Happy New Year! The Year in Synths 2013

Happy New Year Everyone!

What a busy year it has been in the world of synths.

This is going to be one doozy of a post, so bear with me. This post is a review of the year in synths for 2013. We begin with Tributes to Those We Lost This Year, followed by New Manufacturers & Makers, Older Manufacturers Added to the Site, New Gear Announcements, Top 10 Posts by Traffic,  My Standout Posts for the Year, and finally This Years' Synth Events. I did my best to keep things as short and concise as possible.

Let's begin with the hardest part of the post.

Tributes to Those We Lost This Year

RIP Bernard Parmegiani - Electronic & Acoustic Composer
Lou Reed RIP
RIP Dick Raaymakers aka Kid Baltan
RIP George Duke - DreamWeaver
RIP Ralph Dyck, Sept 28, 1941 – May 20, 2013
RIP Ray Manzarek

All missed and never to be forgotten. Take a moment to remember them.

------

New Manufacturers & Makers

Starting last January, I decided to keep a running list of every new manufacturer and maker introduced to the site during the year.  This is something I haven't done before and I thought it would be interesting to see how many there were in the year.   It's easy to focus on the big synth announcements throughout the year, but what about all the new makers and brands? I shouln't have to go considerably into the significance of new designers on the scene, so I'll just say two things regarding them.  One, the number of new makers is a direct reflection on the interest in our scene, and two, these are the creators of new gear which directly translate into new designs not previously available to us.  Think about that for a moment.  These are makers and designs that did not exist before.  They are part of our synth history.  So what is the total count of new synth designers for the year? A whopping 113. Think about that a bit. One hundred and thirteen new synth designers and brands this year alone.

Here they are (note a handful date back to 2012, but 2013 marked their momentum and availability):

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Sequential Circuits Prophet 5 Rev 2

Click here for shots via this auction.
Details from isatellite:
"This is the famous Sequential Prophet-5, a rare Rev. 2 version, in near mint collector's quality condition. It is considered by many to be one of the best analog polysynths ever made. This one has been babied, and maintained throughout it's life. It comes with 5 new old stock spare SSM chips (VCOx2, VCF, VCA, ENV) worth over $500 so you can be sure this synth will be running for many years to come.

History: When I bought it I had a Kenton Electronics MIDI kit installed in it. It has been used on pretty much every song I've ever done and was featured as the main lead in the song Automat. I used it live once at the Autobahn show in Ohio back in 2003 and it was a solid performer live. It has been one of my favorite synths and I really hate to see it go. This synth has guts, and nothing sounds like it. I've owned 5 Prophet-5's throughout the years and this one sounds the best. I've owned many Rev. 3's and they have generally been more unreliable than this synth. You'd be hard pressed to find one in better condition at any price.
Version: This is the later version Rev. 2, just before they switched over the CEM chips. It uses the much better sounding SSM chips throughout, and has the rare cassette upgrade. This is how a Prophet-5 was supposed to sound, before it got a complete circuit redesign by Sequential Circuits. Jerry Harrison of Talking Heads said he preferred this version to the other Prophets. OMD swore by their Rev. 2 and were upset when Sequential changed the internals. Some have called this the Rev. 2.2 model, but that numbering has been debated.

Condition: See untouched photos for details. These were taken this morning, straight out of my camera. Based on 15 years of owning literally dozens of vintage synths, I would rate it a 9.9/10. It is in near mint electronic and cosmetic condition. I know the word mint is overused on eBay, but take a look at the photos and judge for yourself. As you can see, the cosmetic condition of this synth is pristine. There is no wear whatsoever on the graphics, knobs, silver switches, or lettering. The logo plates are all original and reflect like a mirror. The large Prophet-5 logo on the back is simply stunning and in pristine shape. Looks much better than the heatsync on the Rev. 3 models. There is no sun damage and all of the parts retain their original coloring. The wood is a gorgeous walnut with only a few small marks here and there on the wood edges that are barely noticeable in the photos. There is one indentation in the wood on the righthand side that is very minor and not noticeable in the photos. Rev. 2 Prophets almost invariably have a crack in the wood at the upper right due to a design defect in the modulation section. This synth has been taken care of and has no cracks in the wood. A couple of the knobs have marks on them, but they are all original, not Wine Country reproductions. Small mark on the top of the modulation wheel...barely noticeable. Small indentation on the right of the Prophet-5 logo on the face of the synth. The underside has some marks and paint scrapes in places. There are still two pieces of velcro stuck to the bottom where I had a controller attached for turning on a bubble machine during the performance of Bubbleboy in 2003. One screw is missing from the bottom of the synth. The red LED screen is bright and clear, and the plastic lens has only extremely light scratches from dusting it...but they would not show up in the photos. A little plastic polish and the lens will shine as new. The keys are highly reflective with only the occasional mark here and there. The internal components are all present and accounted for, and the internals are clean and free of rust and debris. This is the mintest example of a Rev. 2 Prophet-5 that I have ever owned or seen ever in over15 years of collecting synths. If you're picky about the condition of your gear, and you want the very best Prophet-5 ever made in pristine condition, this is the synth for you. I realize I'm asking a lot for this synth and it may not be the synth for your price range. If so, please don't send me threatening e-mails. If you can find another in this shape at any price, then buy it. It would be worth it. I'm the type of person that will pay additional $ for something that is the best of its kind, with no rust, and no issues. And this is the best example I have seen of a Rev. 2 Prophet-5 anywhere, at any price.

Functionality: This synth has been babied and maintained in top functioning condition its entire life. I literally just brought it back this weekend from having my tech go over it in detail and make sure everything was functioning 100%. It tunes up after about 20 minutes of warm up, and then never drifts after that. A few years back Tony Clark of Great Lakes Modular modified the power supply so that it was more stable than typical Rev. 2 Prophets. All of the knobs and buttons function perfectly, with no scratchy pots. I have never had to clean the sliders or pots, and they all work as new. All keys trigger perfectly with no double-triggering. I spent a great deal of money buying and installing completely new bushings about a year ago. The keys play like butter. All inputs and outputs, MIDI, velocity (from MIDI), aftertouch (from MIDI), modulation, pitchbend, keys, buttons, and pitchbender - everything works perfectly. There is nothing functionally wrong with this synth. The Kenton MIDI kit provides MIDI in, out, and thru and is considered to be the best MIDI kit available for the this synth. For more info on everything that the Kenton MIDI kit can do, please check out the Kenton site at kenton.co.uk. In case you are worried about the reliability of this synth, I have only had one SSM chip replaced during the 11 years I've owned it."

Singapore's Synthesizer Collector - Khew Sin Sun & City Music Live Synth Meet

Published on Oct 28, 2016 CityMusic Sg

"Check out part of Khew Sin Sun's Synthesizer collection.

To learn more about Synthesizers, join us for our Synth Meet at City Music Live, happening, 5th November 2016, next Saturday our at showroom.

Click here for details http://www.citymusic.com.sg/index.asp...

A graduate of Berklee College of Music, Khew Sin Sun has always been at the forefront of Music Technology. Since winning his first Synthesizer as a prize by winning the Yamaha Electone South East Asia Competition, it started a lifelong passion on "All Things Electronic"

All of this time, Khew found a knack in teaching his art form and conducted numerous workshops, talks, demonstrations as well as lectures about music technology.

He now runs Music Tec, a school dedicated to Music Technology"

"Calling out to all 'synth buffs' and electronic music enthusiasts!

Join us at our next installment of City Music Live, featuring Khew Sin Sun, with over 30 years of experience playing and building his own synthesizers. Khew will be sharing his knowledge of sound synthesis and showcasing his collection of rare vintage analogue synthesizers!

Also catch a live jamming session by guest presenters David McKaige & Jon He who will be performing on their modular synthesizers.

Synth Meet - City Music Live
Time & Date : 2pm, 5th November 2016
Venue: City Music Showroom"

Update: videos for the event added below.


Published on Nov 5, 2016 electronicmusiclab

"City Music Live, presents Khew Sin Sun, with over 30 years of experience playing and building his own synthesizers, for a session sharing his knowledge of sound synthesis and showcasing his collection of rare vintage analogue synthesizers.

This playlist also includes a live analog synth jamming session by guest presenters David McKaige & Jon He who will be performing on their modular synthesizers.

Synth Meet - City Music Live
Time & Date : 2pm, 5th November 2016
Venue: City Music Showroom

About Khew Sin Sun: A graduate of Berklee College of Music, Khew Sin Sun has always been at the forefront of Music Technology. Since winning his first Synthesizer as a prize by winning the Yamaha Electone South East Asia Competition, it started a lifelong passion on 'All Things Electronic'

All of this time, Khew found a knack in teaching his art form and conducted numerous workshops, talks, demonstrations as well as lectures about music technology.

Khew Sin Sun was also a founding tutor of the NUS Electronic Music Lab http://www.eml.org.sg - a performance group based at the NUS Centre for the Arts that composes, produces, performs, records and promotes original electronic music in Singapore."

Playlist:
Synth Meet 1 - Khew introduces Synth Meet and Synthesis
Synth Meet 2 - Khew live improvisation on analog modular synthesizer
Synth Meet 3 - intro to Modular Synthesizers
Synth Meet 4 - David McKaige live on modular synthesizer

BX-13 V3 Expanded Bus Converter Version 3

images via this auction.

"For about ten years, Roland Corporation and other manufacturers produced a range of unique, very high quality 24-pin guitar synthesizer controllers. With the advent of the contemporary Roland 13-pin standard, vintage guitar synth owners could only access the latest in guitar synthesizer technologies with the incredibly rare, hard-to-find Roland BC-13 Bus Converter.

The BX-13 V3 is the answer for vintage guitar synthesizer players who want to access modern guitar synthesizer technology while playing their treasured vintage guitar synth controller. The BX-13 V3 is more affordable than the typical "collector" prices on the Roland BC-13, and it has more features.

This diagram shows how the Roland BC-13 uses the Resonance knob to switch guitar and synth on and off. The BC-13 uses the Resonance Knob (CV#2) in a way that is very similar to the Mode switch on the vintage GR-series guitar. But rather than having a three-position switch, the knob has three "zones." The first zone is guitar only, the middle zone is guitar and synth, and last zone is synth only. Confusing? Yes.

As you can imagine, it is almost impossible to quickly and accurately turn guitar and synth signals on and off.

The BX-13 V3 improves on the BC-13 by adding two dedicated foot switches with LEDs instead of using the Resonance knob. One foot switch is for Synthesizer Output, and one is for Guitar Output. Nothing could be simpler for controlling the outputs of your Synth and Guitar signal. In addition, the BX-13 V3 in enclosed in a rugged, stomp-box type enclosure. The BC-13 is an inline design, basically a giant lump in the middle of your guitar cable, much like the AC transformers popular with some manufacturers.

Top Panel Controls
The BX-13 V3 adds top panel controls for synthesizer and direct (humbucker) guitar output, plus a switch to select from guitar or hex fuzz sound for Roland G-202, G-303, G-505, or G-808 players. All three outputs can be accessed by selecting the hex fuzz sound with the BX-13 V3 and using the 1/4” Guitar output jack on the guitar.

A look at the schematics of various Roland guitar controllers reveals that no two are wired exactly the same. Likewise, the internal circuitry of a Roland GI-10, GI-20 and GR-20 differs with each unit. As a result, maximum volume levels can change with different guitars or different synthesizers. The original BX-13 used a "one-size-fits-all" calibration like the BC-13. Now, the BX-13 V3 adds a top panel control to easily fine-tune to synth volume output for maximum sensitivity and maximum output.

The BX-13 V3 also adds a top panel control for the direct (humbucker) output of the guitar as well. With the original Roland BC-13 and BX-13 this volume was fixed. Also, if you are using a Roland G-202, G-303, G-505, or G-808 you can also select the hex fuzz guitar output instead of the direct (humbucker) output. And, by plugging a Roland EV-5 volume pedal into the BX-13 V3 you can control the volume of the direct (humbucker) or hex fuzz output.

Buffered Electronic Connections:
The early Roland Guitar synth controllers, such as the G-202, G-303, G-505 and G-808, do not buffer the output of their volume controls. Later guitars, like the Roland G-707 and the Ibanez IMG2010, added a buffer stage to their volume controls. As a result, early guitars tend to "load" the input to the Roland BC-13, resulting in only 80 to 90 percent of the full volume output.

The BX-13 V3 solves this problem by adding an electronic buffer stage for the volume signal. The electronic buffer stage isolates the volume control signal so that any vintage guitar works smoothly with any modern guitar synthesizer.

Inputs and Outputs
Like a Roland BC-13, the BX-13 V3 has a 24-pin Guitar Synth a 13-pin Guitar Synth output connector. With only the 24-pin cable plugged in, the level of the direct (humbucker) guitar sound is controlled by the top panel guitar volume knob, and by the optional EV-5 volume pedal. If you want to vary the level of the direct (humbucker) sound using the volume knob on the guitar, then a second cable is connected from the 1/4” Guitar output jack on the Guitar Controller to your mixer or amplifier.

Compatible with Vintage Bass Guitar Synthesizers:
The BX-13 V3 has also been thoroughly tested with the vintage Roland bass guitar synthesizer controllers like the G-88. To test for compatibility, the G-88 was plugged into the BX-13 V3, then the BX-13 V3 was connected to a GI-20. The Roland GI-20 supports bass guitar synths with a switch on the back panel for bass operation.

Other Roland guitar synths, such as the GR-50 may not work properly, since they were not designed to handle to lower frequencies of a bass guitar.

Professor William Hoskins and His Mystery Moog

Pictured to the left is Professor William Hoskins (via). What you see there is not the mystery Moog, but his Moog modular system. This post is about another Moog synth, one most likely based on the Sonic VI. If you have any information on what this synth might be after reading this, please feel free to leave a comment or contact me directly. My contact info is on the bottom right of the site. I have already contacted Michelle Moog-Koussa and Brian Kehew author of Kaleidoscope Eyes A Day in the Life of Sgt. Pepper, as well as Trevor Pinch, author of Analog Days [Amazon hardcover & paperback, preview on Google books], and featured in this exclusive post. I also contacted James Husted of Synthwerks, George Mattson of Mattson Mini Modular, Steven Jones of Synthwood, and Carbon111, all of whom know their synth history. None were familiar with what the synth might be.

The story: I was recently contacted by a Paul Rego with the following:

"I've been searching the Internet for over a year now and have not been able find a specific synth. Since you seem to know and work with every type of synth known, I thought I'd ask you...

Around 1973 - 1974, I took private synthesizer lessons at Jacksonville University (Florida). The instructor was Professor William Hoskins and the synth was a custom Studio Moog assembled by Professor Hoskins.

One day, Professor Hoskins showed me his personal, portable synthesizer. He brought out what looked like a brown suitcase. When he opened it, I saw a Moog Sonic VI.

This is nothing new. I've seen lots of images of this synth on the Internet. The one aspect of this particular synth, that I cannot find anywhere, is that it had a touch-sensitive keyboard. The keyboard was made of plastic and had a gray / brown color. Outlining the keys (showing the location of the 'white' and 'black' keys) was an almost medium blue color (about an eighth-inch thick). (He and I tinkered with this synth for about a half-hour to an hour.)

Professor Hoskins passed away several years ago, so I can't ask him about it. I did contact his family but they don't remember anything about this synth.

I do remember Professor Hoskins telling me that he and Bob Moog had 'gone to school together'. I think he was referring to electronics school but I never asked him more about it. I thought I had read somewhere that Professor Hoskins and Bob Moog had briefly worked together on a Sonic VI prototype but I don't know if that's true. (Even if what I saw was a prototype, someone has to own it now and should be proud enough of it to post some photos somewhere.)

I thought the background story might help in your own research on this.

Basically, I'd just like to know if this synth ever existed or am I just not remembering it correctly.

Thank you for your time and attention."

My first obvious guess considering the blue was the Buchla Music Easel or separate Buchla touchplate keyboard modded into the case of a Sonic VI. I sent Paul a couple of links to various images.

Paul replied: "the synth I saw didn't look like the Buchla Easel. Good call though.

The 'blue', which outlined the keys on the Sonic VI I saw was a bit lighter in color than the blue in your photos and maybe had a bit of green in it (closer to turquoise). There was no red or other color on the keyboard (that I can remember) and the entire keyboard seemed to be one piece of plastic with only the blue / green outlines separating the 'keys'.

I also read a story recently about the time when Musonics bought Moog and had a synth ('Sonic V'?) of their own, at that time, but I haven't research this too much yet. One thought I had was the synth I saw was something from Musonics but was never officially released (until it had the 'Moog' name placed on it). I'm pretty sure the synth I saw had the 'Moog' logo and the word 'Sonic VI'. (Not 100% sure but it seems clear in my memory.)"

I also sent Paul images of the EMS Synthi AKS. Paul replied it was the closest, but definitely not it.

I contacted Michelle Moog-Koussa and Brian Kehew to see if they knew of anything. Michelle replied: "...I can tell you that we have several of William Hoskins reel-to-reel tapes in the archives, so there was obviously a significant professional relationship between he and Bob.

I don't ever remember reading anything about the Sonic VI, but maybe Brian does. One thing I can tell you for sure is that Dad began working with John Eaton in 1970 on the Multi-Touch Sensitive keyboard [left via]. The main component of the MTS was the touch-sensitive keyboard, of course. It's not out of the realm of possibility that Dad would have used his work with John to push boundaries on another project."

Brian replied: "Bob didn't design or build the original Sonic V (from Musonics before they bought Moog) that was Gene Zumchak: The Sonic V did have a brown wood style. It's even unlikely Bob did much on the Sonic Six as it was the same thing with a new outer case.

The Sonic VI was the version Moog made in 1972 and later, in a plastic suitcase version. Many of these were made vs the very few Sonic V's. So one might think they saw a Sonic VI when it was the V (same front panel and features). But the brown suitcase and colored keys and touch sensitive thing are ALL unusual. I know a little about Prof Hoskins from the paperwork of the past, but no mention of this synth. Definitely unusual to have keys like that anywhere, anytime!" Followed by: "And there IS touch (velocity) sensitivity on Wendy Carlos' synth by 1971 for Clockwork Orange, but it's used under the normal keyboard. THIS velocity was very possible, but would not make the keys look different. Again - maybe a Sonic V was retrofitted with a cooler keyboard later in the 80s, but why not do so on a BETTER synth!?" :)

On a separate thread, Trevor Pinch got back to me with the following: "Bill Hoskins was important in that he was one of the first people David VanKouvering approached about minimoog reiail sales etc. I have a good album of his somewhere! I think he may have been Bob's favorite composer for a while.

I have no idea about the touch key board but I'm in touch with Gene Zumchak the guy who designed the Sonic Six, so I'll ask him. (I guess you know the joke that the Sonic Six was known by Moog engineers as the Chronic Sick!)

Actually its story might be kinda interesting - Zummy (as he is known) told me that it was made with 741 op amps and in many ways was more advanced than the minimoog.
Maybe it has had an unfair press. I never heard one or saw one for real."

James Husted sent me the image of Professor Hoskins at the top of this post. I sent it to Paul to see if maybe it brought back any memories that might help.

He replied: "The custom Moog modular in that photo is the same one I took lessons on. However, this is an early photo and when I saw that Moog modular, Professor Hoskins had already added a top layer to that cabinet — which included a Moog sequencer. (I have a photo of it, that I took around 1990, but the top part of the photo, showing the upper section, is cut off.)

The reason you didn't see Professor Hoskins' 'Sonic VI' is... I'm guessing that he didn't bring it to the university very often. When I saw it, I was at his home. He had invited me over one Saturday afternoon to see HIS custom Moog modular. It was in his garage, which he had made-over into a nice studio. It also had a two-manual organ, at least two reel-to-reel tape decks and LOTS of recording tape. Later, during that same session, he said 'There's something else I want to show you. Come inside.' We went into the living room and I sat on the couch. He said 'I'll be right back.' After about a minute, he came back carrying a brown 'suitcase'. He set it on the coffee table in front of me and sat down on the couch. He opened it up and... Whoa! I had never seen one of these and it was the first time I had seen a Ring Modulator!

---

I remember seeing Professor Hoskins play his Sonic VI during a live performance of his album 'Galactic Fantasy / Eastern Reflections'. The Jacksonville University orchestra played most of his composition but at one point his Sonic VI was brought out and he played it while at center stage. I could see it clearly from my seat but, of course, I could only see the back of it, which simply looked like the back of a brown suitcase.

---

Sorry it took so long to get back to you. Since I think this is important, I thought I'd try to recreate the 'Sonic VI' I think I saw. I 'Photoshopped' a production Sonic VI and attached it to this message. It's the best image of what I think I saw.

Modifying the image forced my memory to go into more detail. Here's what I'm fairly certain of:

• The outer color of the "suitcase" was almost dark brown.

• The outer shape was more square than the production Sonic VI.

• The thickness of the top and bottom sections was thicker than the production Sonic VI model.

• The keyboard was made of slightly textured plastic, otherwise completely flat, was brown / gray in color and had a vibrant blue outline between the keys. (I'm not 100% sure if the "black" keys were outlined or solid blue.)

• The background color of the back panel and the area surrounding the keyboard was almost dark brown. It looked like it was made out of either pressed cardboard or thin wood. It really reminded me more of the thin 'wood' used in old, tube televisions and radios (during the 1960s).

What I'm not 'fairly sure' of:

• I can't remember if it had a Mod Wheel.

• I think there was more space between the modules.

• I think it had two speakers (placed on the left and right side of the back panel). Each might have been the size of the center speaker-grill in my photo.

• I can't remember if there were any connectors, switches or knobs on the keyboard section."

Update: via Aaron aka theglyph in the comments: "Holy shit! That's the guy from JU. There was an electronics repair/pawn shop here in Jacksonville called Active Electronics that had a bunch of synths back in 90's. The owner had a sign in the store explicitly stating that the synths were not for sale and that customers were not allowed to walk up and look at them or touch them. I walked in day and walked close enough to notice that the MiniMoogs had very low serial #'s. It wasn't until I read Analog Days that I found out that the earliest Mini were sold here in Jacksonville. There so much more to this story that I don't know where to begin but I can say that I did an obscure Moog at the store that I've never seen photographed since and I simply thought I was loosing my mind recollecting it. WOW!

Cheers,
theglyph"

Update: Above, Brian originally mentioned Bill Hemsath as the person that designed the Sonic V. He meant to say Gene Zumchak. This has been updated.

Updates: via Dorothy in the comments:
"HI, as a Hoskins kid, I watched Dad perform on the synthesizer and I know we had the Sonic but I thought it was a "V". Dad had several custom modules built for him by Bob Moog. They were friends but didn't go to school together -- Dad went to Trumansburg NY to work with Bob on the synthesizer that they got for Jacksonville University (in 1969, I think). I will have to go digging in the Will Hoskins letters that I have. Those of you who knew Dad know that he was very meticulous about writing up the components that he bought and what they were for.
Late in Dad's life, when he was basically letting go of most composing effort except for revising existing scores, Bob helped Dad find a collector (in Germany, as I recall), who bought all of Dad's big home synthesizer. I think some of the smaller units were in the hands of Steve Smith, who was Dad's right-hand man at the JU studio for some years. Whatever happened to them, I don't think Dad would have cared as long as someone was using them to create music. He wouldn't have collected synthesizers as museum pieces, he actively used everything he got from Moog until he was ready to let it go."

Followed by: "BTW, that last time I spoke to Bob Moog was after Dad died, when Bob came to Rochester NY http://www.esm.rochester.edu/news/?id=132 which is near where I live now. Bob spoke very fondly of working with Dad, because Dad cared as much about the science of music synthesis as any composer Bob knew. Dad did some work with him on modulators and other components for JU and the Hoskins home studio."

Followed by: "Hoskins synth photo --not a Sonic -- in news article 1970 [link]"

Update 6/6/2010:

Some more interesting bits of Moog history:

Trevor Pinch checked with Gene Zumchak who had the following to say:

"I am not aware of a touch sensitive keyboard on the Sonic V or 6. It did have a two-note keyboard and the highest key pressed and lowest pressed could be routed to Osc 1 and Osc 2.

They removed the keyswitch bus and superimposed a highpitch (100KHz?) tone on the voltage string. This might have been the source of a whine that some users complained about that wasn't present in the Sonic V."

via Josh Brandt: 'Okay, I did hear back from David Mash [VP of IT at Berklee and friend of Bob Moog], who says that the story he was telling me several years ago was about a keyboard Bob was building for John Eaton. I asked about the story he'd told me and if the pictures you posted could be of the instrument he'd been talking about, and he said:

"The story I was no doubt telling was definitely about the keyboard Bob built for John Eaton [middle pic above]. Bob was going to show us the completed instrument (which my friends Jeff Tripp and Paul Derocco helped complete), but we never got to see it due to the way the conversation turned over dinner. I did see the instrument several times during the design/build stages and again later after it was complete.

The keyboard was simply a controller and not a synth, so definitely not the portable synth the blog is referring to. I know Brian, and was involved briefly with him and a bit more with Michelle Moog on the NAMM Museum exhibit, and they used a couple of my photos for the exhibit. They're great people and working hard to preserve Bob's legacy.'"

Update via WmJHeart in the comments:

"Thanks Matrix, for hosting this page. I own a copy of Will's Galactic Fantasy & Eastern Reflections (my personal favorite) recording on vinyl. But I also discovered and listened to the entire album on YouTube recently! Here:"

Galactic Fantasy - Eastern Reflections (1979)[Full Album]

Published on Jul 12, 2017 TheHomecoming

"Rare electronic/synth/moog private pressing LP

TITLE 'Galactic Fantasy - Eastern Reflections'

William Hoskins, "Galactic Fantasy, Eastern Reflections" [CP-158]
TRACK 01 AUDIO TITLE "Overture : Stars Are Suns" PERFORMER "William Hoskins" INDEX 01 00:00
TRACK 02 AUDIO TITLE "Intermezzo : Interplanetary Communique" PERFORMER "William Hoskins" INDEX 01 06:39
TRACK 03 AUDIO TITLE "Star Nocturne" PERFORMER "William Hoskins" INDEX 01 08:11
TRACK 04 AUDIO TITLE "Scherzo : Comets" PERFORMER "William Hoskins" INDEX 01 16:35
TRACK 05 AUDIO TITLE "Beyond Beyond" PERFORMER "William Hoskins" INDEX 01 18:54
TRACK 06 AUDIO TITLE "Prolog : Theme and Variation" PERFORMER "William Hoskins" INDEX 01 23:40
TRACK 07 AUDIO TITLE "Lower Heterophonie" PERFORMER "William Hoskins" INDEX 01 27:55
TRACK 08 AUDIO TITLE "Song : Open Skies" PERFORMER "William Hoskins" INDEX 01 31:22
TRACK 09 AUDIO TITLE "Drum Chime" PERFORMER "William Hoskins" INDEX 01 35:28
TRACK 10 AUDIO TITLE "Upper Heterophonie" PERFORMER "William Hoskins" INDEX 01 39:41
TRACK 11 AUDIO TITLE "Epilog : Processional" PERFORMER "William Hoskins" INDEX 01 41:30

A1
Overture: Stars Are Suns
A2
Intermezzo: Interplanetary Communique
A3
Star Nocturne
A4
Scherzo: Comets
A5
Beyond Beyond: An Entropy Study
A6
Eastern Reflections
Eastern Reflections
B1
Prolog: Theme and Variation
B2
Lower Heterophonie
B3
Song: Open Skies
B4
Drum Chime
B5
Upper Heterophonie
B6
Epilog: Processional

Criminally under-rated set of Early American Moog Modular Synthesizer Music - the sole release by composer William Hoskins, the 'Director of Electronic Music and Composer-in-Residence at Jacksonville University in Florida.' Issued in 1979 by the Harriman, NY-based Spectrum - a 'Division of UNI-PRO Recordings, Inc.' the LP consists of a pair of discrete pieces, with each taking up a side of its own."

Update via Kimberly S Beasley in the comments:

"Hello, everyone. I am the current chair of the Department of Music at Jacksonville University and I have the original Sonic VI manuals and one of Hoskin's Moogs....happy to share photos tomorrow."

Kimberly sent in the images with the following:

"This has been in the possession of our Professor Emeritus Dr. William Schirmer as it was given to him by Hoskins. Hoskins' granddaughter Dorothy is also aware of the instrument. We also have a large collection of manuscripts of Hoskins.

There is also a mini-Moog we just refurbished in our recording studio."

You can see WM. Hoskins written on the top right of the manual. Note "Home Copy" on the blue cover. It's kind of neat to think of him perusing through the manual in the comfort of his home.

Rare R.A. Penfold DIY Analogue Synthesizer

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

via this auction

Only two others have been featured on the site before. You can find some demos here. Note this is based on the Electronic Synthesiser Construction book by R.A. Penfold which you can still find used on Amazon, albeit for over $250.

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Klaus Schulze KORG PS-3300

Title link takes you to shots pulled via this auction.

Details:
"Greetings. Well what can I say. You are looking at one of the rarest synthesizers on the planet. A korg PS 3300 prototype owned by the legendary Klaus Schulze of Tangerine Dream. But sadly it does not work so I am selling it as a non working unit. This would be the ultimate restoration project for somebody with technical know-how and time. Not only is this synth mega mega rare but it has a historic valve as well. If this synth could talk it would have many stories to tell. This synth would have been on many world tours with klaus. The synth does power up with lights flashing and blinking. The main control boards seem to work. With a service, 2 out of the 3 blocks will be functional. There are 4 voice boards missing but the can be easily copied with all IC's still available (see photos).

As you can see by the photos, It has seen better days. So you may ask why am I selling such a rare and historic beast? I am getting out of the synth collecting game due to changes in life. I have changed my mind about 3000 times on whether to sell or not. This korg has no serial numbers and even has a spelling mistakes ("modifires", instead of modifiers) (see photo). All the PS 3300's made after this one has a darker face with MS 20 knobs. This PS has a light grey face with very early Maxikorg knobs. Believe me this is a upmost regrettable sale!!! So my loss is definitely your gain. So how did this synth end up in Australia? Klaus sent this synth along some minimoogs to an artist by the name of Mark Sakautzky in south australia many many years ago when digital came onto the scene. It was then purchased by David James a collector in sydney about ten years ago. Then I purchased it about 4 years ago when Dave James sold his collection. My intention was restore it. I am hoping that this synth will go to a good home that is why I am willing to pay half the shipping costs worldwide."

Note the typos for the word "Modifiers" spelled "Modifires" via Matt and Aeonian on the AH list.

Korg Mono/Poly Vintage Analog Synthesizer w/MIDIPoly MIDI Kit SN 378305

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

via this auction

"Very clean early 80's Korg Mono/Poly. It is in remarkable condition for its age with only a few minor marks/ indentations/ flaking vinyl on the sides, bottom edge, and front panel. There is no sun damage to the knobs as you normally see. The screws (except for a couple on the back of the synth) still have that original shine. The white Korg logo on the back is very clean and shiny. The front corners are not all chipped up as you normally see on these synths. For the most part it looks nearly brand new. Please see photos for details.

The synth is functioning as it should. All keys play the correct notes, all sliders function, all knobs work and aren't scratchy, the keyboard scaling and filter are correctly calibrated. Voltage is standard US voltage. There are no issues with the functionality of the synth.

The synth comes with the original manual, original patch sheets manual, and a rare overlay that I assume was used in stores to show the capabilities of the synth. I believe I also have the original box somewhere in a storage closet. I keep everything! If I have it, and I can find it, I'll include it in the auction but will ship it double-boxed to preserve the collector value of the synth.

A MIDIpolis MIDIpoly MIDI kit has been professionally installed in this Mono/Poly to allow it to be controlled externally using a MIDI sequencer or computer. The kit is completely reversible (no soldering) and all parts that were removed will be included in the supplied plastic case. I'm not sure why you would want to reverse the kit though. The MIDIpoly kit brings the Mono/Poly into the modern age and makes it a much more useful synth. All the original functions of the Mono/Poly are kept. The following functions are added:

- Key notes are sent and received as MIDI on the selected MIDI channel
- VCO's can be triggered individually by velocity
- Notes generated by the arpeggiator are also sent as MIDI
- Received Pitch Bend MIDI data alters pitch bend
- Received Modulation CC MIDI messages alter filter cutoff
- Received Portamento Time CC MIDI messages switch portamento on/off
- A new sample and hold modulation can be routed
- Keyboard action is significantly improved
- The EFFECTS button now does not reset the key assign mode to unison
- Arpeggio can be synced to MIDI clock (various clock settings)"

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Sequential Debuts the Pro 3 - Multi-Filter Mono Synth

Sequential Pro 3 INHALT Sound Design Demo Published on Jan 14, 2020 INHALTVIDEO

Update: some audio demos added below.

"Some time ago, I put together a video demonstrating the remarkable ability of the AS-1 synthesizer to mimic the classic Sequential Circuits Pro One. I sent the video to my friends at Sequential and expressed a great desire for a fully fledged, keyboard version of the synth. Flash forward to the tail end of 2019, and I’m sitting in front of the Sequential Pro 3. While the inspiration might have come from some aspects of the AS-1, the Pro 3 is so far and above, it truly deserves the title of FLAGSHIP.

To me, the central point of the Pro 3 isn’t necessarily the feature set, which is VAST, but the raw sound. This synth is a production workhorse that sounds proper. It has a kind of aggression, bigness, and elegance that is typically associated with some of the finest vintage synthesizers; the low end is massive and the top end can cut through but it’s that all important midrange that is the most impressive. That midrange synthesizer bass sound, that many other synths fail at (by over compensating lows and highs) isn’t an issue here and it’s that aspect that allows the Pro 3 to link the vintage to the modern. Simply put, any working producer looking for a flagship mono that can handle the rigor of modern production and can make as many classic vintage sounds as futuristic ones should not sleep on this.

The three filters on offer here all have their unique personalities and allow you to cover a vast array of sounds. The OB6 filter in particular is a favorite and combined with the sheer physicality of the analog vco’s used here, allowed me to get into a kind of Xpander territory. The ladder filter pounds and moves like a vintage synth. And the Prophet 6/AS1 filter is exactly what you expect.

No external sequencing or multitracking was used on this recording. Everything was made 100 percent on the Pro 3. This is a recording of all of the patches I submitted to Sequential for the Pro 3’s factory bank. A big thanks to the whole Sequential family and a massive congratulations from INHALT on this stunning new synth!"

Update: audio demos by Paul Dither:




And the press release: (side note: I believe this is the first solely Sequential branded synth after rebranding from DSI)

"Sequential Debuts Pro 3, Multi-filter Mono Synth Featuring VCOs, Wavetables

San Francisco, CA—January 14, 2020—Sequential today announced the Pro 3, a new flagship mono/paraphonic synthesizer. A hybrid instrument, the Pro 3 features three classic analog filters (Prophet-6, OB-6, and ladder) and three oscillators (two VCOs and one wavetable oscillator) along with a powerful new 16-track sequencer, and the ability to connect with modular synths through its four control voltage ins/outs.

“In many ways the Pro 3 is the evolution of a concept that started with the classic Sequential Circuits Pro-One,” said Sequential founder Dave Smith: “Pack as much power as possible into a compact footprint and make it sound awesome. To do that, we built on the strengths of its modern-day counterpart, the Pro 2, and created a worthy successor to both that sets a new benchmark for raw power and versatility.”

Part of this sonic versatility comes from the Pro 3’s oscillators: Two voltage controlled oscillators provide traditional triangle, saw, and pulse waves with waveshaping, while a third digital wavetable oscillator provides 32 tables of 16 waves each with wave morphing. Three vintage-style filters shape the sound of these oscillators. Filter 1 is a 4-pole low-pass design based on the Prophet-6 filter. Filter 2 is a classic transistor ladder filter with optional resonance compensation to preserve its low-end punch. Filter 3 is a classic 2-pole, state-variable design based on the OB-6 filter that can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. A Drive control provides additional punch to all three filters.

The feature set of the Pro 3 is rounded out with a multimode arpeggiator, three LFOs, four loopable ADSR+delay envelopes, dual digital effects (delays, reverbs, and various time-based effects), tuned feedback, analog distortion, and extensive modulation possibilities. The LFOs, delay, and arpeggiator can be synced to either the internal clock or an external MIDI clock. A programmable position-sensitive touch slider and pitch and mod wheels provide nuanced control over live performance. The synth is also capable of 3-voice paraphonic operation. This makes it possible to play 3-note chords where the three individual oscillators share a common filter and envelopes.

The full-featured sequencer provides 16-track sequences of up to 64 steps, with ratcheting, variable gate and sequence lengths, multiple playback modes, and paraphonic operation. It also syncs to MIDI clock and external audio input, and inputs/outputs control voltages. In addition to notes, sequence tracks can control any parameter in the 32-slot, 171-destination modulation matrix.

Another key feature of the Pro 3 is its four scalable rear-panel control voltage inputs and outputs, which allow compatibility with modular synths. Control voltages are routed from within the modulation matrix and run at audio rates for extreme modulation effects. “We wanted to make the Pro 3 as flexible as possible,” said Smith. “The CVs and deep mod matrix make it a mini modular in its own right — without all the patch cables.”

Sequential is also offering the Pro 3 SE, a special edition version of the synthesizer that puts the same synthesis power into a collector-worthy design that features a tilt-up control panel and full, premium-grade walnut trim.

The Pro 3 standard edition will be available at the end of January with a US MAP of $1,599.

The Pro 3 SE will be available in February with a US MAP of $2,099."

https://www.sequential.com/product/pro-3/

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The Youngest Synth Collector in the World

You are looking at the youngest synth collector in the world. Click image for a bigger shot. Title link takes you to her studio page.

via jesper.

Sequential Adds User Wavetable Import for the Pro 3 Multi-Filter Mono/Paraphonic Synth

via Sequential

Sequential Adds User Wavetable Import to Pro 3 Multi-filter Mono Synth

San Francisco, CA—July 29, 2020—Sequential today announced a significant enhancement to their acclaimed
Pro 3 multi-filter mono synth — support for user-created wavetables. A hybrid instrument, the Pro 3 features two VCOs plus a third, digital oscillator with 32 permanent factory wavetables.

Sequential’s web-based utility Wavetable Generator allows users to convert up to 16 single-cycle waves into a Pro 3 compatible wavetable and load it into to any of the 32 user wavetable slots on the synth. This significantly expands the sound palette of the instrument. Custom wavetables are generated as SysEx files that can be archived and shared with other Pro 3 owners. To use the feature, users will need to upgrade to version 1.1 of the Pro 3 operating system, available on the Support page of Sequential’s website. Both the Wavetable Generator utility and OS upgrade are provided free of charge to Pro 3 owners.

“How do you make an awesome-sounding hybrid synth even better? By letting users import their own wavetables,” said Sequential founder Dave Smith: “It opens up a lot of new sonic territory for the Pro 3. We hope users get crazy with it.” Sequential chose to provide the utility as a web app for easy access and broad support. Added Smith: “We wanted to make getting custom waves into the Pro 3 as simple as possible. Ease of use is always a big priority on our synths.”

A hybrid instrument, the Pro 3 features three classic analog filters (Prophet-6, OB-6, and ladder) and three oscillators (two VCOs and one wavetable oscillator) along with a powerful new 16-track sequencer, and the ability to connect with modular synths through its four control voltage ins/outs. The feature set is rounded out with a multimode arpeggiator, three LFOs, four loopable ADSR+delay envelopes, dual digital effects (delays, reverbs, and various time-based effects), tuned feedback, analog distortion, and extensive modulation possibilities. The synth is also capable of 3-voice paraphonic operation.

The full-featured sequencer provides 16-track sequences of up to 64 steps, with ratcheting, variable gate and sequence lengths, multiple playback modes, and paraphonic operation. It also syncs to MIDI clock and external audio input, and inputs/outputs control voltages. In addition to notes, sequence tracks can control any parameter in the 32-slot, 171-destination modulation matrix.

Sequential is offering two versions of the Pro 3, the standard edition, and the Pro 3 SE, a special edition that puts the same synthesis power into a collector-worthy design with a tilt-up control panel and premium-grade walnut trim.

The Pro 3 standard edition has a US MAP of $1,599.

The Pro 3 SE has a US MAP of $2,099.

Sequential’s Wave Generator utility can be found at: www.sequentialwaves.com

360 SYSTEMS SPECTRE

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

via this auction

"For your consideration is this vintage 1979 360 Systems Spectre guitar synthesizer. This particular example is in very excellent original condition and was recently serviced to be completely studio ready. The Spectre guitar synth features the Oberheim 1180 "A" board which is the same board found in Oberheim's SEM synth module. This synth also features two analog oscillators, a single ADR filter, and an LFO. Producing incredibly rich fuzz, string sounds, octaves, envelope filtering, polyphony, phaser/flanger effects, etc., this unit makes the magic of Oberheim's SEM, also found within the TVS-1 2-voice, accessible to guitarists, other electrified stringed instruments, or even addition synths. A must have for the analog synth collector, inventive guitar players, and studios with an emphasis on vintage analog equipment, this is a really incredible piece."

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Moog Liberation Keytar Synth w/ Power Supply/Interface, Manual, Strap Points SN 1600X & 3332

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

via this listing

"Step into the spotlight with the legendary Moog Liberation, one of the first and most iconic keytars ever made. Released in 1980, this vintage analog synth gave keyboardists the freedom to break away from their rigs and take center stage alongside guitarists and vocalists. With its dual oscillators, rich Moog filter, and onboard modulation controls, the Liberation delivers that unmistakable, fat, and expressive Moog sound in a package designed for performance. The left-hand grip houses ribbon style pitch bend control, modulation, filter, and volume controls, allowing for real-time expression while you shred like a synth god.

This unit comes fully equipped with the Moog synth interface/power supply, the original manual, and strap mounting hardware for attaching your favorite guitar strap. If you'd like the straps mounted before shipping, just let us know! The Liberation connects to its external interface via a 20-foot cable, keeping your synth tones clear while letting you roam freely on stage. It features a classic Moog low-pass filter with resonance, a white noise generator, and polyphonic mode, making it versatile for both thick monophonic leads and layered textures. The build quality is rock-solid, with a sleek black design that screams vintage cool.

If you're looking to own a piece of synthesizer history, this Moog Liberation is your chance. Whether you're a collector, a synth enthusiast, or a performer looking to channel some serious 80s energy, this keytar delivers in both sound and style. Vintage Moogs hold their value incredibly well, and the Liberation is a rare find in such complete condition. Don’t miss out—grab this Liberation and break free from the keyboard stand!"

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Black Cat Goes Modular With Monster K-Fuzz Eurorack Module

Published on Nov 13, 2015 BlackCatPedals

"Black Cat announces debut Eurorack synth product
Black Cat Pedals is pleased to announce its first product for the Eurorack modular synth market - the Monster K-Fuzz module.

The Black Cat Monster K-Fuzz Eurorack module processes audio signals through a modified vintage fuzz circuit to create an array of harmonically complex tones and textures.

The brainchild of vintage synth collector Tom Hughes, the Monster K-Fuzz module has been adapted and optimized specifically for use with modular synthesizers.

In this context, the Monster K-Fuzz functions as a cross between a VCF and a wave shaper. The upper octave fuzz circuitry creates distinct overtones that traditional filters are not capable of. And even when fully overdriven, the Monster K-Fuzz sounds organic and warm - just what you'd expect from a great vintage fuzz.

Monster K-Fuzz module features:

* Variable controls for Saturation and Frequency
* 3-position selector switches for Clipping and Voicing
* Two separate Voltage Control Inputs
* Durable metalphoto finish 6HP panel
* Premium quality through-hole components
* Hand-built in the USA

The new Black Cat Monster K-Fuzz Eurorack synth module retails for $150. Check out www.blackcatpedals.com for further information about the company and their products."

Arturia Announces the MicroFreak - Hybrid Hardware Synthesizer Like No Other

Published on Jan 24, 2019 Arturia

Update: be sure to see this post.

Priced at $349/299€, available this Spring.

"A synthesizer like no other, MicroFreak is a peculiar, exceptional instrument that rewards the curious musician. It blends wavetable and digital oscillators with analog filters. It features a unique poly-aftertouch flat keyboard. It adds controlled randomness to sequences. This isn’t a revolution, it’s a mutiny."


Whether you’re looking for your first, affordable hardware synth or are collector looking for original sounds and unique interface, MicroFreak is the synth you need.

This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak’s flexible, powerful synth engine.

Small but fierce

MicroFreak packs so much in to such a compact instrument, you'll wonder how we did it. We'd love to say it was magic, but it was pure skill and passion.

Physical modelling, wavetable synthesis, virtual analog, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 13 awesome oscillators, 5 bespoke Arturia engines, and 8 modes from our partners at Mutable Instruments.


There's a little freak inside you, and this instrument will bring it out.

The best of both worlds

Even though MicroFreak has a digital oscillator at its heart, “opposites attract” as the saying goes. That’s why we’ve included a lush-sounding analog filter.
Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak’s filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cutoff by modulating it with keyboard pressure or the in-built sequencer.

Wait. Did we mention that MicroFreak has a sequencer? And a mod matrix? Things are about to get seriously interesting...

Taste the spice, throw the dice

MicroFreak is packed with unique, exciting features that let you create music with a fresh perspective.
Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix.

This truly is a budget-friendly synth like no other.

“That’s a funny looking keyboard”

That’s right, it is. It isn’t really even a keyboard. It’s a PCB. Super-flat, with no moving parts. Will it track lightning-fast synth solos? You bet. Better than a traditional keyboard, actually.
Will it let you be expressive? Of course, it’s not only pressure sensitive, but also offers poly-aftertouch. This means each key can control parameters in a different way depending on how much you touch.

You can also use its USB, MIDI, and CV outputs to control instruments in your DAW and modular synths. This also means that you can also use MicroFreak as a controller to experience polyphonic aftertouch with cutting edge software instruments.

Sydney Fringe Festival and Under the Blue Moon Events

"You’ve never seen the Enmore Theatre like this – Sydney Fringe Festival Event

Electro aficionados & vintage synth geeks get a taste of the real thing, live without a laptop in sight.

Long time collectors of analogue equipment Steve Jones and Ryan Spinoglio have teamed up with Carolyn Shine to re-create some of electronic music’s classics under the moniker ‘Studio Serpentine’ on stage at the Enmore Theatre on September 11 2010.

Some of electronic music’s most innovative scores like Vangelis’ Blade Runner and Delia Derbyshire’s Dr Who theme will oscillate between electro-pop classics like Fade to Grey by Visage and Studio Serpentine’s own music.

Priceless pieces of analogue studio heaven will be assembled to showcase the trio’s beloved equipment and give the audience an opportunity to experience electronica history live.

Yamaha CS-80, Prophet 5s, Jupiter 8s, PPG Wave 2, Space echos, and practically the entire back catalogue of Roland drum machines, a vintage Korg Vocoder and the legendary MS-20 will be stacked up with a couple of ARP Odyssey MKIIs, a Space Modular and a Theremin among other things. If that all sounds like another language - it kinda is.

This is a rare opportunity to experience the evolving language of electronic music from its classic origins.

Steve Jones is a prominent recording engineer and keyboard programmer who has worked on many platinum award-winning albums in Australia. He has worked as a keyboard technician for touring artists Kylie Minogue, INXS and Burt Bacharach and is by all regards, a certified synth geek.

Ryan Spinoglio is a musician and avid vintage synth collector, bordering on compulsive. His tracks, under alias, have been released through Ear Pimp and Clan Analogue and you can find him at http://www.myspace.com/electrofetish

Carolyn Shine is a composer, keyboardist and performer. Her recently released single Monsoon Rain featuring Chris Ball that was featured on ABC’s Australian Story is out now on iTunes.

The trio will perform as part of the annual Lunarmorph parade, a celebration of alternative creativity and fashion.

In partnership with the Sydney Fringe Festival the annual Under the Blue Moon Festival, Lunarmorph will be held at the iconic Enmore Theatre in Newtown on Saturday September 11.

Tickets are available through Ticketek and Enmore Theatre.

www.underthebluemoon.org.au http://thesydneyfringe.com.au"

Twenty synth pioneers, three signatures: one historic calendar

via The Bob Moog Foundation

Get your calendar here

"Synth icons Dave Rossum, Roger Linn, and Tom Oberheim have all signed select copies of our "Synth Pioneers" 2022-2023 18-month calendar!

Our epic Synthesizer Pioneers 18-month calendar honors 20 innovators from over the past 60 years, and keeps time through June 2023.

It's the first calendar celebrating the achievements of synthesizer pioneers from all over the world. Each one of these iconic creators is mentioned in our calendar:
Harry Olson
Herbert Belar
Raymond Scott
Harald Bode
Bob Moog
Don Buchla
Peter Zinovieff (EMS)
Alan R. Pearlman (ARP)
Ikutaro Kakahashi (Roland)
Felix Visser (Synton)
Fumio Mieda (KORG)
Dave Smith
Wolfgang Palm (PPG)
Kim Ryrie and Peter Vogel (Fairlight)
Ray Kurzweil
Makoto Fukuda (Casio)

Many of the pioneers contributed photos (some of which are suitable for framing) from their private archives for this collector's item. Also included are dates of historic importance from the timeline of synthesis, many of them provided by the pioneers themselves.

As of publication, there are
just 14 signed copies left.

Tom Oberheim signs a Synth Pioneers calendar at NAMM 2022

All sale proceeds from Synth Pioneers
benefit our work!

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360 Systems Spectre Guitar Synth with ARP Hex Pickup

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

via this auction

"Vintage 70s Analog Guitar Synth, Features Oberheim 1180 Board used in OB Sem.. 2 Analog Oscillators, ADR Filter, LFO, 5 Octave Range, Hex Fuzz, Envelope.. Knobs to Tweak For Days, Comes with ARP Hex Pickup, I have 2 Pickups if interested, Recently Serviced and Working as Should..It's in Very Good Condition considering its age, A must for Analog Synth Collector, Studio, Guitarist or Keys Player.. The Bass Note it Puts Out are Killer.. CLASSIC"

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ESK - Finegear Dust Collector with Drumcomputer, Bass and Synth

Metunar

"Playing around demo with the Finegear Dust Collector analog effect device.
1. with an Arturia Drumbrute, analog drumcomputer
- kick 1 with tape saturation 1
- zap with tape saturation 2
- snare with delay
- the rest with phaser and spring reverb
2. with a bass guitar
Bass goes fist through a preamp and then in the Dust Collector FX.
All effects are routed serially.
3. with an analog synth, a Teisco 100P monophonic 1 VCO synth
All effects are routed serially.
All distortion you hear in the beginning ist form the tape saturation.

Direct recording with limiter on the master.

http://www.metunar.ch"

ETI International 4600

images via this auction. via Adam

There are some fantastic shots of the inside and outside in this set so be sure to check them out. Click on the All Sizes link on the top of each image for the full detail.


"This is a very rare ETI 4600 synthesizer and would suit a synth enthusiast or collector.
All knobs/switches present and faceplate mint!!
Powerful Analog machine 4 vcos (and the 4th has two outputs) !!! A matrix patch bay allows for incredible routing options, I’ve used this along side an ems synthi and it gives it a good run for its money. This thing is ultra fat and makes the craziest sound effects, mega sci-fi sounds with its inbuilt spring reverb. Absolutely unreal for sound effects!!

Electronically it has been professionally put together, I am told by the previous owner that the guys from fairlight built it from kit form. The cabinet isn’t the best and needs a tidy up or even nicer would be to rebuild it with an attractive timber. It comes with cabinet construction diagrams in the manual. The keyboard is missing some keys, but you can use generic organ keyboards with this machine (or what I was going to do is get rid of the keyboard and make a new cabinet as an expander module without keys).

These don’t show up often at all. Parts are still available and the manual shows in great detail how to build it, Do some research on this synth and you will find there is a lot you can do with it. Mod it or expand it etc. link

I recently did a full test on the synth with the following results:
Oscillator 1 - All Range settings, Tune, Free run, Shape and All waveforms tested and working.
Oscillator 2 - All Range settings, Tune, Free run, Shape and All waveforms tested and working.
Oscillator 3 - Intermittent, was working and now isn’t.
Oscillator 4 - All Range settings, Tune, Free run, Shape and All waveforms tested and working.
Oscillator 4, Second output - All waveforms, including noise selection and Controller tested and working.
Noise generator - Pink and white tested and working.
Mixer 1 - Tested and working.
Mixer 2 - Tested and working.
Mixer 3 - Tested and working.
Mixer 4 - Tested and working.
Mixer 5 - Tested and working.
Filter 1 - Tested and working.
Filter 2 - Tested and working.
Joystick - Tested and working in both planes, range pot also working.
Keyboard Control – Sweep, Glide, Transient, Modulation and Tune tested and working.
Keyboard – Tested but not tracking 100% (needs calibrating)
Equalizer – All five bands tested and working.
Reverb - Tested and working.
Main Output - Tested and working, no crackle upon turning volume pot.
Headphone Output – Works, but is very crackly upon turning volume pot.
External Inputs 1 and 2 - Tested and working.
Amplifiers 1 and 2 - Tested and working.
Controller – Level is working but I’m not able to get any change with modulation.
Envelope control - Tested and working.
Transient 1 - Tested and working.
Transient 2 - Tested and working.

Its heavy !! weighs 20kg unpacked. Allow 4kg for packing (I will pack it very well)
The synth could be sent without keyboard and cabinet to reduce weight if seller prefers
Approximate Size (packed) 105x45x50cm"