Sequential Circuits Pro-One for John

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Roland Jupiter-8 for Tyler

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"Here is a demo of the Roland Jupiter-8 with a CR-78 and SRE-555 chorus echo. This JP8 had an interesting problem that many units with Encore MIDI have: an annoying click sound when moving any of the programmable sliders. It has since been solved and repaired and sounds lovely as ever!"

Arp Quadra for Randy

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"Foleytronics is a repair shop in the Cincinnati area (Dayton, KY) specializing in vintage FX, drum machines, synthesizers, tape machines and vintage pro audio. Every shipped item gets a video demonstration as assurance for the client, insurance for both of us and documentation of these cool old machines for the rest of the world."

IG: foleytronics_llc
www.foleytronics.com

How To Care For Your Pet Minimoog

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"This could be your 1974 Mini, completely done up by us. It has a new walnut case, NOS Pratt Read keyboard, new knobs, plus a full recap and calibration. This unit has the coveted old oscillator board, which we lightly modified to improve tuning stability between octaves. This is my favorite Minimoog I’ve ever played, but it is sadly FOR SALE as you apparently cannot pay your mortgage with them or feed them to your children. If interested, drop us a line: peter@foleytronics.com

The Carousel is Tom’s, we modified it to have individual outputs for each instrument. It pairs nicely with Chris’s other AMS 15-80s. Yes, the Carousel is normally quite noisy.

Shot and edited by Michael Shular"

Elgam Carousel featured as well. Additional posts here.

EXTREMELY RARE PPG 1002 for Tom + first ever shop tour!!!

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"Here is a demo of the EXTREMELY RARE PPG 1002 for Tom. Plus a bonus first ever tour of the Foleytronics shop!!

For those that want to attempt to tune this synth, here is what worked for me:

The trimmer by the regulators is the CV offset; trim for 0v for the lowest key. This interacts with the CV v/oct, which is right above where the two shielded cables connect from the 20-pin keyboard connector. Trim this for 1v/oct, which can be measured at the switched oscillator CV input jack on the back of the instrument. Once these are set, you can move on.

The oscillators are tricky. They each have an initial frequency trim pot and a volt/octave trim pot. However, the initial frequency trimmer cannot be set willy nilly to A440 because their initial tuning frequency greatly affects the octave selection switches on the top panel. What I found to be most effective is to set the MASTER TUNE front panel pot to 0, the OCTAVE SLIDER to the left of the keyboard to the middle and then begin tuning. Note, every trim pot for each oscillator will affect the others for that oscillator so this is an exercise in extreme patience.

First, turn off keyboard control for OSC B and roughly center its front panel tuning pot; set its octave to +3 and put a folded piece of paper on middle C. You are now going to tune the octave selector for OSC A; this part is confusing as there is a trimmer to adjust the octave selection offset for BOTH oscillators, but only OSC B has an adjustment to “match” its octave selection with that of A. Thus, you have to use that trimmer to get OSC A perfect and then match B to A - the method that worked for me was to switch between octaves for OSC A and adjust the octave offset trimmer along with the initial frequency trim pot for A to get a perfect octave selection for OSC A over the OSC B drone.

After the OSC A octave adjustment, it’s time to adjust B’s octave adjustment. Set A to +3, and switch OSC B to +1; adjust for zero beating at the trimmer in the upper left corner of the board right at the edge of the PCB. Then, switch OSC B back to +3 and adjust its initial frequency for zero beating; repeat this until the octave selection is perfect for B.

Now, it’s time to adjust for V/octave for each oscillator. Sadly, this adjustment affects the octave center calibration we just did, so you’ll have to keep backtracking until it’s good. Adjust the V/octave trim pot for OSC A, which is directly to the left of the CV v/octave we did in the first step. You’ll now have to mess with the init. frequency for A along with the V/oct to get the oscillator to track correctly on the keyboard, but like I said earlier, you have now probably slightly messed up the octave selection so you will have to go back and do that again. Then, adjust the tuning of OSC A again and repeat this process until OSC A tracks perfectly and has good octave selection. I couldn’t really get the +4 octave to be perfect, but hey, it’s a prototype and is probably 50+ years old.

Now for OSC B; it’s very similar to A. Use the V/octave adjustment trimmer which is the lower left trim pot on the PCB along with the initial frequency trim pot to get B to track along the keyboard. Again, you’ll have to go back and adjust the octave selection, but that’s not as bad for B because its octave adjustment doesn’t mess up OSC A’s octave selection. At this point, you should be able to get OSC A and OSC B to track the keyboard and the octave selections should be there"

Tim’s Mono/Poly and Michael’s Publison IM90

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"Two of the oscillators in this Mono/Poly wouldn’t tune during calibration and ended up being a major pain in the tuchus. Meanwhile, this Publsion Infernal Machine had no output on channel A plus the garbled screen of ultimate despair. Figured both those out, plus recapped the tants, changed a couple broken XLR connectors and re-recapped the PSU as someone left it rather untidy. It sounds wild and is really fun to use.

Should you have a piece of vintage pro audio gear that needs some love, feel free to drop us a line:

https://foleytronics.com/contact-us/"

1960s Fairchild 658 Spring Reverb / Ace Tone Rhythm Producer Dub Demo

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"This is a Farchild 658 Spring Reverb, a very cool verb with a built-in optical compressor to achieve different reverb tail lengths. All three spring tanks are active at once, and they are positioned veritcally on the grey rackmounted panel. We used Mike's Ace Tone Rhythm Producer to test it after repair and I must say... it's a lot of fun.

The reverb was sold as perfectly working, but the compressor circuit had many faulty caps, two dead transistors and a burned out lamp. It's working great now!"

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"...and Mark's Lexicon 300 is now a 300L. Also on the docket in today's demo is Michael's recapped and OLEDed Roland D-550 & PG-1000 programmer, Kelly's Moog Source with new membrane panel and an honorable mention of Ramble's Oberheim Matrix-12 acting as a MIDI board for the Roland."

Ace Tone Rhythm Producer - Now With MIDI!

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Eventide HK941 and Jay’s H949

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"This is a demo for Jay showcasing his now-working H949. Peter got to demo it with a very rare Eventide HK941 polyphonic Harmonizer controller keyboard, it’s a very inspiring setup!"

Filter Friday: Roland CR68 and Mutron III

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"Every day is filter Friday here!"

The Lexicon Prime Time 93 is Equal Parts Instrument and Delay

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Controlling a Modded Vox Percussion King with an Arp 1613 Sequencer

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"This is a modified Vox Percussion King that now has 1/4" trigger inputs for each drum sound. The triggers can be a pulse anywhere from about 2 volts to 15 volts, and the duty cycle can be anywhere from about 10% to 90%. Wider pulses alter how long the snare and castanet rolls.

This is also showcasing Benny's lovely Prime Time 93, which is an excellent match for Tom's Percussion King."

Shulte Compact Phasing ‘A’ w/ Prophet-5 and Lexicon 224

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"This is a demonstration of 'Room A' on Matt's now-fully-functional Lexicon 224, paired with Mike's Schulte Compact Phasing 'A' and my Prophet-5 rev 2. This is, in my opinion, the greatest Kraut combination I have encountered!"

TC 1210 Spatial Expander and Roland TR-808

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"Here is Mike’s MIDI-fied 808 being processed by Brandt’s Spatial Expander, an awesome analog chorusing/flanging/widening effect."

Bert on knob control.

The Rarest Guitar Effect Ever: EMS Synthi Hi-Fli

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"Here we have one of 350 EMS Synthi Hi-Fli multi-effects boxes; this one showed up with a very loud buzz and, after figuring that out, no audible suboctave. It is now working perfectly and oh so much fun to play with, as you can tell by the look on Dan's face in this video and thumbnail.

We also made use of Brandt's TC Electronic 2290 Dynamic Digital Delay, which are amazing for adding depth and width to any signal."

Steelphon S900 // Mellotron M400

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"This is a demo of Tom’s Steelphon that got whooped by UPS - broken circuit boards, broken MDF case, no output. We took the case to be reproduced by Kent Meloy of Tunguska Guitars and in the meantime went to town on the electronics. There isn’t a schematic available anywhere, but after getting the rails back and the keyboard CV working, there was still no output. I isolated it to the filter board and realized the VCF is a Moog copy, component-for-component, so I used a Minimoog schematic to help troubleshoot the problem.

The Mellotron is mine and has undergone quite a bit of work. New pinch rollers, new motor control board, rebuilt the PSU, and fabbed a new key as one was missing."

The World’s FIRST Digital Reverb: EMT 250 Part 1 Demo with a Sequential Circuits Prophet-5

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"This is a 1976 EMT 250 digital reverb, one of not very many ever made. It came to the shop screaming white noise in my ear as soon as you turn it on, which ended up being a RAM issue. 12 bit (quasi 15 bit according to the manual as it converts the signal to floating point while it processes the signal, though I think they meant 16 bit as the RAM array is 8k x 16), 24 khz sample rate, probably around a 10 kHz roll off.

Part I discusses how to use it and you can hear some sound demos, part II will explore the circuitry of the unit a little more.

Shot and edited by Michael Shular"

AMS S-DMX/Chorus Controller/Oberheim Matrix-12

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"This is Keith’s AMS S-DMX and Ramble’s Oberheim Matrix-12. I threw in my own Chorus Controller since there aren’t a ton of good demo videos of that unit."

Modded Roland CR-78 - Individual Outputs!

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"This is a CR-78 we modified to have individual 1/4” TS outputs for each drum sound. It wasn’t as simple as finding where the bass drum is generated and connecting it to a jack because we found the tone of the instrument would change without any buffering. Our solution was to create a buffer board that would isolate and amplify each of the sounds without sacrificing tone.

It’s really fun to use with a mixer - changing levels on the fly, reverb throws, different panning, you name it!

Shot and edited by Michael Shular"

Farfisa Syntorchestra Demo With an EMT 252 and Lexicon 200

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"Here is a Farfisa Syntorchestra from the early 70s; this synth is a classic Italian string machine with some really nice sounding presets - my favorite is piccolo. We ran it with Murray’s Lexicon 200 and Brett’s EMT 252, both of which are some of the finest digital reverbs the 80s had to offer."

Two Handsome Guys Play a Rare 70s Analog Synth Through a Rare 70s Analog Delay

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"This is Tom’s Roland SH-7, repaired after the VCO 2 tube pot failed - this thing has some serious juice. We had the opportunity to run it through Doug’s Klark Teknik DN34, a very rare bucket brigade delay from the 70s that is similar to the Marshall Time Modulator. The stereo version was used by Tangerine Dream, you can hear very similar sounds on their record 'Exit'."