Huge classic synth collection

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

via this Vemia listing

Click the auction link on top when you get there for additional listings.

"This collection of vintage synthesizers has grown with me for years. Most all of these instruments have been used on many projects, including VeggieTales, a variety of remixes, and many PlayStation video games and marketing and promotional discs. Most recently they were used on the Mass Effect Andromeda video games soundtrack. They have also been sampled and are part of the SoundVault Collection and the Kurzweil Analog Collection for the K2000 series samplers.
VEMIA note: to forestall many inquiries, The seller’s idea is that he wants to sell it as a whole. That may or may not work out in this auction. If it doesn’t, obviously he’ll be free to do whatever he wants after the auction finishes.

It all works. Everything has been kept in a clean, smoke-free, climate-controlled studio. I have always fixed things myself, so everything is operational and sounding great. I have repair notes on the synths that received attention, though most of them have worked great over the years, without much need for repairs. There are also several MIDI to CV converters so they can all be controlled by computer, plus cables if desired. And a few have cases and manuals.

ARP 2600 with lid but no keyboard. Pictured with broken slider and missing caps, but I believe I have them. ARP Odyssey (White) ARP Odyssey (Black & Gold) ARP Odyssey (Black & Orange) ARP Avatar (Original with pickup) (No original knobs, but early rubber caps if you want) ARP Avatar (CMS modded with patchpoints, filter, and envelope) (No original knobs, but early rubber caps if you want)

Chroma Polaris

Crumar DS-2

EDP Wasp

Electro Harmonix Super Space Drum Electro Harmonix DRM 32 Digital Rhythm Matrix

EML 101

Mini Korg 700S Korg Mono/Poly Korg MS-20 (Original Korg Filter) Korg SQ-10 Sequencer Korg Poly-Six Korg Trident

Moog Liberation with rack power, cable, and case Moog MiniMoog Moog MemoryMoog Plus with MIDI and case Moog MicroMoog Moog MultiMoog Moog Opus 3 Moog Prodigy Moog Sonic Six (The case is poor, but the synth panel looks great) Moog Taurus with case

Oberheim Matrix-6r Oberheim OB-1 Oberheim OB-8 with Page 2 and MIDI Oberheim OB-SX (This one is probably in the worst physical condition of them all) Oberheim Xpander

Rheem Kee Bass

Roland CSQ-600 Digital CV/Gate Sequencer Roland JP-8080 Roland Jupiter-4 Roland Jupiter-6 with Europa and original box Roland Jupiter-8 with Encore MIDI Roland JX-8P Roland MKS-7 Roland MKS-30 with PG-200 Roland MKS-50 with PG-300 Roland MKS-70 with PG-800 Roland MKS-80 with MPG-80 Roland MSQ-100 sequencer in box Roland SH-1 Roland SH-2 with case Roland System-100 Model 101, 102, & 104 Roland System-100m D Block Roland System-100m Phaser and Sequencer Block Roland System-100m 104 Polyphonic Keyboard Roland TB-303 with Sequentix MIDI and Filter CV

SCI Max SCI Pro-One SCI-Prophet-5 SCI Prophet-600 with GliGli

Star Instruments Synare 3 Star Instruments Synare 4 Star Instruments Synare Sequencer

Yamaha CS-30 Yamaha SK-20

Encore Expressionist MIDI to CV/Gate Kenton Pro4 CV/Gate and DCB and Wasp JL Cooper MIDI IO 8 ch MIDI to CV/Gate

Standtastic wall-mount arms plus cables if you want them."

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Hexdrums cranked, compressed & gated (no talk)

video upload by Richard DeHove

"Compressor hiss? Meh, the world's full of noise and hiss. Levels pushed, why not? Some limiting on the output - sure. We're just having fun here, not trying to educate anyone on noise levels or production techniques. And as usual this video has completely mutated from its original form. The intention was to show the new Nightverb gated reverb option and blather on about drum machines. Then I started playing with Hexdrums' compressor. So instead of my long diatribe on drum machine programming I chopped that all out and just kept the actual drums.

Compressor's aren't my thing. Yet with the Hexdrum compressor I had fun. Pushed past noon it will start giving an audible hissy noise floor but if you're cranking lots of other things that that just disappears :D If I was making an album track I'd probably try to get rid of it but for now every noise is welcome.

On the routing: Voice 1 (bass drum 1) and Voice 3 (snare) are on separate outs and are completely dry - although I was severely temped to do some processing on them. All the other voices go to the Hexdrums stereo out, then to the Nightverb on the gated reverb option; then to the Echolocator. With either effect unit turned to 100% wet it's up to the dry voices 1 & 3 to keep things together.

At times I turn up the release on Voice 2 (bass drum 2) and that's what upsets the compressor and holds it open so long that the gated reverb doesn't get a turn.

The main reason I like this setup is that you can get variations on a single drum pattern without having to program any new drum patterns :)

The main out from the DAW has some mild limiting to catch stray spikes but otherwise this is an unedited one-pass twiddlefest.

Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

5 things to like about KORG monologue w/ Solidtrax

video upload by Solidtrax

"Some monologue #sounds - #tips and some things I like about this little monster, ehrm, monophonic synthesizer from ‪@KorgOfficial‬ #monologue

Read my full review of the KORG monologue here: https://solidtrax.nl/korg-monologue-r...

Consider subscribing and liking the video and leave a comment to support my channel. Very much appreciated if you decide to do so!

Do you fancy some new sounds for your monologue - consider supporting and get the 100 sounds and sequences here: https://www.solidtrax.nl/product/anal..."

Analog Singular for KORG monologue | walkthrough of all sounds | no talking

video upload by Solidtrax

"100 New and flavorful #sounds for ‪@KorgOfficial‬ #monologue - These #sounds are suitable for ambient, documentary, EDM, house, IDM, techno, trance and various sorts of electronic dance music genres.

All sounds in this video are sourced directly from KORG monologue and have a touch of delay by the rather excellent ‪@OTOMACHINES‬ OTO-BIM. No external EQ, compression or other processing has been applied."

Schlappi 100 Grit, AntiMatter BrainSeed, & BASTL Instruments Dark Matter

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

Three listings from supporting member brian comnes on Reverb here.

Instruction manuals for 100 Grit & BrainSeed pictured below.

"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.

Features:

8 brass touchpoints
2 inputs to transistor core low pass filter
Voltage control over frequency, resonance, and gain
OTA VCA with soft saturation characteristics
Distortion circuit based around a vintage headphone amplifier driven into instability
Three position x100 gain switch with off, on, and momentary on settings
Each input and cv input is normalled to a different feedback path (6 total)
Seperate outputs for the VCA and distortion
Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect
All analog design"

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How do you feel about modifying vintage synths?

video upload by Soundgas

"How do you feel about modifying vintage synths?

Just got my EMS Synthi AKS back from a thorough overhaul and with a stack of mods added (it’d already had some historic and less than pretty ones installed).

People often ask whether modifying a synth like this affects value. While there’s no denying it can feel sacrilegious when you’re talking about an exceptionally well preserved example, I am 100% for anything that means old gear will get used more.

One of the worst things you can do with old gear is put it on a shelf and not use it. We regularly get contacted by collectors (or people who no longer use their now valuable vintage synths) expecting top prices for their precious instruments which come ‘serviced’ and ‘working perfectly - last time I used it’. A little digging usually reveals this to have been a decade or more ago and the service work is ancient history.

So if modding that classic synth means you’ll play it more and enjoy it, that to me is a no brainer.

I understand that this puts us at odds with many vintage synth collectors, but the majority of our customers - who want to use them (shock horror) for making music - seem to agree.

What do you think? Modify old gear or not?"

Oberheim Perf/x COMPLETE SET OF 5 Cyclone Navigator Systemizer Strummer Drummer

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

via this Reverb listing

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Oberheim DMX Classic Vintage 8-Bit Digital Drum Machine Unique Custom Build

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

via this Reverb listing

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Mood Machine | Sonicware Liven Evoke | New Set of 14 Songs

video upload by Sonic Cartography

"Track list and lots of notes below:

0:00 - 1. Dream Machine - With the Sonicware Liven Evoke, I’ve often been playing songs live, without using the sequencer, which I used for almost all of my songs with the Liven Ambient Ø (the two sequencers are very similar). With this song, I use the hold feature to hold some notes of textural sound in a couple of layers, while playing the piano layer live. The piano sound morphs between an acoustic and electronic sound a little bit after I play each note. Around the halfway point, with the chromatic pitch shifting, everything starts to turn into a granular storm (there are no granular effects prior to this), which is helped by the fact that you can cut the dry signal of each track and have a 100% wet mix of the reverb and/or granular sound. Oh, also, I want to give a thank you/shoutout to this video by @BenLevin because I started messing around with the chords that led to this song after watching it: • The secret to EMOTIONAL chords . His channel is one of my favorite music education channels on YouTube, so do check it out!

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Dream of the moons | Roland Jupiter 6, Rhodes Piano, and Fractal Audio FM3 lush ambient soundscape

video upload by MIDERA

"Wow, made it to 11,000 subscribers. It’s funny because it would seem like a “success” so to speak… but it’s not so different than when I only had 100 subscribers or 500, or 5,000. Truthfully, I guess the successes I have are raising my kids, it’s the time I truly feel like “I made it.” My career doesn’t feel so successful either. But I do enjoy the stuff I do here, and I suppose doing it has allowed me to write at least 21 albums worth of electronic music, which in itself is a feat I suppose.

Success just doesn’t seem to be an endpoint. You can look at someone who seems successful, and they can be moments from catastrophe, either self-inflicted or otherwise, or they don’t view their lives as successful at all. It’s like success is that pot of gold at the end of a rainbow. You think it’s there and all you have to do is catch up with it, but you really won’t ever see it, because there is no pot of gold. Some of the most miserable, hateful people I know… have lots of the stuff. I guess I am learning something in this world: that money and success won’t be there to make me happy. But I feel real joy around my family, and some joy around things I achieve, but it’s pretty clear that there will never be a thing that I do that tells me that I was or will be successful. And that’s good enough for me.

Roland Jupiter 6 #rolandjupiter
Rhodes piano #rhodespiano
Fractal Audio FM3 #fractalaudiofm3"

Background Modulars No.9 Roland 'System'

video upload by Memetune Studio

"Don’t have a real Roland System 100 plus SH5 to hand? No worries! Just put this video on in the background (in full-screen mode), and have the next best thing 😁

Here is 10 minutes of self-playing modular synthesiser randomness. Why not put it on loop - then you can have it bubbling away in the background while you do other things

A note on the patch: My Roland 'System' is made up from a full compliment of the System 100 units (101 main synth with the keyboard removed - NOT MODIFIED BY ME! - 102 expander synth, 103 mixer / reverb, and 104 sequencer, which have been removed from their original boxes - NOT BY ME!! - in other words this is a totally unique System 100 and uses up a lot less space than a stock one 😁), the SH5 dual VCO mono synth with specially designed modular breakout panel, the 201 tape delay, Boss delay unit, ALM ASQ1 sequencer based on the Roland SH101, and some Behringer 100M cloney modules - 2 x 180 sequencers, the dual mixer and 4 x analog switches

The patch uses 3 distinct 'voices' - the 101, 102 and SH5, all being sequenced by a combination of all the sequencers mentioned above. The switches are being used to split the voltages going to the 101 and SH5 so that they alternate and don't play together, which kind of keeps some space in the patch

Lastly I use the 103 mixer to pan the 3 voices, and add the 2 delay units in various amounts - including the amazing sounding spring reverb built in to the mixer - this really does sound special for some reason and when I first got the system 100 it made me really happy. There are no other effect in this recording - just some compression from the Neve desk"

Nord Wave 2 - Creating Fake Crystal Echos/Shimmer Reverb

video upload by 100 Things I Do

"A quick no fuss look at the Nord Wave 2.

In the year I have owned this synth it has been very enjoyable to use. You have to be a bit sly with the way you create patches but you can make some stunning textures and sonics that are very useable.

Hope your all doing well

Mike"

You can find demos of the OB-MX in previous posts here.

Fairlight Looping

video upload by 100 Things I Do

"Its been quite a while since I made a video so I just wanted to start back with something simple and just a bit of fun.

My Fairlight CMI Series III always seems to deliver something inetersting, so I fired it up and had a play with RS (Realtime Sequencer), setting a loop of 4 bars and just letting it record one track at a time. Nothing too serious, but great for creating ideas

Hope you are all doing well. Thanks for checking in!
Mike"

Korg DW-8000 soundscape - A shadow is near

video upload by MIDERA

"After fixing and playing the Kawai SX-240, I had searched for other synths that were similar to, or equal to the SX-240. The DW-8000 came across as a potential candidate. I found one locally for a good price ($350) from the original owner. It had more issues than I realized when I arrived. Half of the tact switches were difficult to press. Two keys were cracked and three keys needed complete replacement, so I replaced all the keys and replaced all the tact switches. The price ended up substantially more, doesn't it always?

I reached out to the seller to let them know that I fixed it all up and it's back to 100%. They said thanks, and then dropped out of the conversation. I guess not surprising, but I guess they really didn't want to know any more about the synth they had since the 1980s, not that I planned to continue communicating with them or anything. Just seemed weird to me, like I annoyed them by telling them I was taking better care of it? I don't know.

Anyway - here is my first musings with it before I did any repairs. Note that I did at one point have a Korg DW-8000. I sold it because 'The Korg Radias has the same waveforms' which was obviously a stupid reason to part with it.

That said - I doubt it will stay long term. Many things have happened since I posted this video (uploaded June 13th, 2024), and this is just another excellent synth I do not think I need.

Eventide Blackhole VST used for reverb."

Background Modulars No.5 - Buchla 100 and EMS VCS3

video upload by Memetune Studio

"Don’t have a Buchla 100 and EMS VCS3 to hand? No worries! Just put this video on in the background (in full-screen mode), and have the next best thing 😁

Here is 10 minutes of self-playing modular synthesiser randomness. Why not put it on loop - then you can have it bubbling away in the background while you do other things

A note on the patch: The whole thing is being run by the EMS Random Voltage Generator, but that is being modulated by a divided down set of voltages from the Buchla 8-step sequencer, so it changes the randomness very slowly, which makes it seem like its evolving as it goes along. There are ring modulated VCOs, cross mod VCOs and pitch shifted VCOs, from both systems all being mixed on the 205 matrix mixer, which also has feedback paths set up to go to the WEM valve copycat and also the Buchla dual reverbs and dual compressors. So the whole patch is intermingling and feeding back on itself via the matrix mixer. Its a highly complex patch and is pretty much impossible to describe fully because I just kept patching it until I liked the result enough to let it run and film it for 10 minutes"

Things to Do with the Voltage Lab 2 // Tips Tricks Ideas and Tracks

video upload by Starsky Carr

"It's definitely a lab because experimentation is key. The Voltage Lab 2 encourages you to dig a little deeper every time. Pittsburgh Modular have got this one bang on... the results are stunning.

The oscillators can sounds as grungy as you want. Those harmonics just keep on coming until you're faced with a sonic wall of jagged spikes. The temptation is to go over the top, whereas with most it's hard to get 20% there.

In this I demo some of the more hidden functions and give some ideas to get the most out of it. Like patching the ocillators into each other, or using the function generators to control the LPG essentially giving us a 'standard' VCF. Then there's some hidden stuff in the touch controller, like per step parameter locking using the blue CV channel, or per step chance by setting the chance to 100% and patching chance into the blue channel... now the blue CV is per step chance.

Cool stuff."

TR-909 Firmware Version 5 Demos

See this post for details.

Playlist:

1. TR-909 FIRMWARE VERSION 5 UPGRADE!!!

// The most wonderful thing that could have ever happened for Roland TR-909 owners and lovers has actually happened.

2. TR-909 FIRMWARE V.5 - Demonstration 1 - MIDI SYNC CORRECTION

// I’ve installed one of the first Revolution 909 firmware upgrades from Addictive Instruments into my own personal Roland TR-909 and I released a little enthusiastic clip about how delighted I am to have 33 year old serious problems resolved. This is the first of a few posts planned for today to show you why it’s so amazing to me.

3. TR-909 FIRMWARE VERSION 5 - Demonstration 2 - SWITCH BETWEEN PLAY AND WRITE MODE IN REAL TIME

// This is something that I’ve been thinking about since 1991 when I first got my own TR-909: The ability to switch between pattern play and pattern write without having to stop the sequencer.

WHY IS THIS IMPORTANT?
The TR-909 in pattern write mode allows us to do some clever things. We can change the length of the pattern using last step, and we can add and subtract notes and accents (internal and external) to develop our pattern. However, we can only do this in write mode.
So in order to do these things in performance we have to A ) stop, change modes, and start again B ) stay in write mode always (can’t change patterns in write mode) C ) program our drums from another device entirely D ) add all the chaos, and then use the level knobs to bring sounds in and out (the way maestro Jeff Mills makes magic!) or E ) make a ton of patterns ahead of time and switch between them as our performance.
We can do mutes on a mixer, use a midi controller. There are options, but when I’m playing live it’s just me. I have stuff happening. It’s a lot to navigate and keep track of. Changing mixer settings, dealing with midi controllers, or even flipping through preset patterns can be distracting and a bummer. Adding the ability to just get into write mode and change the length for a fill, or a sidetrack, or a totally new in the moment idea is fantastic!

4. TR-909 FIRMWARE VERSION 5- Demonstration 3 - MUTES

// This is something which I didn’t anticipate being so amazing. I use mutes on the mixer as a fundamental part of how I perform live, but I don’t tend to reach for instrument mute functions on the actual devices. This is not a personal bias, but rather a point of clarity. I’m doing like 25 things at once in any given performance (and singing) so it’s pretty easy to forget what I’ve muted or un muted unless it’s in central place (like on the mixer), but after all I just explored in demonstration clip 2 about ways to add and subtract sounds live, mutes are a marvelous and really powerful addition to this list of ways to address patten complexity in a live performance.

5. TR-909 FIRMWARE VERSION 5 - Demonstration 4 - INSTANT PATTERN CHANGES

// Ok, this is really simple, but it’s so super extra totally bad ass.

Fig.1 INSTANT PATTERN CHANGES
The thing about the TR-909 is that it doesn’t instantly change patterns. You have to wait for the end, and then it starts the next selected pattern. To get around this you can do some stuff:
• make some really complicated patterns
• make one big complex pattern and then use the mixer to bring things in and out (fun!)
But this is fantastic! Just hold down shift and start instantly jumping between patterns. Add a crash from a crashy pattern, start a fill, and switch to just a kick drum, mix and match patterns and really get something heavy going - THEN get involved with the mixer, and it’s a gorgeous avalanche of TR-909 awesome!

In my example here I’m just showing you that it’s possible now. The rest is up to you.

Addictive Instruments have released firmware version 5 for the Roland TR-909 and the RE-909. It’s a real upgrade which requires soldering and while it isn’t easily reversible, the upgrade also includes firmware v1 and v4 so you can revert by choosing another firmware and booting it that way (no one would ever know).

Find out more at revolution909.fr
This first batch is limited to 100 so if you’re as happy about this as I am, hurry up!
That said, I believe in these guys and totally hope that this all goes well, and this will continue to be available (and more!) until all the TR/RE-909’s have one inside.

This was demo 4, one more and I’ll leave the rest to you.

6. TR-909 FIRMWARE VERSION 5 - Demonstration 5 - EXTERNAL INSTRUMENT

// I’ve been using the EXT INST function of the Roland TR-909 since the day I got it. I love triggering samples, basslines, and other drum machines from the stately TR-909’s main panel. The hassle has always been that the notes it generates can’t be changed. So you get an octave or so of fixed notes and that’s all. I’ve spent a lot of time messing with samplers and getting the sounds I want to trigger from the notes I have to offer, and while it’s fun, and useful, it can be a drag. Fact is, a lot of people never even explored it.

Fig.1 CENTRAL CONTROL WITH TR-727
The TR-727 doesn’t allow us to control its midi notes either, but the Addictive Instruments firmware v.5 update has presets and it has a user mode (fig.2). So we can play any note we want on any channel we want at any velocity we want now.
My 727 is upgraded with Harry Axten‘s perfect sound rom upgrade, and this is my own custom rom, and here it is being beautifully programmed by my beloved TR-909!

Fig.3 BASSLINE
This is an example of using the user template to create a chromatic keyboard and programming a bassline which is saved with my drums, and subject to all the new and original functions of the 909.
So much fun!

Clearly I was already in love with my TR-909, but I’ve fallen all over again here.

The external instrument mode is expanded, and it much more powerful now, it’s also nicely documented (at last) in the manual. It is more complicated than plug it in and go if you want to make the most of it, and it’s worth it. This is something wonderful.

Hans Zimmer 'RadioPhonic' Synth @ Superbooth 24 w/ AJH Synth

video upload by AJH Synth Official

"Hans Zimmer's 'RadioPhonic' Synth from AJH Synth @ Superbooth 24 - This monster MiniMod Eurorack modular system was commissioned by Hans himself, and he was kind enough to allow us to build a limited number of exact replicas which will be individually built to order by AJHSynth. Full details of the system, along with an interview with Hans Zimmer about his use of the MiniMod system, can be found at https://ajhsynth.com.
We will have one such RadioPhonic system on display in our bungalow at Superbooth 24, along with a MinMod Keyz, a 9U full system, and a huge monster case full of AJH modules.
Richard Quirk, and Wayne Taylor (DreamsOfWires/Tomorrow the cure) will also be there representing AJH with Allan J Hall himself. We'd be glad to chat about the modules and demonstrate some in action, so feel free to pop by.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Official website page: https://ajhsynth.com"

Update: press release and pics follow:

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Behringer System 100 Demo

video upload by gstormelectro

"Audio + Video by G-Storm Electro c. 2024

Got around to patching the Behringer System 100 today. Plays well with Arturia Keystep Pro. Give the 172 module phaser and chorus effects a spin. And that 182 sequencer, I love how it is not pitch quantized and gives a weird Stranger Things vibe. Let's do this! No additional mastering or post-effects. This video was not sponsored.

0:00 Three Osc Voice structure plus (filter res) Kick and (white noise) Hats.
1:37 172 module | Phaser
2:17 172 module | Using the short delay for chorus/flanger stuff
2:47 Dual Two-Osc structure
3:51 Stereo Syncopated 182 Sequencer Patch"

What is The Vanilla Synthesizer? It's Ready, That's What

via the STG Soundlabs/muSonics Electronic Newsletter:

Is it The Vanilla Synthesizer or the muSonics TVS?

I started working on this project a year and a half ago.

Originally my thought process was to make a new American format synthesiser that could be sold as modules, kits, and bare boards. I was concerned about the future of the format, and I felt a new line of basic modules and infrastructure at a variety of price points was important. I still do.

STG Soundlabs was a failure because I made things that ultimately the eurorack market simply did not want. Yes, I sold some, and will continue to maintain the line as best as I can, but it's very hard to find photos of eurorack installations with STG Soundlabs modules in them, but rare to find a nice big man-sized synthesiser without my modules in it.

Another thing I wanted to do was teach myself how to do my own engineering. It didn't start that way, but it became that way. I'd been a hardware product developer since 2005 but never actually laid out a circuit board. That is no longer true, and I've done things beyond this project that I haven't even talked about.

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A History of Synthesizers.com by Creator Roger Arrick Himself

Roger Arrick, the founder of Synthesizers.com, wrote a history of his business. It's a fascinating look at the inception of one of the first modular makers of the new gaurd. You can find the full the full article on his website here. The following are just a few excerpts. I included an interesting bit on an almost stolen system.

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