Block Rockin' Beats/The Chemical Brothers (Circuit Tracks Version)

video upload by Guinan

"'Back with another one of those block rockin' beats.....'
I've been searching around for an ideal Chemical Brothers track to recreate on the Circuit Tracks when up popped one of my favourite channels, ‪@smallplatesmusic‬ with a video about this classic 1997 song off the album "Dig Your Own Hole'. I've loved the band since their 'Dust Brother'/Playstation 1 days and this mix of jazz, hip-hop and breakbeats blended with their signature synths is a true anthem. (plus check out another great band, 23 Skidoo's track 'Coup' for possible 'inpiration')

See the video here [below] for his fascinating deep dive into all of the samples used and the history behind them. Highly, highly recommend for any music fan...plus also some great Koala Sample App recreations too!

After commenting I was offered access to the Koala track shown in the video, and many of the samples in this recreation come from that version. Mark this up as my first collaboration on this channel! Huge thanks for the inspiration and help ‪@smallplatesmusic‬

What you hear was all recreated on a single Novation Circuit Tracks with the drum tracks used to sequence the various samples, augmented with synth lines to underpin the sound when needed. It was recorded straight from the audio outs into a Zoom L6 without any extra synths or effects.

I hope you enjoy this as much as I did making it and stay tuned!

More details for synth nerds.

BPM 109.
Synth 1 - sawtooth bass synth
Synth 2 - distorted PWM saw patch playing chords and stabs
Drum 1 - drum loops
Drum 2 - sequenced bass note samples
Drum 3 - vocal snatches and pitched gunshot(!) samples
Drum 4 - crash cymbal and 707 open and closed hihats"

Remaking "Block Rockin' Beats" on Koala Sampler

video upload by small plates music

"Back with another one of those..attempts to remake a dancefloor classic on my phone.

This early Chemical Brothers banger includes a lot of jazz, funk, soul and early hip-hop samples including Schoolly D’s raw intro, Wilton Felder’s (very technical...) bassline, and Bernard Purdie’s funky drum fills. I have a listen to the sample, tell you some interesting things I found out, then try to rebuild the track using Koala, showing you how it works (more or less).

Featuring nods to Grand Wizard Theodore, Afrika Islam, Adult Swim cartoons, and the Zulu Beat Show.

0:00-0:15 Intro - What are we doing here anyway?
0:23-1:10 Schoolly D "Back With Another One Of Those" vocal, Acqua Teen Hunger Force
1:10-1:45 The Crusaders bassline- Beastie Boys cover, every third 1/16th note, Wilton Felder's other credits
2:02-2:43 Using Koala for the bass and drums
2:43-4:07 Drums by Bernard Purdie- the sample machine
4:07- 5:20 "Hoooo!" - Early hip-hop artefacts, Grand Wizard Theodore
5:20-6:50 Afrika Islam on the Zulu Beats Show, waiting for MCs, 'We're about ready to rock steady'
6:50-7:36 "Breakin' 2: Electric Boogaloo", "Rocksteady" Aretha Franklin drummer
7:36-9:00 Koala workout, using the samples to recreate Block Rockin' Beats"

Analogue Solutions Ample Synthesizer Now Available

Analogue Solutions Ample Synthesizer -- All Sounds Ample video upload by rezfilter

"Here's a little retro track I put together using only the Ample synth from Analogue Solutions. All parts were sequenced or played live from the Ample, utilizing the onboard Patternator sequencer throughout.

Ample begs to be touched, sequenced, pinned, and played. It's a culmination of all great things from AS."

Check with the dealers on the right for availability. Press release follows.

Analogue Solutions announces availability of Ample as ANALOGUE 3 VCO PATCH PIN SYNTHESISER blending best of past and present products

SHATTERFORD, UK: after a successful soft-launch at SynthFest 2023 in Sheffield, UK on October 7, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Ample to a wider audience as a desktop-friendly ANALOGUE 3 VCO PATCH PIN SYNTHESISER — beautifully blending the best elements of several of its past and present products to form a truly analogue modular system skilfully presented as a precision- engineered electronic musical instrument in a spacious (550mm x 262mm x 83mm) steel and aluminium case that also embraces ergonomic features such as VESA mount compliance, should desktop space be at a premium, all of which adds up to being a perfect fit for its appropriate appellation — as of November 29…

Ample adheres to Analogue Solutions’ tried-and-tested no-compromise construction formula, featuring a full rugged steel and aluminium case — no plastic mouldings here; high-quality metal potentiometers with smooth action, fully sealed against dust intrusion; high-quality knobs with spun aluminium caps; high-quality double-sided circuit boards; high-quality 16-bit DAC (Digital-to-Analogue Convertor) for stable MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion; stable analogue oscillators; gold-plated touch plates; plus true retro analogue voice and modulation circuits to give an authentic retro sound. Since Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesisers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators), in other words, Ample is in good company as an ANALOGUE 3 VCO PATCH PIN SYNTHESISER.

But by beautifully blending the best elements of several past and present products — namely, the sound elements of Fusebox fabricated originally as an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesiser that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities in a beautifully-built box; the jack points introduced in the long-discontinued line of Concussor modular synth drum modules (themselves dating back to the time when Analogue Solutions was the third company to start producing Eurorack format-compatible modules, magical as that might sound in today’s ever-expanding era of thousands of Eurorack modules being produced by hundreds — if not thousands — of developers, both bigger and smaller); the patch pin matrix introduced in the long-lasting Vostok semi-modular synthesiser series (that knowingly nodded and winked at its Russian ‘roots’ from a visual standpoint); the lo-fi echo featured in Dr Strangelove as a small and affordable desktop signal processor (that ushered in Analogue Solutions’ so-called synthBlocks series); and last, but by no means least, the sequencer and CV touch plates introduced in Generator as a highly-versatile multi-channel analogue step sequencer — to form a truly analogue modular system skilfully presented as a precision-engineered electronic musical instrument is what really makes Ample stand out amongst Analogue Solutions’ present-day products.

Put it this way: while Ample shares all of those features from some of Analogue Solutions’ ‘greatest hits’, it still has a sound of its own thanks to the circuits on offer: OSCILLATING is handled by three analogue VCOs (Voltage-Controlled Oscillators), each providing a wealth of features and modulation choices, with the VCO3/LFO 1 legend visually highlighting that the third oscillator can easily be utilised as an LFO (with saw, square, and triangle wave modulation signals), while LFO2/SYNC has a triangle wave output to total two LFOs; the LP VCF (Voltage-Controlled Filter) section is anchored around a four-pole 24dB-per-octave low-pass filter; the VCA (Voltage-Controlled Amplifier) can be set to THRU so it is always ‘open’ (allowing Ample to be used as an effect processor); the two envelope generators — EG 1 and EG 2 — each offer full control over ATTACK, DECAY, SUSTAIN, and RELEASE; extensive modulation routing choices allow for a wide range of resultant sounds extending into percussion and ‘modular’ territory, further extended by patching with the jack sockets and pin matrix; MIDI is intentionally kept simple so users can concentrate on creating new sounds and making music, with all- important control over filter cutoff available via MIDI Velocity; patchable CV control sockets allow the synth in question to effectively be rewired to make new sounds, as well as easily patched together with external Eurorack and other modular systems; the PATTERNATOR is a vintage-style 16-step sequencer; the six touch plates each output a set voltage, so can be used to pitch notes or as modulation signals — either way, they are truly inspirational in action; the pin matrix represents a neat (and flexible) way to patch the synth; and the ECHO section provides easy access to adding a little lo-fi echo or delay.

Audio applications abound when working with Ample as a synthesiser — excelling at analogue sound effects, as well as fat basses, screaming leads, and all manner of other crazy sounds associated with analogue synthesis; an effect processor — perfect for feeding external sounds through the onboard analogue filter and ECHO sections via external audio inputs; a drum synthesiser — suited to producing electronic percussion, including cymbal, hi-hat, kick, and snare sounds; and as a modular synthesiser — partially pre-patched, but with such a wide range of modulation routing possibilities that it is almost as versatile as a full-blown modular system, and capable of producing the same types of sounds but dispensing with telephone exchange-like cabling confusion in favour of making space-saving connections with removable coloured pins, yet still providing a flexible selection of patch sockets so it can quickly be re-patched into itself or to/from external Eurorack and other modular systems.

It is also worth noting in conclusion that while Ample can be used with an external MIDI keyboard or DAW (Digital Audio Workstation), or an external CV keyboard or analogue sequencer, it is equally at home being worked with on its own using its internal step sequencer or pitch played via its six-touch plate ‘keyboard’. Whatever way anyone chooses to work with Ample, it could conceivably be argued that it is the best desktop synth of all — Analogue Solutions-wise or otherwise!

Limited quantities of Ample are already available to purchase directly from Analogue Solutions for £1,999.00 GBP (excluding tax/VAT) via its dedicated webpage (https://www.analoguesolutions.com/ample) while stock will soon be arriving at selected dealers (https://www.analoguesolutions.com/dealers).

Check with dealers on the right for availability.

Farfisa Syntorchestra - Silver Model - Serviced

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

via this auction

You can find demos of the Syntorchestra in previous posts here.

"Recently serviced and internally re-enforced - since these models tend to get pretty wonky with the years - this one is sturdy.

Lid is included and closes well and has been equipped with new latches - you can carry it like a suitcase. It's been freshly spray painted - like the original silver and black - so a slight halo can be seen around logos, but it matches the original colors well - we've made a side by side comparison with another one we have in line awaiting service.

It's equipped with a new power plug as well, another thing that fails on the original ones.

All original slider caps.

Condition is fair - we would say almost good but this machine has seen some action so please view photos carefully : Some oxidation and scratches on face plates and , missing the plastic music stand strip - hence the 4 small holes on the top, a few scratches on the front plate as well.

The flute presets sound good but a bit different - less than a flute compared to the other ones we've heard - so could be a capacitor or something else that needs changing, but should be an easy fix.

Mono-tuning can be an issue on these but it's not bad on this one, you need to adjust tuning after ca 2 octaves and sometimes when switching presets - this is quite normal for these machines.

Tuning might need to be adjusted on arrival since the trim pots sometimes get affected by bouncing around during shipping."

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Sequential Featured Artist Interview with JULIAN POLLACK

You can find the interview on Sequential's website here.

"Julian Pollack/J3PO is a pianist, keyboardist, and producer. Described by Timeout New York as a musician who “deftly balances virtuosity with tenderness,” Julian is an in-demand sideman as well a leader of his own projects. When he was 18 years old, having just moved to New York City from his native California hometown of Berkeley, he was featured on Piano Jazz, hosted by Marianne McPartland, the syndicated NPR radio program. Professionally, Julian has recorded and performed with the likes of Marcus Miller, Michael League (Snarky Puppy), Louis Cato (The Tonight Show), David Binney, The Lesson GK, Matt Chamberlain, Tim LeFebrve, Mike “Maz” Maher (Snarky Puppy), Grace Kelly, Ari Hoenig, Chris Bullock (Snarky Puppy), Nir Felder, Gil Goldstein (Esperanza Spalding), Chase Baird (Antonio Sanchez), Amanda Brown (Adele), Evan “EMAR” Marien, Grace Weber, and many others. He has played an integral role in the band The Lesson GK, which has held the famed “Lesson” Jam Session at Arelene’s Grocery on the Lower East Side of New York every Thursday night for many years. In 2019, Julian (as J3PO) will release his new album Small Plates, a collection of 12 tracks that range from simple lo-fi beats to complex jazztronica future house joints. Inspired by analog synths and sample-based music, the album fuses Julian’s love for today’s contemporary production styles with a nod to the jazz tradition and the spontaneity of live music and improvisation. Julian lives in Los Angeles, California.

We chatted with Julian on how he’s using Sequential’s instruments in his music."

---
You can find previous posts featuring Sequential's Spotlight series here.

Mammoth 5MU System With Many Extras - Smegmar The Medicant & Sysyphus

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

via this auction

List of modules at the listing and captured below.

"Large-format modular system offers: 40 modules of various brands and 150 Synthesizer.com modules. In addition, there are various power-related modules, mounted in the front and the rear.

The system is 275 MU’s front face panels spaces plus 32-more in the rear. Featuring: 27 full-range multi-waveform oscillators, 12-filters, 3 discrete MIDI interfaces, and 4 sequencers. ( not including the Matrixbrute features)

It has taken over a year to purchase and assemble all of the modules: this system is completely ready to use. Most of this system is housed in solid walnut cabinetry.

There are a few modules I bought in used condition, but the rest are new purchases. The cabinetry, controllers, and cabling are all new. After assembly, this system has not been moved, exposed to smoke, or touched by anyone but me.

The entire system is in excellent condition, with a couple of VERY minor scuffs where modules have been periodically installed and/or relocated...

History: I first purchased a Moog System-55 re-issue modular. I discovered Synthesizers.com when doing a simple google search. I learned their clone of the Moog Dual Sequencer Compliment wing was not only superior to that of the Moog’s, it was nearly 1/3 the price. So from there, I bought a System 66 and A/Bd both the tonal and functionality aspects of each to discover the Synthesizers.com sounded better to my ears, had more functions, and was more stable. I sold the Moog, and steadily expanded the system it is today.

I am 100% satisfied with this system.

It would take upwards of 6 months to get all of these modules (and a couple of these you may not able to get at all) and a significant amount of time to install and wire the modules, and assemble the large manual binder.

It also took 2 full days to convert 16 of the modules into their revised versions, yet I have not added the price of the conversion kits to the list below."

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Analogue Solutions Generator Sequencer Now Available for Purchase

Published on Sep 14, 2018 Analogue Solutions

"Generator sequencer - Loop points and Freeze. This video shows you some cool things you can do unique to this sequencer."

"Analogue Solutions plays to win with highly-versatile next-generation Generator step sequencer

KINGSWINFORD, UK: having made musical waves with a prototype presentation at SUPERBOOTH18 in Berlin before speedily selling out of its first batch, British boutique electronic instruments innovator Analogue Solutions is proud to announce (approaching) availability of a second batch of its next-generation Generator step sequencer — a highly- versatile, multi-channel analogue appliance specifically targeted towards making it easy, fun, and intuitive to change generated rhythms and also play alternative sequences — as of September 14…

As implied by the CV & GATE SEQUENCE GENERATOR wording which is boldly blazoned across a pleasingly well-populated panel, Analogue Solutions’ next- generation Generator is no ordinary step sequencer. As a compact, slim form factor desktop design featuring three parallel-running, 16-step CV (control voltage) channels — CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C — and an array of associated hands-on controls housed in a rugged steel and aluminium chassis with no plastic mouldings (making it ideally suited to withstanding the rigours of the road while being equally at home in the studio, home- based or otherwise), Generator is actually a playable step sequencer at its musical heart. How, exactly, it does that is exactly what sets it apart from the run-of- the-mill step sequencing pack.

Put it this way: with Generator it’s not simply a case of setting up a short sequence of notes to be left looping ad infinitum, as is still the case with some step sequencers out there — though there is still something to be said for those mesmerising musical compositions conjured up by the repetitive note patterns pioneered and popularised by the likes of Germany’s homegrown Kraftwerk and Tangerine Dream during their Seventies heyday and appropriated in many musical styles since; instead, its user interface is deftly designed to make it easy, fun, and intuitive to change generated rhythms and also play alternative sequences.

Firstly, four dedicated knobs offering patent-pending IReTiGaC (Intuitive Real Time Gate Control) can change the rhythm of the beats for the pattern playing by setting which of the 16 steps of the sequence will produce gates; slowly rotating each knob adds more beats in specific positions, thereby increasing the intensity of the rhythm. A pair of associated GATE pattern outputs are available alongside a FLIPPED GATE ‘copy’ — positive voltage with an inverted ‘state’ (so the output does the opposite of the main GATE outputs) — for flexibility when connecting to suitably-equipped analogue synthesisers, Eurorack modular system setups, or other analogue equipment. These output the rhythm set using those IReTiGaC knobs, and using both together with two different synths creates considerable interplay between them.

The wonderful world of the VOLTAGE GENERATOR is where Generator really steps up to the plate to offer some serious alternative action, though. This is a special kind of transposer/CV generator with six ‘slots’ — each activated using its own triangular-shaped gold-plated pressure plate. The corresponding knob above each plate is used to set the control voltage output of the VOLTAGE GENERATOR within an approximate range of 0-5V. Those voltage outputs can be sent straight to and mixed with CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C’s respective CV A, CV B, and CV C outputs sockets, with an associated SHIFT switch’s settings determining what goes where: setting said switch into its ‘up’ position results in the VOLTAGE GENERATOR being mixed with A, B, C (CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C); ‘centre’ is off, and ‘down’ results in the VOLTAGE GENERATOR only being mixed with C (CV CHANNEL C). The VOLTAGE GENERATOR’s control voltage is also always available on its own CV output, allowing users to patch it back somewhere else — even externally (to a suitable synth or modular setup).

So what, exactly, can be done with this visionary VOLTAGE GENERATOR? For starters, it can conceivably be used as a standalone six ‘note’ interval CV keyboard to directly play an external CV-equipped synthesiser, such as Analogue Solutions’ own Treadstone (taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding synthBlocks signal-processing siblings and applying them to a true analogue mono synth that packs a lot of patchable punch into a perfectly-matched, portable package). Patching possibilities abound as the VOLTAGE GENERATOR pressure plates are routed to its own outputs: the CV socket outputs control voltage, so pressing plates harder results in a higher voltage that can, for instance, be used to creatively control clock tempo, intensity, fill, or transpose via their respective INT CLOCK TEMPO, INTENSITY, FILL, and TRANSPOSE sockets. (The INTENSITY input uses a CV of approximately 0-5V to alter the intensity of the rhythm with more beats being added to the rhythm as the voltage increases; the FILL input is similar to INTENSITY, but only affects the last four steps to alter the pattern of notes in the last four beats of the sequencer.) The GATE socket outputs a gate that can be used to clock the sequencer, RESET or START it, for example. Additionally, another output voltage from the VOLTAGE GENERATOR can also be patched to alter internal clock speed or transpose. That said, there are also QUANTISED VG output sockets outputting the same signal which will quantise the VOLTAGE GENERATOR voltage to the nearest semitone (when using 1V/oct synths).

Thereafter, thanks to those three parallel channels of 16 steps, Generator steps back into more familiar step sequencing territory — albeit with dedicated start and end LOOP point controls for initiating interesting patterns — that plays well with any analogue gear that has CV and Gate inputs, including vintage or more modern analogue synths and Eurorack modular system setups. Since it does not feature a MIDI (Musical Instrument Digital Interface) output, it is clearly not a MIDI sequencer — nor a DAW (Digital Audio Workstation) control surface. Saying that, it is equipped with a MIDI IN socket, so allows sync, start, stop, and resend control signals to be sent from a DAW or MIDI sequencer. Speaking of which, using MIDI Note information, users can program their own ‘clock pattern’ that can run to clock Generator at the same tempo, half the number of notes to run Generator at half tempo, double the number of notes to run it at double tempo, or even mute the clock note pattern to silence Generator at a particular point before unmuting to get it running again, all the while creating rhythmic patterns to make Generator syncopate with DAW patterns — much more creative and gratifying than simply using MIDI sync alone.

Analogue Solutions is clearly playing to win with its next-generation Generator step sequencer — so much so that the likes of (the still-active) Kraftwerk and Tangerine Dream should seriously consider playing with one (or more) onstage or in the studio. Speaking of which, English electronic music duo The Chemical Brothers already have access to two! That said, chances are musician, composer, arranger, record producer, and music programmer par excellence Martyn Ware would also approve... after all, he co-composed Sheffield synth-pop funksters Heaven 17’s influential single ‘Play To Win’ way back in 1981, at a time when synthesisers started to make a serious dent in the charts, exciting the ears of one teenage Tom Carpenter — Analogue Solutions’ future founder — in the process.

Priced at £629.00 GBP (inc. VAT)/$749.00 USD/€679.00 EUR (inc. VAT), Generator is available to purchase through Analogue Solutions’ growing global network of authorised dealers — including Analogue Solutions itself — listed here: http://www.analoguesolutions.com/dealers/"

Sonica Synthesizer by Frank Eventoff #585

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

via this auction

"Sonica Serge Synth Instrument, Frank Evantoff Number 585.

Own a part of synthesizer history. One of very few surviving, fully working Sonica Instruments. One sold at auction for $3,416.00

This example is in excellent condition, no damage other than one small ding (size of a BB) in the base of body. No corrosion on battery connections, original case, unmarked original instructions (even has unused stamp for warranty return). This instrument was bought new and put in a closet and recently found.

You are bidding on an extremely rare FULLY WORKING electronic synthesizer instrument by Frank Evantoff, called the Sonica. Number 585 of only 650 produced. Shaped like small lute with a guitar like neck which fits perfectly into the hand. By touching the frets on the neck the instrument produces notes best often described as between a theremin, sitar and a violin.

Frank invented the force sensing-resistor FSR. "After Mattel had used the concept for the "Magical Music Thing," Frank Evantoff developed a more precise keyboard and incorporated it into this new instrument, which he called The Sonica.

In 1979, the first Sonicas were produced, a collaboration with Larry Heller. There were 650 eventually built, but very few are seen nowadays. Serge Tcherepnin of Serge synthesizers (analog modular) did the oscillator design, and the oscillator inside the Sonica is indeed a Serge oscillator. The bodies have an interesting gourd/phallic shape, and were carved red alder wood with hand rubbed lacquer and covered with brass plates. This instrument is hand made even the circuit boards are hand printed. The neck is incredibly comfortable, and easily fits into the hand, facilitating the sliding action used for playing the Sonica.

The sound of the Sonica can best be described as somewhere between a theremin, sitar and violin. When run through a simple delay, an amazing array of soundscapes are derived. The front panel features a Key/Pitch Knob, and an On/Off Volume Knob. It boasts 15 keys with additional half step notes.

It also features three buttons. Analog “Slider” which is a tremolo type effect, Analog “Tone” which is actually a tonal boost, and “Half-Step” which raises the note an octave. It features a built-in speaker, with an 1/8 inch output to connect to an amplifier or recording device. It runs on one 9-volt battery which is installed by accessing a plate on the backside of the device.

The Sonica really shines when sent through a tube amplifier, producing a crystalline sound unlike anything I’ve heard before.

Please check out youtube of looping, etc. and history of The Sonica by Frank Eventoff.

Comes with original unmarked/no tears instructions (even has unused stamp for warranty return)."

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KORG Introduces Little Bits - Magnetically Snappable Modular Synth

Litttlebits * korg

Published on Nov 3, 2013 Sota TOSHIYOSHI·2 videos
Update: module list & more added below.

Update2: I thought the following was an interesting note from PatchPierre of PatchPierre.Net on The MATRIXSYNTH Lounge: "Assuming all LittleBits can interact, the connections with the already existing bits look the most interesting to me. For example: theremin-like creations with http://littlebits.cc/bits/light-sensor. and projects with http://littlebits.cc/bits/bend-sensor and http://littlebits.cc/bits/pressure-sensor"

This was supposed to embargoed until November 8th, but it looks like the little bits are out of the box. Below are some shots via lhuga on Flickr and some initial details.   Some of you might remember Little Bits from previous posts (see the LittleBits channel for more). LittleBits was created by Ayah Bdeir. You can see her in this video. The first post went up back on August 12, 2008. I always wondered if more synth bits would be coming. Thanks to KORG it looks like they have.

The price for the kit appears to be 16,000 Yen which translates to roughly $162 US.

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Sonica Synthesizer Instrument by Eventoff SN 609

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

via this auction - learn how to sell on eBay here

"There were only 650 of these made for a very short time beginning in 1979. This one is #609. Controls include Off/On/Volume and Key knobs and three touch pads titled Slider, Tone andHalf Step. It is powered by a 9 volt battery and has its own built in speaker. It also has a jack. The body is beautifully hand-carved wood and shows very little wear for its age. The face and rear plates appear to be brass. The soundhole area of the face plate is a bit bent in but it should be very easy to straighten it. The foam under the plate is showing a minor amount of cracking due to age. The Key knob has a thin crack at the tightening screw but it is solid and functional. There are two minor, superficial scratches on the fingerboard. Overall, this is a beautiful instrument. It works. It comes with its original case. In the case, you will also find the original warranty card, complete with stamp, and the small Sonica brochure showing the major scale, info about the Sonica and music for a song to play. Sonicas are very rare and are seldom seen on the market. Don’t miss your chance to own this wonderful and beautiful instrument!"

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Julius Goldberg's RCA Theremin

YouTube via copperleaves — June 13, 2010 — "This is the unique 1929 RCA theremin that was once the property of Leon Theremin's assistant, Julius Goldberg. One of the things that makes this instrument so unusual, are the "lightning bolt" antennas that were created for it in the 1930's. For the purpose of this video, I have removed the cabinet doors in order to be able to show the inside of the instrument.

One of the problems that RCA theremins can develop over the years (this instrument is more than 80 years old) has to do with the degeneration of the "trimming condensers". These are the three little white cards that hang from the chassis. You will notice that each card has a trimming screw on it which allows the user to adjust the range of the instrument as well as the volume response. Turning the screw to the left or the right fine tunes capacitance by pushing two plates together on the inside of the card. Over the years, these plates naturally degenerate and lose their capacitance (causing the pitch range of the sound to fall lower and lower over the decades) so extra capacitance has to be added in order to maintain the integrity of the instrument. This can be done easily by adding a capacitor to the circuit. I have done this by connecting small alligator clips to the poles of the circuits and then inserting capacitors that will return the instrument to the original RCA specifications. By leaving the clips exposed (you can see them in the video) I can access them easily and adjust capacitance without having to disassemble the theremin.

The elaborate speaker stand that you see behind me, is an exact replica of the "sprite" speakers (there were originally three of them) that were created for the "Electrio" in 1931 by Vincente Minnelli when he was working as a set designer at Radio City Music Hall. Minnelli later went on to become one of Hollywood's most celebrated film directors of the 1940's and 50's. Unfortunately, the original stands disappeared long ago. They are very top heavy and they probably just fell apart.

It was felt at the time that the theremin, theremincello, and theremin keyboard (which formed the "Electrio") was not very interesting to look at from a distance, so these spectacular Art Deco speaker stands were created to look impressive from a distance. They were almost eight feet tall (this reproduction is about 7' 8" tall) and were very fragile. The stand you see in this video is equipped with a CLARATONE speaker specially designed for use with a theremin.

The piece I am playing is CHE FARO SENZA EURIDICE from C. W. Gluck's opera, ORFEO ED EURIDICE.

If you would like to know more about Julius Goldberg, and see some photos of the original sprite speakers, please visit my website:

http://www.peterpringle.com"

Click here for all posts featuring Peter Pringle featured here on MATRIXSYNTH. Don't miss this impressive cover of Cohen's Hallelujah.

ARP 2600 SYNTHESIZER w/ 3604 KEYBOARD GREY MEANIE

via this auction
"Original owner selling his long time friend...
In 1973 J.B. Shurtleff went to Massachusetts to obtain an ARP 2600 from the factory. At the time ARPs were going for about $2600, that was real money in those days. JB asked the folks in the factory if there were any used ARPs for sale, they said no, but they knew of one they had sold to a music store in East Newton.
JB jumped in his car and sped over to the music store where he verbally used magic on the storeowner, telling him he would have that thing sitting there another two years collecting dust, so why didn't he sell it to him for a more affordable price, which he did. The serial number on the keyboard is 11002, so this might be the second grey meanie built and was probably built in 1971. JB's live ARP performances with his band where they knocked the plates off the wall at Paradise Corners Cafe with much fanfare and spl are retired now, and JB was slightly disappointed that he didn't reach a level of notoriety similar to Ozzie Osbourne. Just the same, this grey meanie ARP needs the doctor Phil Cirocco of CMS systems to go over it and bring it to factory specs. Being a member of the band, I have agreed to try to sell it for JB, we are selling it "AS IS".

After acquiring the machine, JB stayed in Massachusetts for a few months. He lived in a stable under a barn where he played with the ARP and where he found a branding iron with his name on it. As you can see in the pictures, he branded the back side of the hardwood machine handle, and the underside of the keyboard handle.
When JB got the machine back to California, after he played his way across the country, he put "lift and rotate" sticker over the logo, and a "rockola" jukebox sticker over the 3604 keyboard logo. In those days mystery pervaded the air around synthesizers. JB did not want lookers on to know what planet this weird sounding machine came from.

Service history, rebuilt ADSR 1975, replaced sliders with broken stems several times. The grey meanies were easily damaged when moving to different locations. Alan Pearlman evidently had a vision the meanie machines would be sitting in a University environment, safe from damage instead of knocking around in small esoteric nightclubs, sometimes moving from state to state.

Sample and hold module replaced, ocillator three module replaced, all modules acquired from CMS. Power supply rebuilt, (new caps, etc.)

All old parts in bags, including the black potted modules that have been replaced are included.

All sliders are intact, all black buttons are in a bag, most of the little black caps that cover the trim pots are in a bag.

5 patchcords included, the keyboard attaches to the console at both ends unlike later ARPs and two sets of jones-cinch connector cables are provided, new jones-cinch connectors installed (male and female), original owners manual, original technical manual, original 100 patch book with JB's personal patches included. Note finger wear on keyboard faceplate below low D, some finger wear on face panel under upper filter slider.

The magic of the 3604 keyboard is the tunable option. The player can tune the keyboard to any key, making it possible to only play the white keys.

All oscillators work, pre lawsuit ladder filter works perfectly, machine plays but needs alignment and treatment by Phil Cirocco at CMS

JB made a big mistake in taking the machine to a guy in California in 2000. He did something to the keyboard that needs looking at. The keys require more pressure than they should, slowing the action. Phil is the best, don't waste your time elsewhere."

SCREAM 2007: ANALOGLIVE! - Instrument List

Via Peter Grenader on the Plan B list:
"as of Friday all of the ensemble performers have arrived in the Los Angeles area, with Richard coming in from Atlanta and Thighpaulsandra making the long trek from Wales. We begin work early in the week in a sound stage before commencing formal rehearsals in the theater on Thursday afternoon.

As far as the equipment we'll be using, we've put together an orchestra of oscillators: Off the top of my head - three rather large Plan B systems, a Doepfer/Plan B/Livewire system, Arp 2600, two cabinets of Aries, one nine panel and a medium-sized three panel Serge fitted with a custom Plan B model 13, the largest Wiard system in the world, an EMS Synthi-AKS, the EAR Performance system, a Buchla 200e, Nord Modular, a Novation, a Waldorf Wave, two tcelectronic reverbs (a 2000 and 60000), tons of delays and a Yamaha SPX90. Controller include a C-Thru-Music Axis, a Continuum Fingerboard, a Doepfer PK88 and MAQ 16/3, Roland A-33, a Fatar workstation and an Analogue Systems French Connection.

Along with a wall of effect racks, Chas Smith will be bringing two of his own instruments: the Guitarilla and the Towers. Guitarzilla is a steel guitar made of machined aluminum and welded titanium tubing. It has a 12 string neck tuned to a diatonic scale and an 8-string bass neck. It is also fitted with a small waterless Waterphone-type instrument which is bowed. The Towers are eight 1 1/4" diameter grade 9 titanium rods with titanium plates welded on the ends which are both bowed and struck with a variety of mallets. The longest Tower is 109", standing over 10 feet tall in it's hanger, and the shortest is 55". They have been cut to form a scale which can be obliterated by the complexity of the sounds that the plates generate. They're sonically and visually majestic, bordering on astonishing. Go here for a photo:

http://www.ear-group.net/towers.jpg (pictured)

We will be performing six pieces, one each from the six players, all of which performed by the ensemble - it's not a series of solo performances. Three of the pieces will be world premiers."

click here for more info on the event.