"This original black and gold Shared System by Make Noise was a recent trade-in from a very respectable customer. Each module has been thoroughly inspected and is in excellent condition. Includes necessary PSU
The Black & Gold Shared System was Make Noise's flagship Eurorack synthesizer system.
Black & Gold Shared System Features
Make Noise Shared System in Black & Gold as used by founder Tony Rolando New School Multidimensional Sequencing: René 2018 Human/ Expression Control: Pressure Points Dual Analog Oscillator: DPO Voltage Controlled Pitch Shifting and Echo: Echophon Dual Analog Control Voltage generator: Maths Complex Random Voltage Generator: Wogglebug Dual Low Pass Gate: Optomix Balanced Modulation: modDemix Voltage Controlled DSP (Digital Signal Processing): Morphagene modeless, continuously variable voltage controlled reverb: Erbe-Verb 7U case w/ power supply and AC Adapter, Ready to Play Ships with 30 Ad Infinitum patch cables Free blanking panels as appropriate Comes with Lid, Highly portable, Meets requirements for carry-on luggage"
"The clone is fully drop-in replaceable and is able to coexist with the original vintage chips in the same synthesizer. It can function as VCA and current source for envelope controller on M-cards, or control voltages for TRG boards (and on any other board that uses that chip). It has the same control voltage cutoff point and similar non-linear control curve as the original, so all the control sliders work the same."
Additional details follow:
"The iG00151AP is a replicant of the rare IG00151 Voltage Controlled Amplifier (VCA) chip, which was used by Yamaha in their CS-series analog synthesizers and organs from the 1970s and 80s. The iG00151AP was carefully engineered from the original chip, retaining all of its characteristics and properties, including the peculiar non-linear control curve and cutoff, input and output impedances, and identical power consumption at the same gain setting. This makes the iG00151AP the only "clone" available today that is fully drop-in replaceable and is able to coexist with the original vintage chips in the same synthesizer. While the originals are getting more expensive and harder to find, the availability of the iG00151AP ensures that the CS-series analog synthesizers remain serviceable. One CS-80 synthesizer contains 210 of these chips!
INSTALLATION
To install the iG00151AP, ensure that the marked PIN 1 location on the part matches PIN 1 location on the circuit board. With the pins pointing down, PIN 1 on the original chip is on the left when facing the part number, while the iG00151AP has PIN 1 on the left when facing the component side (not the part number). Carefully orient the part properly and solder it to the circuit board. Clip excess leads as necessary.
WARNING: As with the original chip, a reverse installation will damage the part when power is applied!
CALIBRATION
After installing the part, allow the instrument to warm up and stabilize for at least 30 minutes, then recalibrate the circuit following the procedures of the original manufacturer. Similar to the original chip, the gain may vary from unit to unit. Proper calibration will ensure that the new part performs the same as the original.
As with the original chip, the iG00151AP may have a similar input offset that varies from unit to unit. This manifests itself as a control voltage (CV) feedthrough to the output. Depending on the application, it may be necessary to trim the offset, but this is usually provided in the vintage circuit, if required. No additional offset trim circuitry is necessary if it is installed in the original circuit.
The iG00151AP is compatible with Yamaha CS-80, CS-70m, CS-60, CS-50, CS-40m, CS-30, CS-20m, CS-15D, CS-15, CS-10, CS-5, and other synthesizers and organs that use the IG00151 VCA chip."
"LA67 100 Series Modular synthesizer, inspired by Buchla 100 system from 1965, one of the first available modular synthesizers.
In a beautiful wooden case, complete with power supply and power cable to connect the controller skiff to the main cabinet, this 100 Series instrument is ready to go.
With the legendary Dual Sine Sawtooth Genermayor Model 158 the sound is simply amazing. Other modules include Control Voltage Processor Model 156, Dual Square Wave Generator 144, Bandoass Filter Model 194, Six Channel Mixer Model 106, 4x Dual Voltage Controlled Gate Model 110, 2x Dual Attack Generator Model 180, Timing Pulse Generator Model 140, Sequential Voltage Source Model 123, Dual Integrator Model 155, Envelope Detector Model 130, and Touch Controlled Voltage Source Model 116.
This type of system was originally concepted by Morton Subotnick, Ramon Sender, and Don Buchla for the San Francisco Tape Music center in 1963, and the original model is still in use at Mills College, with many other similar models in use at universities and high-end studios around the world, used by artists such Chemical Brothers, Ken Kesey and the Merry Pranksters, Alessandro Cortini, and held in the archive of the Library of Congress.
This LA67 version was carefully assembled and is in great shape and working flawlessly.
Includes custom padded cover.
Can ship or local pickup in NYC."LA67 100 Series Modular synthesizer, inspired by Buchla 100 system from 1965, one of the first available modular synthesizers.
In a beautiful wooden case, complete with power supply and power cable to connect the controller skiff to the main cabinet, this 100 Series instrument is ready to go.
With the legendary Dual Sine Sawtooth Genermayor Model 158 the sound is simply amazing. Other modules include Control Voltage Processor Model 156, Dual Square Wave Generator 144, Bandoass Filter Model 194, Six Channel Mixer Model 106, 4x Dual Voltage Controlled Gate Model 110, 2x Dual Attack Generator Model 180, Timing Pulse Generator Model 140, Sequential Voltage Source Model 123, Dual Integrator Model 155, Envelope Detector Model 130, and Touch Controlled Voltage Source Model 116.
This type of system was originally concepted by Morton Subotnick, Ramon Sender, and Don Buchla for the San Francisco Tape Music center in 1963, and the original model is still in use at Mills College, with many other similar models in use at universities and high-end studios around the world, used by artists such Chemical Brothers, Ken Kesey and the Merry Pranksters, Alessandro Cortini, and held in the archive of the Library of Congress.
This LA67 version was carefully assembled and is in great shape and working flawlessly.
XR22 VCO FT
VCO with Ring Modulation Input and FSK (Frequency Shift Keying)
Amplitude Modulation (AM) Input
Ring modulation
CV controllable sine/triangle volume
Advanced waveform generation by AM
Rgb-LED for optical control
FSK (Frequency Shift Keying)
Pulse and ramp generation
Switching between two different frequency CVs
Advanced waveform generation by FSK
LFO-, Bass-, High- Mode
Switchable Sync-Mode (from Rev.6)
The XR22 VCO FT is a VCO with amplitude modulation option – which can be used for volume control, or ring modulation of the oscillator’s sine/triangle output. The AM-input signal is added to a DC-voltage adjustable by knob ‘Gain’ (between ca. +/-5V) and the sum voltage is being internally multiplied with the sinewave/trianglewave The result is an oscillator amplitude depending on the ‘Gain’-DC plus AM-input signal.
The applied AM-input signal can be mixed to the VCO output signal (modulated or unmodulated) too – a kind of ‘dry/wet’ control with the mix provided on the sine/triangle output. With no AM-input, the XR22 VCO FT behaves like a normal sinewave/triangle VCO, then its volume is controlled by knob ‘Gain’. Whereas with the knob ‘Gain’ in center position, the oscillator tone is becoming almost muted, and the input signal on ‘AM in’ controls the amplitude of the wave completely; thus the VCO can be used as a ring modulator.
The FSK (frequency shift keying) option provides two internally switchable different oscillator frequencies F1 and F2; each controllable by the two big-sized knobs (and their respective fine-tuning knobs and CV inputs). Switching between F1 and F2 can be done manually or by a logic signal (e.g. a gate signal) applied on input ‘FSK in‘.
Further, it is possible to use the XR22 VCO FT‘s squarewave output for FSK switching. This will result in ramp or sawtooth (on the sine/triangle output) and pulse (on the squarewave output) waveforms. The falling and rising edges of the of the sine/triangle signal and the duty-cycle of the squarewave output are independently adjustable, and/or controllable via CVs of F1 and F2.
Furthermore, there is a switch for linking F1 to F2. In this case, the ratio between F1 and F2 is remaining the same, independently from the frequency, and ensuring properly 1V/oct. CV tracking.
A switch allowes to enable ‘sync mode’: An applied trigger will restart the wave always at the same point, useful for synced LFO applications and more.
For optical control, the XR22VCO FT has a full-color LED for AM visualization and a 2-color LED for FSK control.
"Oradea [ˌɔraˈdɛa] is a quadruple voltage controlled analog resonator. You can use it to enhance external audio or to generate tones. It can mimic the resonant characteristics of physical objects or spaces. Oradea’s frequency response can be tuned over the entire range of audible frequencies with V/oct response. The module offers precise control over the resonance of each band up to extremely high values with long response to pinging. Oradea is additionaly equipped with four individual trigger inputs for exciting its filters with internally generated, uniform, and finely tuned impulses.
Individual outputs allow you to externally process each band separately. Resonant frequency gain compensation prevents uncontrolled distortion (the gain at peak does not increase with resonance). There is a VCA and a polarity switch in each channel, so you can remotely shape the overall amplitude and manually change the phase response.
Arad [ˈarat] is an expander for the Oradea quadruple resonator. It adds three additional features. Arad features direct audio inputs for individual channels, so you can use each channel for a different audio source (the individual channel outputs are already incorporated into the main module). There are buttons and gate inputs for manual and/or remote clickless muting and unmuting of the channels. Another group of four buttons acts in parallel to the EXCITE inputs of Oradea, allowing for manual triggering.
"Checking out Servo, a unique new module from ADDAC Systems. It can turn knobs or trim pots on a modular, synth, pedal, mixer, or anything else that’s small and cylindrical and that lacks a cv input. Perfect for when your hands are busy doing other things, or for when you want slow LFO-style modulation, or for when you want super precise stepped adjustments.
"At ADDAC we always admired the geniality of Neil Young’s Whizzer, way ahead of it’s time, a great example how great ingenuity and engineering can come together to make something great. Inspired by it’s motor controlled method we created a 4HP solution to control any knob that doesn’t have a CV input, while also possible to use for other gear as well (within certain distance constraints).
We use a Servo motor which is a specific type of motor that can be digitally controlled to go to a precise angle. This motor is controlled by a microcontroller that also receives an incoming CV voltage from 0 to +5v and lineary converts this voltage range to the 270 degree Servo motor range.
Using a spring wire and metal couplers the motor shaft is then attached to the target knob to be controlled which will turn as the Servo turns. Two other knobs [MAXIMUM ANGLE] & [MINIMUM ANGLE] further allow to control the “sweet spot” of the target knob, setting a smaller Servo range.
Raising the [MIN ANGLE] knob above the [MAX ANGLE] knob inverts the Servo range.
We can't stress enough how important it is to read the whole User's Guide thoroughly for this one!
Note: All specifications and features are subject to change without previous notice."
"Four analogue LFOs drive the modulation of Quiver, with cycle times varying from 33ms to over 35 minutes. They're controlled with a Rate macro and CV, and the three slowest LFOs each have an additional CV control for further control. This patch demonstrates the various LFO outputs by modulating the cutoff of a Parallax filter."
Quiver Analogue Modulation Toolkit
Quiver is a 100% analogue patch-programmable modulation powerhouse. Quiver’s 16 input, 18 output interface contains: - Four triangle core LFOs with macro control, individual CV control, and cross modulation - Analogue wave folder/saw phase shifter - Full wave rectifier - Analogue noise source - Voltage comparator - Sample and Hold - Analogue Min/Max - A three input, six output Modulation Cube based on the acclaimed Vector Space circuitry When left unpatched the different processors flow from one to the next with cleverly designed normalling, giving 18 modulation sources to use throughout your system. Quiver is the perfect quiver of essential modulation basics to get your modular system started, or to add a high quality, fully patchable, modulation workstation to your existing system. When designing Quiver we asked the question 'What collection of CV processors can greatly expand the capacity of every modular system?' and then carefully chose normalled connections and added four analogue LFOs to drive them. The result is like a mini modular system in itself, creating complex evolving modulation that never repeats, but is able to be quickly reconfigured with a patch cable or two.
from Dani:
"One of my favorite aspects of modular synthesis is that signals we can hear are made of the same basic building block as signals which provide control and modulation -- they're all just voltage moving at different rates!
When we use an audio signal in the place of control voltage, we're touching into a technique broadly known as audio-rate modulation. Using audio-rate modulation in the Whimsical Raps ecosystem is incredibly rewarding, as it can unlock unexpected behaviors in familiar and new modules alike.
Here, Mangrove (our formant oscillator) modulates Silhouette's (our new 'signal combiner') SPOT, which is mixing six audio channels from Just Friends (our six-voice digital oscillator). I noticed that sending Mangrove into SPOT bleeds Mangrove's audio signal into the mix, so I tuned Mangrove to harmonize with Just Friends. This endowed FORMANT changes with new power, adding harmonic depth to the chaotic modulation -- notice the sizzle around 0:30 as FORMANT is cranked up.
Once INTONE adds distance between the ratios of Just Friends' oscillations, I reduce FORMANT to a low-frequency grumble -- I particularly enjoyed Silhouette's delayed vocalizations of these changes across the stereo field. Manually scanning SPOT offsets the input channels we're highlighting, which reveals the new INTONE-spread pitches. Increasing FORMANT introduces audible discontinuities as Mangrove regains its pitch, which are unique in the left and right channels. A final INTONE adjustment is added for performative spice, which is caught by the bucket-brigade device for a muted splash of stereo color."
2. Whimsical Patching // 2. Self-Patch Feedback
from Dani:
"One of the most exciting facets of Silhouette's design is how the sound palette changes and, really _unlocks_, via self-patching. For example, patching SHADOW back to the various INPUTS allows for SPOT-controlled regeneration.
In this video, a chord from Just Friends and a 'kick' from Mangrove is spread across the INPUTS. SHADOW is patched into the sixth input, which makes SPOT's modulator act as a temperamental levee -- just as the level of the signal's feedback seems to overtake the output from LIGHT and RIGHT, a small nudge engages the strange attractor and SPOT surveys an ever-changing landscape of pulses and tones.
I'm particularly enthralled by the way that SPOT and its modulator become a macro control -- panning and voice distribution are linked to the depth of the self-patch's influence. This becomes apparent when SHADOW is patched into the third input, which creates a different stereo terrain.
Self-patching is very rewarding across the entire Mannequins lineup -- eg. a channel from Just Friends patched back to its own INTONE will create a wonderfully complex undercurrent to its otherwise predictable movement."
from Dani:
"I love multing signals used for pitch to other elements of a patch. As notes jump octaves, other parameters change in-kind, which creates a lot of interrelated surprises.
In this video, crow is translating a randomized arpeggio via monome's Max for Live devices: pitch is sent to output 1 and note-on events are sent to output 2. Pitch is patched to Mangrove's V/8 input, and that same note sequence is multed over to Silhouette's SPOT modulator. This means that the pitches we hear are also affecting the position of SPOT, which controls the spread of our inputs in the stereo field.
Just Friends is working as a grouped envelope generator, taking the note-on events from crow output 2 via 6N's input (which pulses all the channels). We also self-patched 3N's output to JF's TIME parameter, which creates a nice ebb-and-flow of note durations. 5N and 6N are patched to Meng Qi's DPLPG to gate Mangrove's PPM SINE and PWM outputs, which are respectively sent into Silhouette's fifth and second inputs.
We also add some cross-modulation by using Silhouette's SHADOW audio signal to control JF's CURVE parameter, which builds an organic volatility into our patch -- as audio is filtered through SHADOW, it tickles its own envelope shape. We additionally mult SHADOW and feed it back into Silhouette's ALL jack, completing our patch with a bit of feedback.
Throughout the video, I hand-play SPOT's sweet spots, which really showcases the sheer width the module can imbue. 9:00 adds a brighter hard-left delay to our hard-right melody. Moving from 12:00 to 3:00 brings the melody center and adds a softer timbre to our delayed signal. 3:00 gives just the right amount of swelling feedback, while jaunts down to 6:00 invert the spread with sharp bursts of our PWM into the delay with every clockwise scan.
Though it's the most patch cables we've used in this series, I wanted to showcase how Silhouette can really shine in a small system. Regardless of whether you've got Silhouette in your arsenal, have fun multing V/8 into anything + everything and try cross-modulating envelopes with the audio signals they're shaping!"
"4th of July/25 Zerosum Inertia TVM23 & Horripilation & Voltage Controlled Annihilation + Metasonix R-57
Happy Independence Day! It’s the 4th of July! And this year we have a flute playing the National Anthem through seven vacuum tubes and a neon gas filled lamp in four modules by two great American companies: Metasonix & Zerosum Inertia. The flute gets boosted by the Zerosum Inertia TVM23 and is sent to the Zerosum Inertia Horripilation and Voltage Controlled Annihilation before passing through the Metasonix R-57 Dual Preamp/VCA."
1. POSITIVE (SIN) FLANGE, AS WITH TWO TAPE DECKS, ALSO 105 DB
1. ECHO, WILL RECIRCULATE FOR MORE THAN 15 SECONDS
1. DRUM TUNING, PANEL OR KEYBOARD CONTROLLED
1. AUTOMATIC DOUBLE TRACKING, WITH PITCH AND TIME ERROR VOLTAGE CONTROLLED
1. AUTOMATIC TRIPLE TRACKING, WITH SEPARATE DETUNE ON EACH TRACK
1. CLEAN, TRUE VIBRATO, WITH OR WITHOUT ADDED DELAY, OR A COMBINATION.
1. CHORUS, DELAY CHORUS, SPINNING-SPEAKERS, AND THE LIKE
1. DRUM SLAP, ORIGINAL PLUS TWO WITHOUT RESORTING TO ECHO
1. HIGH Q FILTERING (Q OF OVER 200 POSSIBLE) STATIC OR DYNAMIC
1. PITCH QUANTIZING, ANY SIGNAL. RE-ASSIGNS PITCH BY RESONANCE
1. ARPEGGIO, TRANSPOSES INPUT SIGNALS ALTERNATELY UP AND DOWN BY MUSICAL INTERVALS
1. CARDBOARD TUBE ECHO, VOLTAGE CONTROLLED TUBE LENGTH
1. LOUDNESS ENHANCEMENT, PULLS VOCALS OUT FRONT AT CONSTANT AMPLITUDE
1. HARD REVERBERATION, MULTIPLE TAP-SUMMING FOR SOFTER REVERB
1. DOPPLER PANNING .. AND ON AND ON …
Slight compression affect similar to tape, the MTM utilizes A dbx 303 "compander" card, And many many other great delays. You can’t get this with any kind of software emulator you can sculpt sounds, notching, phasing , chorusing it just goes on and on. It’s incredible , and the flanging is extreme or subtle if you like. It’s quiet as a mouse. It is unlike anything out there.
Martin Hannett, Stevie Wonder, Star Wars, Joy Division, and You! It was fully serviced by David Kulka at studioelectronics in 2022"
"New Schlappi Engineering module alert!!!!
Welcome the Boudary Layer, a triple cycling slew acting as a powerhouse of modulation, audio
mayhem, and obscure modular tricks in the tradition of Serge DUSG, the Make Noise
Maths, our own Boundary, and others while also bringing a few new things to the table.
I'll show you some of my favorite patches with it, most can apply to other similar modules so it might interesting to anyone.
"BOUNDARY LAYER by @SCHLAPPIENGINEERING is an apex triple function generator for eurorack. It has all the tricks up its sleeves and (as usual) is just a joy to work with due to it's well thought out interface and versatile feature set.
In this video I tried getting across how damn useful function generators are, how BOUNDARY LAYER works and how much fun it is to make patches with the module.
I hope you enjoy the video."
Boundary Layer is a triple cycling slew acting as a powerhouse of modulation, audio mayhem, and obscure modular tricks. Each of the channels can act individually as: -a modulation oscillator -voltage controlled slew (including portamento) -AR/AD envelope (decay or release determined by choice of input).
All three channels are tied together by three global inputs, as well as three outputs which select the MAX, MID, and MIN of all three voltages. Using different combinations at audio rate allows for patch programmable stereo drone synth capabilities.
Features
3 separate channels 3 global inputs 3 combined outputs MAX/MID/MIN Oscillates from low LFO rate (a minute?) to audio rate (>10kHz with exponential feedback) A CV input switchable between RISE/FALL/BOTH Bound input for simultaneous control over cycling rate and amplitude TRIG input for AD envelopes SLEW input for AR envelopes and portamento or filtering EOC ouput header switchable between EOR and EOF 16 HP Skiff friendly 32mm depth (including cable) current draw: +12V 170mA, -12V 100mA
"A brief little playtime in the studio today, with two wonderfully inspiring and strangely named instruments. I combined the Mroztronium Grackler, which is a standalone chaotic voltage controlled instrument, which can produce sounds that resemble everything from birdsong to peanuts caught in your throat, with the Meng Qi Wingie2, which is a stereo resonator and 'excites' the sound from the Grackler. I'm playing on the keyboard of the Wingie2, whilst manipulating the filter on the Grackler. Nice and simple, but I like to think, rather effective in its modest way."
"The 'Pip Filter' is a compact 4HP voltage controlled 2 pole low-pass filter with resonance and built in VCA. Here we take a look at all the features of the module.
The filter cutoff is controlled via both knob control and dual CV inputs with a built in attenuverter. Resonance is manually controlled and will reach into self oscillation with rough V/Oct tracking. A trigger input allows the filter to be pinged for percussive plucked type sounds. Finally, a built in VCA (normalled open) allows for additional independent amplitude control of the filtered signal.
The “Pip Filter’ provides a classic lowpass filter sound in a small form factor with many useful features for sound sculpting."
"The 'Pip LFO' is a compact 4HP all analogue low frequency oscillator with a wide frequency range, voltage control, numerous outputs, reset input and a VCO mode. Here we take a look at all the features of the module.
The frequency of the Pip LFO is set via a manual control and voltage control input. The module features a unipolar square wave output along with both bipolar and uni-polar triangle, saw and sine waveform outputs. When VCO mode is activated, the frequency jumps to audio range and will track V/Oct for approx 5 octaves. A reset input allows the LFO waveform cycle to be reset and produces hard sync functionality in VCO mode.
The Pip LFO’s compact design makes it easy to add a modulation source and an analogue voice into any system."
"An in depth look at the making of The Cars' classic single 'Drive.' Video includes a re-creation of the drum beat + synthesizer arrangement using a Linndrum, Roland Juno 106, and Roland JX-8P."
"New Systems Instruments sent me their new module, Discrete Map. It’s a deep module, with lots of potential uses, so I’ll be dedicating the next few videos to it. This first, introductory video uses it as a generative sequencer, extracting an evolving melody from a Lorenz chaos trajectory."
"Novum! New Systems Instruments has created a unique and innovative approach to generating sequences with Discrete Map.
New Systems Instruments consistently surprises with innovative designs! Discrete Map fits right in, taking a simple concept and turning it on its head. At its core, it’s an 8-step sequencer that can output a traditional step-by-step sequence. The pitch values are set using the eight upper faders, but what makes it truly special are the eight lower faders, which determine which step is played at any given moment.
The sequencer’s X input accepts any signal, a clock, an LFO, or even another sequence. The lower faders set threshold values, and the switches below them define whether they react to a rising or falling edge. This means the sequence jumps to different steps based on the incoming signal, creating a highly controllable form of randomness! The results are striking! Complex rhythms and surprising melodies that become even more dynamic when paired with the expander for voltage-controlled step selection.
Discrete Map also includes an onboard oscillator. A switch toggles between a slow and fast frequency range. When slow, it functions as a standard step sequencer. Another switch changes from Position mode (explained above) to Length mode, where the lower faders control step duration. When switched to the fast mode tho, it becomes a graphic oscillator that tracks V/Oct.
To round out the package, Discrete Map includes additional utilities for better integration with other modules. The precision adder for example allows an external voltage to transpose the entire sequence.
The A/B/C Expander further enhances functionality, adding three assignable groups for the steps. Each group gains CV-controllable threshold values and dedicated gate outputs for active steps. And because that´s not enough there's also a sequential switch. Several discrete maps and A/B/C expanders can be linked together!
Overall, an incredibly well-thought-out and entirely fresh approach to sequence generation!
Features:
8-step sequencer for a single track Generates sequences based on any input signal 8 lower faders to position steps in time 8 upper faders to set step values One-shot mode Oscillator mode with V/Oct tracking Adjustable output voltage range (-5V to 5V / 0V to 5V / 0V to 2.5V) Precision adder for transposing sequences Gate output Ramp output for internal clock signal"
And an overview from DivKid:
Bend & Twist Time with Voltage Addressed Sequencing // Discrete Map from New Systems Instruments
video upload by DivKid
"Here’s the new Discrete Map and expander from New Systems Instruments. Deeply routed in influence from the Buchla MARF & a Serge Modular style approach to sequencing, coupled with a heady mix of physics and electronics (as New Systems Instruments do so well) the Discrete Map allows you to use voltages to bend and manipulate a time map across 8 stages of voltages. From basic to more advanced sequencing, unique time and rhythm creation to some bonkers graphic VCO applications there’s a lot we get into in the video."
"Friendly Stories about Computers / Synthesizers - by John Simonton, Jr. PAiA Electronics founder. Subtitled: WHY Microprocessors are the greatest thing to happen to electronic music since voltage control and HOW to apply them. 72 pages of articles from Polyphony Magazine. Mainly deals with their 4700 series computer interface. Has a lot of 6502 assembly language listings. This is a great walk down memory lane of the very early days of microcomputer controlled synthesizers.
FREE bonus - 1989 PAiA 12 page catalog - MIDI SMPL Modules, Studio Equipment, Guitar Effects. Books Kits and More."
"A rare and revered classic, the ElectroComp 101 was Electronic Music Laboratories’ evolution of the original ElectroComp 100—crafted by the Connecticut-based company known for its educational and experimental instruments. Released as a flexible alternative to the ARP 2600 and Minimoog, the EML-101 brought serious innovation to semi-modular design.
Unlike its contemporaries, the 101 featured four voltage-controlled oscillators—two of which operate sub-sonically for LFO duties—with morphable waveforms accessible via rotary selectors. It’s duophonic, allowing up to two-note polyphony, and provides a unique modulation architecture where control voltage and audio signals are treated interchangeably, offering highly creative patching possibilities.
A 12dB/oct multimode filter (low-pass, band-pass, and high-pass) with resonance adds tonal versatility, and the onboard ring/amplitude modulation, sample-and-hold (“Sampler”), and dual envelope generators give the 101 deep sound-shaping power. Thanks to its use of op-amps instead of temperature-sensitive transistors, the 101 also boasts impressive tuning stability compared to Moog or ARP synths of the era.
Designed with portability in mind, the unit folds neatly into its own wooden case, making it ideal for studio or stage use.
Originally marketed to universities and educational institutions, the EML-101’s modular flexibility, rich analog tone, and rock-solid build quickly caught the attention of professional musicians and sound designers, cementing its place as one of the most powerful portable synthesizers of the 1970s.
