in the Pro 2's extensive modulation matrix.

Plays Well With Modulars
The Pro 2's flexible architecture opens the door to not only processing external audio, but also to interfacing with modular synths through its 4 rear-panel control voltage inputs and outputs and a dedicated gate output. Control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. Some of the many parameters that can be sent to the CV outputs include oscillators, LFOs, envelopes, and sequencer tracks, making the Pro 2 a natural choice for the center of your studio or live setup.

Delays, Envelopes, LFOs, Arpeggiator, and a Multitude of Modulation
The Pro 2's delay section provides three digital delays with pan, and high-pass and low-pass filtering controls. A fourth delay is a digital bucket-brigade delay (BBD) for analog-style effects. There are four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a full-featured arpeggiator, and a sixteen slot modulation matrix with dozens of modulation sources and destinations.

Monophonic by Design, Paraphonic by Choice
The Pro 2 was designed primarily as a super-powerful monosynth, but it’s also a true, four-voice paraphonic synth that allows you to control each of its four oscillators individually with their own envelope. This makes playing four-note chords not only possible, but very expressive.

Package all of this power in a three-and-a-half octave, semi-weighted keyboard with velocity and channel aftertouch, add two backlit pitch and mod wheels and two location and pressure sensitive touch sliders, and you've got one of the most feature-rich, awe-inspiring synthesizers ever created."

Specs:

CLICK FOR MORE »

Arturia Releases iSEM - Eight Voice System Polyphonic Oberheim SEM for iPad

iSEM Tutorial Published on Oct 9, 2013 Arturia Web·90 videos

Update: Intro video:

iTunes: Arturia iSEM

"iSEM is compatible with iPad 2 and later, iPad with Retina Display and iPad mini.

Apple’s Inter-App Audio connectivity (requires iOS7), AudioBus, Korg’s WIST and Apple’s CoreMIDI are all supported.

DESCRIPTION
iSEM is a recreation of the classic 1974 Oberheim SEM (Synthesizer Expander Module), one of the world's first self-contained synthesizer modules and the first to bear the "Oberheim Electronics" name.

The Oberheim SEM was made famous by artists and bands such as Lyle Mays, Jan Hammer, Joseph Zawinul, Supertramp, 808 State, Vince Clarke and Depeche Mode.

Based on the TAE® technology found in our Oberheim SEM V software, iSEM brings back the sound and special characteristics of this iconic synth in an sonically accurate and expanded touch-based emulation.

What you can do with the iSEM?

The iSEM is a powerful instrument capable of producing a wide range of warm analog sounds.

Reproducing the unique SEM architecture, with its oscillator sync, characteristic filter shape and specific envelope response, the iSEM is able to generate the fat basses that have made the Oberheim brand so popular. Thanks to its simple and clever PW and pitch modulations, it is also very easy to produce moving and lively leads.

Its remarkable 12 dB/oct multimode filter is a real blast from the past, becoming an awesome weapon in the context of current electronic music. This unique module can instantly tailor your sound to fat, crisp, or spectral textures with access to all the nuances in between…

iSEM comes with over 500 sounds that you can browse through and play. You can also easily create your own sounds with the easy to use interface.

Play iSEM's numerous sounds from the iPad keyboard or control iSEM from a MIDI keyboard or other app via CoreMIDI and integrate it into your studio or live performance.

If you are an owner of of the Arturia SEM V software on your Mac or PC, you can even import and export sounds between your laptop or desktop SEM V and iSEM.

FEATURES
All the original parameters of the Oberheim SEM: two oscillators, each offering sawtooth wave and variable-width pulse wave with PWM, sine wave LFO, 12dB/oct multi-mode Filter with low-pass, high-pass, band-pass and notch, two ADS envelope generators.

Added functionalities: New LFO, Noise, Sub oscillator, Arpeggiator, Portamento.
Polyphonic playability
8 Voice Programmer module allows each voice to have different settings
HOLD and CHORD modes.
Virtual Analog Chorus.
Virtual Analog Delay.
Full user MIDI mapping of panel controls.
Supports WIST sync to other iOS devices.
Supports AudioBus and Apple’s Inter-App Audio connectivity (requires iOS7).

The Oberheim™ name used here is a trademark of the Gibson Guitar Corp. The trademark is used by license to Arturia."

Dave Smith Officially Announces The OB-6 Desktop Analog Synth Module

We first saw the desktop in DSI's recent Tweet here. We now have some hi-res pics and the official details from Dave Smith Instruments. As always, click the images for the full size shots.

"Hello from Nashville!

Dave Smith Instruments is at Summer NAMM, where we’re debuting our newest synth — the OB-6 Module, a desktop version of our acclaimed collaboration with Tom Oberheim. Come see us in booth #331 and check it out!

Here are the details:

Dave Smith Announces OB-6 Desktop Analog Synth Module

Desktop Version of Tom Oberheim/Dave Smith Synth Collaboration to Ship in Early Fall

San Francisco, CA—June 23, 2016—Dave Smith Instruments LLC today announced that they will begin shipping a desktop module version of their acclaimed OB-6 six-voice analog synthesizer in the early fall. Like the keyboard version, it boasts a sound engine inspired by Oberheim’s original SEM and features an all-analog signal path with discrete VCOs, VCAs, and filters. The knob-per-function front panel offers immediate access to virtually all parameters.

As Dave Smith explained: 'The OB-6 has met with unprecedented approval from across the music industry. In just the four months since its release, it’s been adopted by an extraordinary number of artists and is already appearing in projects across the world.' Added Smith: 'We wanted to make the desktop version available as quickly as possible to make it even easier for musicians to take it on the road or into the studio. We made it a priority that the desktop version retain the same powerful sound, and easy-to-use front panel interface as the keyboard version.'

Smith continued:
“We’ve also added a poly chain feature so that any two OB-6s can be paired for 12-voice polyphony. That is a monstrously big sound.”

The essence of OB-6’s vintage sound is its discrete voltage-controlled oscillators (plus sub-oscillator) and discrete, state-variable filter, both based on the classic Oberheim SEM (the core of Tom Oberheim’s acclaimed 4-voice and 8-voice synthesizers). Voltage-controlled amplifiers complete the all-analog signal path. Said Tom Oberheim: “The desktop module sounds every bit as good as the OB-6 keyboard because, on the inside, it’s exactly the same — the same VCOs, VCFs, and VCAs and the same big, in-your-face SEM sound that people have always loved.”

The module weighs approximately 13 lbs (5.9 kg) and measures 20.75” L x 7.8” W x 4.4” H (52.0 cm x 19.8.cm x 11.2 cm).

The OB-6 desktop module will be available in the early fall with a projected MAP of $2,299."

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.

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Studio Electronics Eurorack Modules

Note: Auction links are affiliate links for which the site may be compensated.

via NOISEBUG Reverb

Note auction links are affiliate links. See the site's privacy policy for more info.

"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."

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Analogue Solutions Ships New Nyborg-12 Analog Mono Synth

First announced back in November, the new Analogue Solutions Nyborg-12 is now available.

"Analogue Solutions ships space-saving real analogue monosynth module with SEM-style filter

KINGSWINFORD, UK: British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce availability of its all-new Nyborg-12 — an Oberheim SEM-style 2-Pole 12dB/Octave MULTIMODE FILTER-equipped standalone monophonic synthesiser module with real analogue voice and modulation circuitry — as of February 4...

An analogue renaissance has ensured that the one-time state-of-the-art sounds of analogue synthesisers have long since become highly sought after again. Why? Well, many musicians realised that the convoluted menu-driven access systems deployed on many ‘modern-day’ digital synthesisers with weaker sounds bathed in built-in effects are no substitute for the hands-on immediacy of having access to a control per function at hand when it comes to speedy sculpting of ear-opening and often powerful electronic sounds suited to a variety of musical genres. With more mainstream recording artists and producers than ever now relying on custom sounds as a result of this rising and renewed interest in analogue (subtractive) synthesis, is it any wonder, then, that yesteryear’s often wonderful-sounding (though not necessarily reliable) analogue classics are rapidly rising in value, pushing them out of reach of many musicians of more meagre means? Meeting this demand head on, more analogue synthesisers than ever before are available today from manufacturers both bigger and smaller. Into this healthy and highly-competitive climate comes Analogue Solutions’ latest analogue offering, the Nyborg-12 SEM synthesiser — so-called on account of its 2-Pole 12dB/Octave MULTIMODE FILTER, the same flexible filter with LP (lowpass), BP (bandpass), HP (high pass), and NOTCH settings that is used on Analogue Solutions’ own Telemark SEM semi-modular synthesiser, similar (though not identical) to Tom Oberheim’s original 1974-vintage SEM (Synthesizer Expander Module®), much sought after itself.

So what makes Nyborg-12 so special so that it stands out from the sound of the synth crowd? To put it bluntly, there are analogue synthesisers and then there are real analogue synthesisers. As Nyborg-12 proudly states on its rugged steel/aluminium casing for all to see (and hear): REAL ANALOGUE VOICE & MODULATION CIRCUITS

But what does that actually mean? Meaningfully, apart from its high-quality 16-bit DAC (Digital-to-Analog Convertor) for MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion (which, by its very nature, has to be digital), Nyborg-12 is absolutely analogue through and through, hand built (by humans) using real transistors and op-amps. Unlike other so-called analogue synths you’ll find no CPU-stabilised and quantised circuits, DCOs (Digitally-Controlled Oscillators), digital LFOs (Low Frequency Oscillators), or digital EGs (Envelope Generators) hiding here, thank you very much! Instead its circuitry is based on tried-and-tested, distinctive-sounding designs dating back to the mid-Seventies, so Nyborg-12 sounds suitably vintage in character. Cast aside those bland-sounding digital synths and DSP-based soft synths and dial in Nyborg-12 whenever fat basses, screaming leads, bleeps, zaps, and all manner of other sounds and effects associated with subtractive synthesis are the musical (and not-so-musical) order of the day (or night)!

Speaking of dials, Nyborg-12 boasts an abundance of high-quality, smooth potentiometers, fully sealed against dust intrusion, together with high-quality knobs with spun aluminium caps — all as appealing to look at as they are to turn! Two super-stable VCOs (Voltage-Controlled Oscillators) — each providing a whole host of options and MODULATION sources — are available to start turning the most adventurous analogue musical dreams into reality. Thereafter, Nyborg-12 continues to follow the traditional, well-trodden analogue synthesiser signal path with its distinctive-sounding 2-Pole 12dB/Octave MULTIMODE FILTER; AUDIO MIXER (VCO 1, VCO 2, NOISE/SUB); LFO (Low Frequency Oscillator) with triangle and square wave modulation signals and MODE switch to route CV2 (velocity control voltage) or S+H (Sample and Hold) signals to that 2-Pole 12dB/Octave MULTIMODE FILTER or those VCOs; VCA (Voltage-Controlled Amplifier), controllable from EG2 or GATE with BYPASS option (allowing Nyborg-12 to be used as an external effects processor) and CYCLE setting (so the envelope is constantly re-triggered by the LFO, allowing for hands-off sound effects); and ENVELOPE 1 (VCF) and ENVELOPE 2 (VCA). As such, it should feel familiar to anyone with a modicum of subtractive synthesis skills... so much so, in fact, that reading of its accompanying user manual may only be necessary for finer operational detail: “Do not use a carwash or jet wash to clean this synth.” Surely as good advice as you’re going to get from anyone anywhere!

And speaking of communicating with the outside world, with an intentionally easy yet effective MIDI implementation — CUTOFF control of Nyborg-12’s all-important 2-Pole 12dB/Octave MULTIMODE FILTER is available via MIDI velocity or a MIDI controller — and external CV (Control Voltage) sockets for PITCH1 (VCO), PITCH2 (VCO), CUTOFF (filter), GATE (to trigger the EGs), and EXT (for feeding an external CV to various circuits), DAW (Digital Audio Workstation) integration or working with an analogue step sequencer (such as Analogue Solutions’ own Oberkorn) is a breeze. Better still, simultaneous MIDI and CV operation is possible, so users could, for example, use an Oberkorn to play a little melody then transpose that step sequence using a MIDI keyboard controller (or MIDI sequencer). Child’s play? Perhaps.

Note Nyborg-12 can be user configured in various ways to save space to suit. Shipping as a vertically-orientated standalone monosynth module (much like its bigger brother, the Telemark), it is possible to rotate Nyborg-12’s front panel so that it can be used horizontally as a desktop device. Optional wooden side panels can be screwed to a single Nyborg-12 (from its inside so no ugly screws are visible) or to two Nyborg-12s that have been bolted together. It is also possible to rack-mount two Nyborg-12s that have been bolted together using the optional matching rack ears. Either way, Nyborg-12’s modified software allows two Nyborg-12s to be poly-chained together to play as a single two-voice polysynth. Four-voice polyphony is also available upon request for those looking to really push the boat out and purchase four Nyborg-12s, though one Nyborg-12 is still a very versatile, super-sounding, space-saving standalone monosynth module in itself. One that will serve any adventurous analogue renaissance man, woman, or child well for many years to come.

Nyborg-12 is available to order online directly from Analogue Solutions (http://analoguesolutions.com/nyborg-12/) for £599.00 GBP (plus tax and delivery) or through an authorised dealer, as are its optional rack ears (£19.00 GBP, plus tax and delivery) and wooden side panels (£39.00 GBP, plus tax and delivery).

See and hear an ear-opening ensemble of Nyborg-12s in full flight here:" [posted here - also see this demo]

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Analogue Solutions Announces Colossus #4

I almost skipped posting this as the only news here is there's a 4th production run of the Colossus. I guess it's interesting knowing how many are out there. What's also interesting is I always assumed the Colossus was either built in a limited initial run, or it was built per order only. This is a mammoth endeaver and each one costs 25,000 GBP which comes out to $35,000 US. It is $4500 less than this little Sennheiser VSM201 Vocoder!

Note, the images in this post appear to be stock. You can find demos of the Colossus in previous posts here.

Press release follows:
""Analogue Solutions announces forthcoming fourth run of Colossus supersized synth that trips back to the future of analogue

KINGSWINFORD, UK: following a showstopping showcase during its introduction at SynthFest UK 2019 in Sheffield, British boutique electronic instruments innovator Analogue Solutions is proud to announce a forthcoming fourth run of Colossus — its supersized synth that trips back to the future of analogue, albeit symbolising so much more than a powerful analogue ‘workstation’ with no fewer than 12 VCOs (Voltage-Controlled Oscillators) beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best by taking its design cues from the colossal classic that is the EMS Synthi 100, although no Synthi circuit was cloned or copied in making the destined-to-be-classic Colossus fit for a new generation of high-flying owners — as of February 15…

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Dave Smith Instruments Begins Shipping OB-6 Desktop Analog Synth Module

via Dave Smith Instruments

"Desktop Version of Tom Oberheim/Dave Smith Synth Collaboration Now Available

San Francisco, CA—September 1, 2016—Dave Smith Instruments LLC today began shipping a desktop module version of their acclaimed OB-6 six-voice analog synthesizer. It boasts a sound engine identical to the keyboard version, which was inspired by Tom Oberheim’s original SEM. It features an all-analog signal path with discrete VCOs, VCAs, and filters. Like the keyboard version, the knob-per-function front panel offers immediate access to virtually all parameters.

As Dave Smith explained: “The OB-6 has met with unprecedented approval from across the music industry. In just the six months since its release, it’s been adopted by an extraordinary number of artists and is already appearing in projects across the world.” Added Smith: “We wanted to make the desktop version available as quickly as possible to make it even easier for musicians to take it on the road or into the studio. We made it a priority that the desktop version retain the same powerful sound, and easy-to-use front panel interface as the keyboard version.” Smith continued: “We also added a poly chain feature so that any two OB-6s can be paired for 12-voice polyphony.”

The essence of OB-6’s vintage sound is its discrete voltage-controlled oscillators (plus sub-oscillator) and discrete, state-variable filter, both based on the classic Oberheim SEM (the core of Tom Oberheim’s acclaimed 4-voice and 8-voice synthesizers). Voltage-controlled amplifiers complete the all-analog signal path. Said Tom Oberheim: “The desktop module sounds every bit as good as the OB-6 keyboard because, on the inside, it’s exactly the same — the same VCOs, VCFs, and VCAs and the same big, in-your-face SEM sound that people have always loved.”

The module weighs approximately 13 lbs (5.9 kg) and measures 20.75” L x 7.8” W x 4.4” H (52.0 cm x 19.8.cm x 11.2 cm).

The OB-6 desktop module is available now with a MAP of $2,299."

Analogue Solutions Ships Nyborg-24

"Analogue Solutions ships space-saving real analogue monosynth module with ‘Moog-style’ filter

KINGSWINFORD, UK: British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce availability of Nyborg-24 — a ‘Moog-style’ 4 Pole 24dB/Octave LOW PASS FILTER- equipped standalone monophonic synthesiser module with REAL ANALOGUE VOICE & MODULATION CIRCUITS that essentially shares the same features (and the same form factor) as its white-faced Nyborg-12 ‘Oberheim SEM-style’ 2 Pole 12dB/Octave MULTIMODE FILTER-equipped sibling released to critical acclaim earlier this year — as of October 13...

The appropriately-named Nyborg-24 not only looks different to its appropriately-named Nyborg-12 synth sibling — thanks to their obviously opposing front panel colour schemes, but also sounds different — thanks to sharing the same ‘Moog-style’ 4 Pole 24dB/Octave LOW PASS FILTER found in the company’s critically-acclaimed Leipzig-S analogue monosynth/step sequencer (whereas the Nyborg-24 shares the same ‘Oberheim SEM-style’ 2 Pole 12dB/Octave MULTIMODE FILTER found in the company’s Telemark semi-modular analogue monosynth). Moreover, it is what these form factor- and feature-sharing synths have in common that makes them stand out from the analogue renaissance crowd, constantly swelling in numbers as it is. Indeed, as they both proudly state on their black (Nyborg-24) and white (Nyborg-12) rugged steel/aluminium casings for all to see (and hear): REAL ANALOGUE VOICE & MODULATION CIRCUITS

But what does REAL ANALOGUE VOICE & MODULATION CIRCUITS actually mean? Meaningfully, then, apart from its high-quality 16-bit DAC (Digital-to- Analog Convertor) for MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion (which, by its very nature, has to be digital), like Nyborg-12 before it, Nyborg-24 is absolutely analogue through and through, hand built (by humans) using real transistors and op-amps. Unlike other so-called analogue synths you’ll find no CPU-stabilised and quantised circuits, DCOs (Digitally-Controlled Oscillators), digital LFOs (Low Frequency Oscillators), or digital EGs (Envelope Generators) hiding here, thank you very much! Instead its circuitry is based on tried-and-tested, distinctive- sounding designs dating back to the late-Seventies, so Nyborg-24 sounds suitably vintage in character — surely destined for much praise by Analogue Solutions’ loyal customers. Cast aside those bland-sounding digital synths and DSP-based soft synths and dial in Nyborg-24 whenever a full range of synth leads, basses, excellent-sounding electronic percussion, and all manner of subtractive synthesis-derived sounds are the musical (and not-so- musical) order of the day (or night)!

Speaking of dials, Nyborg-24 boasts an abundance of high-quality, smooth potentiometers, fully sealed against dust intrusion, together with high- quality knobs with spun aluminium caps — all as appealing to look at as they are to turn! Two super-stable VCOs (Voltage-Controlled Oscillators) — each providing a whole host of options and MODULATION sources — are available to start turning the most adventurous analogue musical dreams into reality. Thereafter, Nyborg-24 continues to follow the traditional, well-trodden analogue synthesiser signal path with its distinctive-sounding 4 Pole 24dB/Octave LOW PASS FILTER; AUDIO MIXER (VCO 1, VCO 2, NOISE/SUB); LFO (Low Frequency Oscillator) with triangle and square wave modulation signals and MODE switch to route CV2 (velocity control voltage) or S+H (Sample and Hold) signals to that 4 Pole 24dB/Octave LOW PASS FILTER or those VCOs; VCA (Voltage-Controlled Amplifier), controllable from EG2 or GATE with BYPASS option (allowing Nyborg-24 to be used as an external effects processor) and CYCLE setting (so the envelope is constantly re-triggered by the LFO, allowing for hands-off sound effects); and ENVELOPE 1 (VCF) and ENVELOPE 2 (VCA). As such, it should feel familiar to anyone with a modicum of subtractive synthesis skills... so much so, in fact, that reading of its accompanying user manual may only be necessary for finer operational detail: “Do not use a carwash or jet wash to clean this synth.” Surely as good advice as you’re going to get from anyone anywhere!

And speaking of communicating with the outside world, with an intentionally easy yet effective MIDI implementation — CUTOFF control of Nyborg-24’s all-important 4 Pole 24dB/Octave LOW PASS FILTER is available via MIDI velocity or a MIDI controller — and external CV (Control Voltage) sockets for PITCH1 (VCO), PITCH2 (VCO), CUTOFF (filter), GATE (to trigger the EGs), and EXT (for feeding an external CV to various circuits), DAW (Digital Audio Workstation) integration or working with an analogue step sequencer (such as Analogue Solutions’ own Oberkorn and recently-released Megacity) is a breeze. Better still, simultaneous MIDI and CV operation is possible, so users could, for example, use an Oberkorn to play a little melody then transpose that step sequence using a MIDI keyboard controller (or MIDI sequencer). Child’s play? Perhaps.

Note Nyborg-24 — like Nyborg-12 — can be user configured in various ways to save space to suit. Shipping as a vertically-orientated standalone monosynth module (much like its bigger brother, the Telemark), it is possible to rotate Nyborg-24’s front panel so that it can be used horizontally as a desktop device. Optional wooden side panels can be screwed to a single Nyborg-24 (from its inside so no ugly screws are visible) or to two Nyborg-24s that have been bolted together. It is also possible to rack-mount two Nyborg-24s that have been bolted together using the optional rack ears. (Of course, it is perfectly possible to bolt a Nyborg-24 to a Nyborg-12 and also rack-mount this perfect pairing for full filtering flexibility.) Either way, Nyborg-24’s modified software allows two Nyborg-24s to be poly-chained together to play as a single two-voice polysynth. Four-voice polyphony is also available upon request for those looking to really push the boat out and purchase four Nyborg-24s, though one Nyborg-24 is still a very versatile, super-sounding, space-saving standalone monosynth module in itself. One that will serve any adventurous analogue renaissance man, woman, or child well for many years to come.

Nyborg-24 is available to order online directly from Analogue Solutions (http://analoguesolutions.com/nyborg-24/) for £499.00 GBP (plus tax and delivery) or through an authorised dealer, as are its optional rack ears (£19.00 GBP, plus tax and delivery) and wooden side panels (£39.00 GBP, plus tax and delivery)."

Be sure to check on availability with a MATRIXSYNTH sponsor on the right! They help support the site that brings this post to you.

Patch of The Week: 'Assault on Precinct 13' Gemini 2412 Bass Cover (1976 John Carpenter soundtrack)

video upload by AJH Synth Official

"Just for fun, a patch inspired by a classic synth soundtrack from the 1970's. This time using the Gemini 2412, 1 VCO and Ring SM to create a version of John Carpenter's excellent soundtrack for his 1976 movie 'Assault on Precinct 13'. I don't know for certain, but I've a hunch that he might have used an Oberheim SEM module (or perhaps one of it's polyphonic configurations; Four Voice etc), as it sounds like one in the bass part at least, so I've used the Gemini 2412 to simulate it, since this VCF is based on the SEM filter. The SEM (Synthesizer Expander Module) was a classic 2-oscillator analogue synth module from 1975. It sounds to me like a single sawtooth being used in the movie theme, but I add an additional sub-octave using the Ring SM - it's a cover version, not an attempt to recreate it 100%.

I use the Muting Mixer for the VCA, along with it's overdrive function, to create a more aggressive, punchy bass sound, somehow more befitting a dark, low-budget thriller movie of the seventies. I also chose a reverb setting that to me sounded a little claustrophobic. Patch Notes and PDF link further down the page.

Index:
00:00 Intro
00:32 "Assault on Precinct 13' Theme
02:55 Patch sheet

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires"

More Assault on Precinct 13

OB-XOne mkII - Oberhim OBX Expander Module in Custom Rack

video upload by Lackan

"My first version of the OBXone went on to save an Original 4VS OBX. But when I got a Rosen motherboard as part of a trade I thought I'd make a nicer one, 2U rackmount, with double sub oscillators and all the extras."

Looks like an SEM in rack form, but appears to be based an OBX voice board according to the description above. The OB-X filter is based on the 12db Lowpass disctrete SEM filter (it's missing the variable LP -> Notch -> HP knob), while the OB-Xa switched to Curtis based filters.

Also see SUB Oscillator for the Oberheim SEM Module

Analogue Solutions Treadstone Press Release & Price

We've seen the demo videos including initial details (scroll down when you get there). We now have the official press release and the price: £499.00 GBP, $599.00 USD, and €589.00 EUR.

"Analogue Solutions spreads synthBlocks series wings with tiny Treadstone true analogue mono synth

KINGSWINFORD, UK: hot on the heels of its inaugural Mr Hyde and Dr Strangelove so-called synthBlocks (launched late last year to widespread critical acclaim), British boutique electronic instruments innovator Analogue Solutions is proud to widen the self-explanatory series’ scope with Treadstone — taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding signal-processing siblings and applying them to a true analogue mono synth that packs a lot of (patchable) punch into a perfectly-matched, portable package — as of January 19…

Treadstone takes its intriguing name from a fictional highly-classified, heavily-guarded secret program that features in the series of books based on a fictional spy and associated feature films; it is shut down as the thrilling plot thickens, alas. As the latest addition to Analogue Solutions’ synthBlocks series — squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware sound-sculpting creativity to their sometimes sterile-sounding computer-based creations, the tiny Treadstone true analogue mono synth is far from fictional, however; hearing is believing, but it would, without question, make for a superior-sounding, space-saving desktop addition to any discerning film composer’s creative studio space — or anyone else’s, for that matter!

More meaningfully, maybe, Treadstone treads far from carefully, but boldly goes where few analogue synthesizers dare to win... with an all-analogue audio path and modulation circuits based on superior-sounding designs dating back to the mid-Seventies, so no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other ‘all-analogue’ affairs. Analogue as in really analogue — aside from the MIDI-to-CV circuit (which, by its very nature, must include a digital element) — in other words.

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Oberheim Modular Synthesizer SEM with SUB-OSCs

images via these auctions.
"module is mounted in a 5RU 19" rack case and contains an internal power supply with an IEC AC connector on the rear panel. Each unit has a custom 1/4" patch panel on the right side that brings out the patch points of the SEM signal flow. This allows you to use the synthesizer in a more modular fashion. The patch panel also contains 8vb and 16vb suboscillator circuitry for each oscillator, each with a volume pot for the suboscillator level. There is also a mixer on each panel as well as a 3-jack mult for modular patching. See photos of the panel for full detail. The customs panels are ENGRAVED (not silkscreened) with each function's name in silver. The custom panels use Cosmo knobs for the pots, the same knobs as found on the iconic Moog synthesizers. These modules will interface nicely with a Moog modular system or even the newer Moog Music products that have patch points available. Of course they will also work with any analog modular synthesizer -- new or old -- provided you can get the patch cables to 1/4". There is no MIDI on any of the modules, but of course you can use any suitable MIDI to CV converter if you want to use the modules that way."

New Synth Gear and Makers in January 2015

After this year's massive New Years post, I thought it might be interesting to see how many new makers and new gear announcements we received in a single month.

This may or may not become a monthly theme on the site depending on interest.  If you think it's worth while, leave a comment.

At a high level we had 12 new makers, one new old maker previously never featured on the site, and a whopping 193 new synth related products. Check out the module list below.  The list is a combination of what was either announced or released this month.

The list in order of appearance:

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