Introducing Basimilus Iteritas, Manis Iteritas, and Debel Iteritas on Alia oscillator platform

video upload by Noise Engineering

"Unlock the full potential of your Alia with alternate firmware, resources, and more.

Check out the World of Alia, our new oscillator platform here: https://bit.ly/497xrsk

Alia is a 10HP oscillator platform and is the new home for your favorite Noise Engineering sounds, both classic and new. Turn your module into Basimilus Iteritas, our legendary percussive powerhouse; Manis Iteritas, a dark industrial techno machine; or Debel Iteritas, an additive PM voice inspired by yesteryear, or maybe even something completely different as new firmwares are released.

Firmware is always free for Alia owners, so swap out your sound whenever you need a new vibe. Alia has something for everyone."

Press release follows:

"Noise Engineering debuts Alia, bringing Basimilus, Manis, and all-new Debel voices to a swappable oscillator platform

Los Angeles, CA — Digital-forward modular synthesizer company Noise Engineering has announced Alia, a new 10HP oscillator platform module. With Alia, the team brings back Basimilus and Manis, two of their beloved synth voices. Alia also launched with a whole new synth voice, Debel Iteritas Alia, a unique hybrid take on phase modulation and additive synthesis.

The previous incarnation of the Iteritas modules was discontinued a few months ago when the processor it was built on was end-of-lifed. “We lived in fear of that development for years, but we didn’t have a viable alternative. We had been thinking about a way off of that processor for some time, but when the part was EOLed, we got motivated. It was a long time before we were confident we could make it work, though,” said Kris Kaiser, Doer of Many Things at Noise Engineering.

The revamped Basimilus Iteritas Alia and Manis Iteritas Alia have a near identical sound to the originals, and a few added features. “When we had to discontinue the BIA and the Manis, quite a few customers reached out asking us to bring them back,” says Markus Cancilla, Noise Engineering’s Chief of Destruction. “The new Alia platform allowed us to bring back our old favorites with a few improvements, and experiment with entirely new concepts, too.”

The platform concept will be a familiar feature to Noise Engineering’s customers. The Versio lineup introduced the idea of swappable firmware to the Noise Engineering ecosystem in 2020, and now has 9 different FX firmwares now available for the platform. Legio followed as a smaller platform in 6HP now with four firmwares. Alia follows suit, launching with three firmwares available and even more on the way, according to NE. As with the existing Versio and Legio platforms, firmware is free for Alia owners and swappable at any time from their Customer Portal. The team expects to offer hot swappable overlays for the different Alia firmwares in the near future.

Along with the return of the BIA and the Manis, the Debel Iteritas Alia is a completely new synth voice based around an additive phase-modulation architecture. Debel continues Noise

Engineering’s reputation for putting a huge amount of timbral range behind a small number of parameters, and bringing new ideas in synthesis to an easy-to-navigate interface. It uses a few different configurations of four-operator PM with each operator comprising four oscillators. Traditional FM sounds are easy to create, but can be instantly brought into entirely new territory with the tweak of a parameter or some external CV. Also in line with Noise Engineering’s ethos of not taking themselves too seriously, Debel features Taco, Nacho, and Diablo modes. “The name and the panel have about a million inside jokes. We had a lot of fun with this firmware,” said Stephen McCaul, Chief Noisemaker.

All three firmwares are available as paneled modules. Basimilus Iteritas Alia, Manis Iteritas Alia, and Debel Iteritas Alia are available for preorder now at https://noiseengineering.us and at retailers globally, shipping October 26, 2023.

Availability and pricing:

In stock in black and silver. Shipping from Noise Engineering and retailers starting October 26th, 2023; MSRP US$385

https://bit.ly/497xrsk

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ASM HYDRASYNTH - First Impressions, Overview and Demo

video upload by Woody Piano Shack

"The ASM HYDRASYNTH DELUXE SYNTHESIZER is finally in the Shack! I'll reveal the backstory of why it took me so long, then unboxing, share my first impressions and reaction, overview and tour of te controls and synth architecture. Of course, we'll play it for the first time together.

HYDRASYNTH is a monster digital wavestable synthesizer and has been a highly requested synth for me to feature on the channel. The day has come.

The ASHUN SOUND MACHINES HYDRASYNTH DELUXE is the flagship model in the range, which includes the HYDRASYNTH KEYBOARD, HYDRASYNTH DESKTOP and HYDRASYNTH EXPLORER.

Also featuring NATIVE INSTRUMENTS MASCHINE+."

MORE WOODY PIANO SHACK:
► PATREON http://bit.ly/woody_patreon
► WEBSITE https://woodypianoshack.com

Roland TB-303 with Original Devilfish Modification SN 044

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

via this auction

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UNLOCKING THE SECRETS OF THE FARFISA SOUNDMAKER

video upload by Vintage Audio Institute Italia

"There seems to be some mystery surrounding the Farfisa Soundmaker - how does it sound, is it actually cool, and what does Poly & Strings in Mono actually do?

In this video I go through the presets of all three sections and then move on to the marvellous Poly & Strings in Mono - unlocking your Poly & Strings in Mono is crucial to really getting the best out of your Soundmaker though.

I added some text to further explain its unique architecture - but here's a short info sheet:

Then Soundmaker has three independent sections - each with its own with volume and cut-off filter.

1. Polyphonic section with 3 Piano presets, 1 brass preset with its own fixed vibrato setting.

2. The additional Polyphonic section is the strings section : 2 footages of strings with attack, decay controls on top of volume and cut-off sliders. The strings sound surprisingly good - top tier 1970s string machine.

3. Monophonic preset section with additional Free mode which let you modulate the preset sounds with filter and ADSR and lastly - the Oscillator bank (LFO) with LFO controls, wave forms and vibrato controls.

Engaging the Poly & Strings in Mono internally routes both Polyphonic sections into the filter and oscillator bank of the monophonic section - letting you modulate them freely and really unlocking the uniqueness of this instrument.

The best way to experience the Poly & Strings in Mono is to create a dedicated Monophonic audio output - which the Soundmaker unfortunately doesn't have.

We carved out a Mono only output by cutting the Polyphonic signal to the Phones output in the back.
This is quite easy, you flip open the machine and simply cut the wire from the Poly section inside (it's easily reversible) - please have an experience technician do this for you if you're hesitant.

The second trick to enhance the performance of Poly & Strings in Mono is easier : turn off the mono section preset with its dedicated on/off button (it will still pass audio but no preset will be engaged). Since the mono preset sound is much louder in volume than the signal arriving via Poly & Strings in Mono, turning it off will make you hear the effect better."

Yamaha CS-15: Duophonic improv w/ Korg SQ-1 - 2 separate voices in one monosynth

video upload by DreamsOfWires

"A simple melodic experiment with the two-voice architecture of the vintage Yamaha CS-15 from 1979. This synth has two separate pairs of control inputs to address two VCO's, filters and ADSR envelopes, each with a VCA. Voltage control uses the less popular Hz/Volts system, also employed by early Korgs such as the MS-20, which is why the SQ-10 sequencer supports it (since the MS-20 Mini re-issue also adopted it).
The range of reachable notes is limited using this sequencer, at least in the lower range, but I was surprised how well it worked, immediately after hooking up the CV A and CV B outputs to the CS-15's VCO 1 & 2 inputs, followed by the GATE A & B outs to the EG 1 & 2 ins. In the next CS-15 video I'll experiment with using the two-voice function in a slightly different way, with another popular sequencer. After that I'll probably focus on using it entirely as a monosynth with some sound examples.
The CS-15 is an odd synth - being able to divide it up into two (albeit very simple) monosynths is very unusual. In fact, I titled the video 'duophonic', which is debatable: The Arp Odyssey is famous for having a duo function, where the pitch of the two oscillators can be divided by the keyboard, but still sharing the same filter, envelope and VCA, and as such not creating two entirely separate voices. The CS-15 is more polyphonic in potential, and so a controller capable of polyphonic voice allocation could use it as a two-voice polyphonic synth. Not especially useful given the single oscillator per voice, but neat nevertheless.
What is most strange is that there is only one shared audio output, meaning that the two voices can't be processed individually. Stranger still is that the larger CS-30/CS-30L has individual outputs for both voices, but does not have separate control inputs for them! It's almost like the design blueprints for both synths somehow got mixed up in the factory.
However, with 2 fully-featured multi-mode filters (low pass/band pass/high pass), two full ADSR envelopes, which can be assigned to any combination of both filters and both VCAs, individual LFO level to pitch and PWM on both oscillators, white noise or external audio input, with Glide AND pitch bend... this really was a highly flexible/capable, well-designed, and well-constructed synth for the time. Important to note though, is that the filters will not self oscillate at high resonance levels, a bit like the early Oberheim SEM etc. The filter mode switches on mine are a little temperamental, probably a sign of age/need of servicing, but otherwise it's built like a tank.

I make videos to promote myself as a musician, and sell music on Bandcammp, which earns a few pennies to help fund what I do. My music can be found here: https://tomorrowthecure.bandcamp.com"

HEXINVERTER VCNO & MINDPHASER NOW AVAILABLE

3 Patches for Complex Oscillators // Mindphaser from Hexinverter & Erica Synths (Eurorack demo)

video upload by DivKid

"In this video we’ll look at 3 patches that you can apply to the complex oscillators in your life. I’ll be using the new Mindphaser from Hexinverter, now made by Erica Synths (more on that below), but you can use any Buchla 259 style complex/dual oscillator to apply these ideas. Do let me know in the comments if you give any of these patches a try and share your favourite ways to patch complex oscillators too.

I’ll be working on a full demo on the Mindphaser in the future, so if you have questions or requests you’re welcome to leave those in the comments to inform future video too.

You may have seen the Mindphaser before, it was released by Hexinverter some years ago however … they couldn’t make many of them at the time and not long after closed up the company for good. The newly released Mindphaser is now made by Erica Synths, it’s still Hexinverter though and this is made under license and agreement with Stacy at Hexinverter. It’s great to see this module come back to life and it’s by all accounts the same module as it was, just with some minor tweaks for ease of manufacture and parts available. I’m looking forward to Erica Synths remaking some other Hexinverter modules too."

TIMING INDEX // CHAPTERS

00:00 Hello and patch previews
00:46 What is the Mindphaser and what are we doing here?
01:31 Drones, Tones & Arpeggios - an exploration of phasing minds
04:03 Aggressive Techno Tones - random steps & bass!
07:05 Multi-timbral Melodies - layered patching for richer textures

See the dealers on the right for availability.

"Mindphaser is a next generation complex dual oscillator for the Eurorack modular synthesizer format. Its dual oscillator architecture builds on and advances principles developed decades ago, by pioneers of electronic music synthesis.

Mindphaser generates sounds through its dual VCO cores: the Carrier and Modulator, and in addition to these cores, a palette of intermodulation capability is offered through the Modulation Bus (ModBus) and a separate, supplementary through-zero phase modulation (TZ-PM) bus. The sound is further sculpted by a final set of tools contained in the Waveshaper, before reaching the final output."

"VCNO [demo video here] is a noise oscillator, capable of producing full spectrum white noise and various random signals. But that’s where its similarity to other noise generators stops. VCNO can be used like a VCO – you can modulate the pitch over CV and use its multiple outputs simultaneously, each with a distinct sonic character. As well, you can patch it into a VCA or use it to modulate and trigger other elements in your modular system.

Features

NOISE is the main LFSR output. With the pitch knob turned fully clockwise this will output pure white noise. As you turn the pitch down, the noise evolves into crunchy noise, reminiscent of vintage video game sounds

GATE is a DC-coupled output. This is perfect for supplying random triggers in your system


SCREECH features a dark, howling overtone to the main NOISE output

SIZZLE features a related control, which takes the output from pure white noise when turned fully clockwise to a vinyl-like crackle when turned anti-clockwise

TEAR sounds like the noise generator is broken and tearing itself apart

All outputs work simultaneously and are simultaneously affected by the pitch knob or CV

The frequency of VCNO can be modulated via CV – just patch any CV signal into this jack

A clock signal input bypasses the internal frequency generator. You can apply a clock from a trigger sequencer to create a pseudorandom drum trigger pattern synced to the rest of your drums."

Bad Gear - Mother-32

video upload by AudioPilz

"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about the Moog Mother-32. Is this semi-modular synth and ultimate gateway drug into the world of Eurorack really Bad Gear-worthy or am I just trying to find a way to make my post inMusic takeover purchase tax deductible? Is it really a one-of-a-kind analog synthesizer or should you get the Behringer Crave or Behringer Model D?"

Chapters:
00:00 Intro tune
00:56 Overview Bad Gear - Mother-32
01:26 Oscillator
01:47 LFO
02:04 Ladder Filter
02:18 High Pass Mode and Workarounds, Self-Oscillation
02:42 Envelope
02:53 Architecture, Patches, Routings
03:29 Midi, Sequencer, Ratchets
03:55 Integration into Modular Setups
04:20 What else??? (Build Quality, Pricing)
04:34 Hate
04:59 Jam 1 (Techno)
05:48 Jam 2 (Ambient with Drums)
06:45 Finale (More Techno)
07:17 Verdict

Cherry Audio PS-330 (No Talking)

video upload by Elektronick Musick

"Emulation of the colossal and ultra-rare semi-modular analog polyphonic synthesizer released by KORG in 1977"

See the announcement post here, and Resonation preset pack demo here.

"PS-3300 Features
Exactingly faithful virtual analog emulation of the semi-modular analog polyphonic synthesizer released by Korg in 1977

Three independent "signal generator" panels, each with an oscillator, lowpass filter, three-peak resonators, envelope with velocity, amp, two mod generator LFOs, and per-note tuning:

3X VCOs with six waveforms: triangle, saw, rectangle (square), two preset pulse waves (with different widths), and PWM (variable-width pulse)

3X resonant VCF 12 dB/oct lowpass filters with the option to select between the standard "clean" PS filter or the "crunchier" MS-style filter

3X modulatable "triple resonators": 12 dB/oct bandpass filters to produce vowel and phasing tones

3X discreet ADSR-type envelope modulators with velocity control, and amplitude modulation

3X two syncable "mod generators" (LFOs) with output jacks: one with triangle, saw, ramp, rectangle, pink noise, and white noise, and the other with triangle waveform

3X temperament section with individual tuning knobs for the 12 chromatic notes, and temperament presets for Equal Tempered, Mean Tone System, Hepatonal System, and Just Intonation

Copy/paste settings from one signal generator panel to another

Polyphonic mode with up to 24 voices of polyphony and three monophonic modes: last, low, and high note priority

Semi-modular synthesizer with virtual jack and cable system, featuring unlimited mults per jack and customizable (color, transparency, animation) cables

Master signal mixer panel with sample & hold, general envelope generator, and two control voltage (CV) processors

Individual channel panning

User-selectable bend range and master tune

Studio-quality integrated effects: chorus, echo with sync, and three types of reverb (spring, plate, and Galactic)

Over 360 professionally designed presets in a dozen categories. These include a bonus Legacy collection of basic presets based on the patch sheets in the original PS-3300 Owner's Manual, a 3100-based Glissando patch, and a 432 Hz Equal Temperament patch, all to get your started in your own sound design adventures.

Standalone virtual instrument and plug-in versions

Complete MIDI control and DAW automation for all controls, with easy-to-use MIDI Learn and mapping

Cherry Audio’s popular Focus zoom-in feature, as well as standard UI zoom and resize via drag

Complete documentation available directly online from the instrument or in downloadable PDF format

User-adjustable oversampling control

Also available: With its three-synths-in-one architecture, unique resonators, and semi-modular nature, the PS-3300 is truly a behemoth of synthesizers. Sound designer James Dyson's Resonation Preset Pack (sold separately) includes additional presets that go further into the relative dimensions between light and shadow and all the way to the outer limits."

'Interstellar' Cherry Audio PS-3300 Resonation Preset Pack

video upload by James Dyson

See the PS-3300 announcement post here for additional demos and details.

"'Interstellar' Mix composed with the Resonation Preset Pack for Cherry Audio PS-3300!

Original music by Hans Zimmer for the 2014 film Interstellar by Christopher Nolan

With its three-synths-in-one architecture, unique resonators, and semi-modular nature, Cherry Audio's PS-3300 is truly a behemoth of synthesizers. Sound designer James Dyson's Resonation Preset Pack (sold separately) includes additional presets that go further into the relative dimensions between light and shadow and all the way to the outer limits. The Resonation Preset Pack features an additional 100 presets in 10 categories showcasing PS-3300's awe-inspiring poly tones, otherworldly modulations, ethereal pads, bone-rattling sound effects, earthshaking basses, strings, leads, and more.

Visit Cherry Audio to purchase here https://store.cherryaudio.com/presets...

Resonation Preset Pack for PS-3300 includes 100 additional presets in the following categories:

* 11 Basses
* 7 Brasses
* 6 Keys
* 10 Leads
* 7 Modulations
* 24 Pads
* 5 Plucks
* 10 Poly
* 14 SoundFX
* 6 Strings

Presets from the Pack used for the Demo Track are as follows.
Colours Of Summer
Simplistic
AI Rachel's Love Machine
Spaceport
Fractured Space
Resonation Overloads
The Traveller"

UNBOXING THE ELGAM CRAZY BAND 48

video upload by Vintage Audio Institute Italia

"We were super excited to receive this unicorn, vintage groove box - the machine that was the very last breath of the Elgam in 1982 - it was shipped out as the company folded.
The Elgam Crazy Band 48 was the follow up to the now sought-after Elgam Carousel and it shares some of its functions but not any of it's components, schematics or architecture.
The unit was well packed in a sturdy box but only emit a loud hiss and one single note on arrival.
Yep - this is often the reality of unboxing vintage gear.
This machine is now in the shop for repairs but it's a long journey to get it back up and running - if it ever will. The music in the background is from a similar device we demo:ed in an earlier video : the Godwin Drummaker 45."

The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

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New Roland GAIA 2: Creating and Explaining Synth Sounds 🎹🎛✨

video upload by MR TUNA Music

"Let's make some sounds from scratch on the all-new Roland GAIA 2 synthesizer. The GAIA 2 is a digital synth with hybrid architecture; It features one wavetable oscillator and two virtual-analog oscillators (including supersaw). The most interesting part is the Motion XY pad which allows you to record gestures and use it like a trackpad for the menu."

See the announcement post for the Roland GAIA 2 here.

Roland JX-8P 61-Key Polyphonic Synthesizer

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

via SYNTH CITY Reverb

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

"1985 Roland JX-8P in great cosmetic and working condition. Includes M-16C cartridge and 2-prong AC power cable.

The JX-8P is a lovely sounding 8 voice analog poly synth with similar voice architecture to the JX-3P and Roland Juno series. The voice is actually quite a bit more complex than the Junos. What is gained in oscillators and modulation sources is lost in the real time control, however. There are only program buttons where numbers are typed and a single parameter slider is adjusted. This keyboard can be expanded with the Roland PG-800 programmer or connected up to an IOS app through MIDI for full access to all the controls."

CLICK FOR MORE »

Future-Retro VECTRA Giveaway

Future-Retro is having a drawing to give a way a VECTRA on Oct 1st.

You can find full details on how to enter on their site here: https://future-retro.com/vectra-giveaway/

"The Vectra is a unique hybrid synthesizer with a flexible architecture that allows many different forms of synthesis to be realized. It’s the best of both worlds… The Vectra utilizes digital oscillators, ring modulators, noise sources, vector mixer, LFO’s, complex envelopes, and modulation routings providing many capabilities that would be very difficult to produce with analog circuitry alone. This allows for accurate tuning, repeatability of complex patches, and patch storage. The Vectra also provides a multi-mode analog filter, VCA, and final output, as these provide the best sonic qualities.
The Vectra includes a powerful and fun sequencer and arpeggiator, with many new capabilities. Although the Vectra is a self contained instrument, MIDI can be used to interface with other devices."

You can find a few demos of the Future-Retro VECTRA in previous posts here.

Dive into the World of EMS VCS3: Unraveling the Power of Modulation & Filters

video upload by Andy Whitmore

"Revolutionize Your Sound: Exploring EMS VCS3's Modulation & Filter Capabilities

Demo of a wide range of sounds & special FX of the VCS3 - & how to program them - explained by Andy Whitmore at Greystoke Studio.

The audio is DIRECT, 100% DRY, & IN STEREO - You are hearing the raw audio as it comes directly from the synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever.

The VCS 3 (or VCS3; an initialism for Voltage Controlled Studio, version) is a portable analog synthesiser with a flexible semi-modular voice architecture, by Electronic Music Studios (London) Limited (EMS) in 1969.
This product was called various names by EMS. For example, the printed logo written to the front left of products are: 'V.C.S. 3' or 'The Putney (VCS 3)' on the earlier version, then 'The Synthi (VCS 3) II' on the later version (Synthi VCS 3 II).

The VCS 3's basic design was reused by EMS in many other of their own products, most notably in the EMS Synthi 100 (1971), and the Synthi A (1971) and AKS (1972) (essentially a VCS 3 housed in a plastic briefcase). The AKS also has a sequencer built into the keyboard in the lid.

VCS3 - as used by
BBC Radiophonic Workshop
Brian Eno
Chemical Brothers
Hawkwind
David Bowie
Flood
Ice-T
Jean-Michel Jarre
John Paul Jones - Led Zeppelin
King Crimson
Kraftwerk
Pete Townshend - The Who
Rick Wright, David Gilmour & Roger Waters - Pink Floyd
Tangerine Dream

Watch me bring that sound back to life!🎹🕺

🧢 More about Andy on https://www.andywhitmore.com/"

Five Favorite Things about the Udo Super 6 Binaural Hybrid Synthesizer with @SlowHaste

video upload by Perfect Circuit

"UDO's Super 6 is a hybrid twelve-voice polysynth with a fully binaural signal path, perfect for creating everything from classic pads and synth key sounds to rich, swarming stereo textures. Using FPGA-based oscillators, an analog filter section, analog VCA section, and 192kHz, 24-bit effects, the Super 6's voice architecture alone is uncommonly powerful and clean. Combined with an intense and well-considered modulation section, Fatar keybed with velocity and aftertouch, and an integrated arpeggiator and sequencer, the Super 6 feels like we're back in the early 1980s imagining what the future of synthesizers would be like.

In this video, our pal @SlowHaste takes on the Super 6—offering personal opinions and plenty of tips + tricks. If you've been thinking about getting a Super 6 of your own...get ready to dig in.

Order your Super 6 here: https://bit.ly/48nu2oX
Read our Signal article about the Super 6 here: https://bit.ly/48dRc0V"

OB-6: Creating and Explaining Synth Sounds 🎹🎛✨

video upload by MR TUNA Music

"It's time to learn about synthesis with the analog sounds of the OB-6
Join your friend MR TUNA as he takes a deep dive into this modern classic starting with a basic patch and exploring its features to create unique and distinctive sounds.

The Oberheim (or Sequential Circuits!) OB-6 is a highly regarded analog synthesizer known for its warm and classic sound. It's a collaborative effort between two legendary companies in the world of synthesizers: Dave Smith Instruments (DSI) and Tom Oberheim. Here are some key features and details about the OB-6:

Analog Architecture: The OB-6 is a true analog polyphonic synthesizer, which means it uses voltage-controlled analog circuitry to generate and shape its sounds. This results in a rich and organic sonic character.

Polyphony: The OB-6 is good for chords and complex musical arrangements. It has 6-voices that can be played polyphonically or stacked in unison.

Oscillators: The OB-6 features two voltage-controlled oscillators (VCOs) and a sub-oscillator per voice. These oscillators provide a wide range of waveforms, including sawtooth, square, and pulse, (plus anything in-between) allowing for diverse sound shaping.

Filters: The filter on each card is based upon the 12dB/oct state-variable resonant introduced on the SEM, and offers a continous transition from low-pass, to notch, to high-pass- as well as an additional band-pass mode.

Modulation: The OB-6 offers various modulation sources and destinations, allowing you to create evolving and dynamic sounds. It includes an LFO (Low-Frequency Oscillator) and an envelope generator for modulation.

Effects: This synthesizer comes with built-in effects such as delays, choruses, and reverbs adding depth and character to the sound.

Interface: The OB-6 features an intuitive and hands-on knob-per-function interface with knobs, sliders, and switches for easy sound tweaking and manipulation.

MIDI and Connectivity: It offers MIDI DIN and USB connectivity, making it compatible with other MIDI gear and software.

Overall, the Oberheim OB-6 is a highly regarded and sought-after synthesizer due to its superb sound quality, classic analog architecture, and user-friendly interface. It's a very cool and capable synth."

Analogue Solutions Introduces MAXIMUS AS300 POLYSYNTH

On the heals of COLOSSUS and AMPLE, Analogue Solutions introduces the MAXIMUS AS300 POLYSYNTH. It is set to make its first physical appearance at SYNTHFEST UK this year.

Specs and details follow.

16 VCO / 8 Voice semi-modular polysynth.

Being built in small batches.

Batch 1 is avaialble to order now.

The price will increase for batch 2 due to horrific increases in all costs.

So get your order in now to lock in the price.

DON’T MISS OUT !

Available to order direct now.

Please email to check current wait time Typically 2-6 weeks

AS300 main unit £22500 £19900 Launch price - batch 1 only

AS400 optional keyboard £1900 £1800 Launch price - batch 1 only

excluding crate, shipping and tax (all if applicable)

CIRCUITS

VOICE - X8
2 VCO
1 Mixer
3 12dB filters
2 Full ADSR envelopes
1 16 step note/modulation loop sequencer
1 BBD style retro echo
1 Main out VCA
1 White Noise
1 Sub Osc
1 Portamento / Glide
1 VCO tune Vernier dial
Generous selection of cross modulation controls.

MASTER
1 VC LFO
1 LFO with delay
1 LFO
8 channel stereo mixer
2 Real spring reverbs
1 Master control knobs
1 Poly MIDI to CV converter
4 Key modes
2 MIDI Sync modes
1 Multiple
Generous modulation routing

MISC
Metal cabinet
Birch ply real wood
Healthy set of jack sockets for patching on all panels

OPTIONAL AS400 KEYBOARD
61 full length keys
Weighted
Velocity
Aftertouch with VCA for modulation
64 pad touch controller (can be split to 2x32)

SOME THINGS YOU CAN DO WITH MAXIMUS

Standard pad type poly sounds

Unusually Poly Sounds

Monophonic Synth Sounds

A mixture of Mono and Poly Sounds

Filmic / Epic ambience sounds

Rhythmic patterns, with a new sound on each key press.

Although Maximus can do traditional ‘pads’ it’s better suited to more unorthodox poly sounds. It excels also at unusual analogue loops and rhythms when it is played in cyclic mode. Have each voice set to a different type of sounds, and as you cycle through them you get very interesting patterns (melodic or otherwise).

Maximus does not have patch memory - just like the very first polysynths.

Every sound you create will be unique - the first of its kind ever to be produced. Your Maximus will never sound like anybody else’s. It will always be unique and yours.

WHAT IS MAXIMUS?
Tom Carpenter is excited to introduce Maximus, an exciting new mega-polysynth with a design ethos truly from the dawn of analogue synths. It is more than a powerful analogue ‘workstation’ - it is also art, architecture, exquisite studio furniture.

Although we label this as a polysynth - it is so much more. We can’t think of a label to give this synth since its is so much more than that.

When you think of polysynth you think of flat synths with one set of controls that control all voices equally. By giving Maximus independent controls for every voice, you have more freedom to create unique styles of poly sounds impossible on traditional polysynths, whether they are hardware or software. You can dial up ‘traditional’ poly sounds (pads etc) or have something unimaginable different.

Because you can never dial up each voice completely identically, standard polys pads will sounds superbly vintage.

All the voice and modulation circuits are of course 100% analogue. We purposely steered away from digital, aside from of course the digital needed in MIDI and the mini-sequencers.

This synth is purely for those who want it just as it was in the 1970s - but new with parts still in production. For those who want a synth that could have been built in the 70s.

There are no gimmicks - this is pure synthesiser. A huge sound enclosed in a solid metal case wrapped in solid hardwood. No expense has been spared to bring this incredible machine to life.

Synthesisers like this only come around once in a decade, or possibly a generation.

AS300 main unit £22500 £19900 Launch price – batch 1 only AS400 optional keyboard £1900 £1800 Launch price – batch 1 only

Korg OASYS 88-Key Open Architecture Synthesis Studio SN 000070

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"Pro owned Korg Oasys 88-keyboard, includes factory packing. Minor blemishes, in amazing condition over all. Serial number: 70"

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Korg SDD-1200 Dual Digital Delay from 1986

video upload by manmade madman

"Can delays have "a sound"? I'm not sure!

This is a rare beast: the Korg SDD-1200 was one of the last Digital Delay units in the Korg lineup from the 80's. It's a true "dual" architecture in that you can use each unit (A/B) as a totally independent delay. Or you can use them together, like I am here, to make some awesome sounding stereo effects from flange, chorus, vibrato, and typical delays.
There are multiple inputs/outputs on the back that let you wire it in unique ways. I have this setup in cross-modulation, where the A output is feeding the B feedback input for some great ping-pong like delays.
Here I made a little pattern on the MC-101, turning off built in effects so that all you hear is the effects from the SDD-1200

Pros:
•True independent signal paths for use as two mono delays
•12-bit processing and reduced fidelity, sits nicely in the frequency spectrum.
•Easy to get stereo effects with 2 LFO's that can be sync'd, or not.
•No presets = you have to dial in the sound!
•100% feedback sounds great, and better slowed down.
•Cheap (until this video!)

Cons:
•Changing delay times clears the buffer at each increment.
•Difficult to use dual-concentric knobs in tandem with each other.
•No presets for weak minded individuals!
•Somewhat rare."