Best of E-MU Emax Sampling Synthesizer ~ RetroSound Demo

video upload by RetroSound

"(c)2007-23 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi

❤️ Support #RetroSound​ channel: https://retrosound.creator-spring.com

Best of E-MU Emax Sampling Synthesizer
all sounds: E-MU Emax SE (1986)

Setlist
0:06 Intro
0:20 Dark Planet
0:45 Forbidden Land
0:58 Hearts Of Iron
1:49 Andromeda
2:23 Black Hole
2:37 Stop And Go
2:56 Elektroschrott
3:52 Aggro
4:30 Baikal-Amur-Magistrale
5:32 Metal-Synth
6:09 Anomalie
6:37 Arco Strings
6:48 Demontage
7:23 80s Cinema
7:30 Liquid Stack Track
8:09 Monks
8:35 Your Room
8:43 Sampling
8:55 Scream
9:23 Spectrum Synthesis
9:44 Slowdown
10:11 The Village
10:35 The Lost House In The Woods

Here is the full Emax playlist with a lot sampling sound demos, sampling tutorials and one synth demo tracks.
E-MU Emax Playlist:"

Обзор Sequential Take 5. Создание атмосферных звуков.

video upload by C-Land

No thumbnail for this one at the time of this post. Hit the play button to start.

Vintage ARP ODYSSEY SN 28337

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

via this auction

"The serial number is #28337 and it was made in 1972. It already had the PPC (proportional pitch control) pad modification on it when I bought it. I have never seen another vintage 2800 with this update. They usually have the big knob for pitch bend.

All new sliders (I'm including the old ones in case someone wants to take the time to clean and save them).
Cleaned and lubed keybed and installed new keyboard bushings.
Replaced VCO2 course and fine sliders.
Replaced VCO1 v/oct, VCO2 v/oct, and 2nd voice trim pots.
Re-flowed and/or reworked previous solder joints, jumpers and repairs.
De-fluxed boards B, C, and PSU.
Complete calibration.
Rewired the low output (1/4" connector) to have a hotter high level audio output.

In the 70's, the Odyssey and the Minimoog ruled the land. The Odyssey has a unique sound and will do things that a Minimoog can't do, such as oscillator sync, duophonic capabilities (you can play two notes at once), sample and hold, and several other things. It is a sweet machine but I just never use it. Again this is NOT a Korg remake! This is the REAL Vintage beast. You can see in the photos that it comes with the original foam-lined case, the original Arp synthesizer guide, and a copy of the owner's manual in a binder."

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Hydrasynth, Slim Phatty, Virus C, Pro 2, Gadget: "Elizabeth's Land"

Brittle stR music

"The bass lead is from the Phatty, going through the Line 6 HX Stomp tape echo. I'm sweeping the VCF cutoff as the sequence plays. The pad is the Hydrasynth, with multiple LFOs unpredictably modulating the cutoff of both filters. The high reverb'ed sequence is the Virus. The S&H drone in the middle section is the Pro2. Drums and sequencing from Korg Gadget 2.

The title is a location in the sci-fi novel 'Legacy' by Greg Bear, which for me has the most vivd and inventive depiction of an alien biology in all of fiction."

Moons Apart - W/ Roland e20, Rings, Clouds, Three Sisters, Ornament & Crime

Published on Aug 19, 2017 ann annie

"Across the land yet
Moons apart beneath new skies
sounds to light the way
//
Pulled out the Roland e20! knew there was a reason I dragged it halfway across the country.
Patch notes below...


Thank you Aubrey M. for collecting wonderful footage of Portland and providing a window into the beautiful city I once called home.

follow my weirdness! @annnannie (Instagram)

Patch Riddles //

- Temps Utile DAC Turing Machine -- Ornament & Crime Quantermain
- Temps also sending clock to Mother 32 and randomly shifting the mix (noise) using a random clock source output.
- O + C -- Rings -- Clouds -- Three Sisters
- Roland E20 -- Zvex Lo-fi Junky
- Intellijel Dixie II LFO mode providing modulation to Rings structure and brightness.
- Mother 32 (Arpeggio) + Noise

External Effects:
Modular -- Earthquake Devices Avalanche Run
Roland e20 (Lo-fi Junky) - Boss ME-50 Delay"

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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TX81Z FM Synth Sounds Demo 2

Published on Aug 17, 2014 gstormelectro

"All video and audio c.2014 G-Storm Electro
these patches can now be downloaded at http://gstormelectronica.blogspot.com/

Continuing sonic explorations of TWO TX81Z FM Synthesizer Tone Generators this time. Each unit chained for even/odd notes: one panned slightly left and the other to the right. Sounds are outrageous in the dry state but can be made completely preposterous with the Big Sky reverb.

Here's a rundown of the sounds:
0:09 Cymbiosis - Synth pad with cymbal harmonics.
0:38 Ritual - dark tribal bass. Add huge reverb to this one.
0:53 Darknights - Smooth filtered sawtooth with swell.
1:16 Heavyw8 - Super fat bass. Start your own earthquake.
1:33 Wowabass - It literally says wow.
1:44 Drum kit bass drum, snare, tabla, hats
2:34 Sawtopia - Smooth sawtooth pad w/ organ swell.
3:10 Saw Bass - Bread and butter bass.
3:19 Fortress - Super dark cello w/ vibrato.
3:51 Transistor - Hot pad inspired by the Novachord, transistor hum
4:20 Sync Bass - The way FM can bass
4:31 SmakMyBass - Prodigy Fat of the Land Bass on steroids."

mono-poly's Atlantic Storm

You might remember mono-poly from his modular noodles featuring various modular gear including Buchla, Elby Designs, Serge, Metalbox, Wiard, the Blippo Box, Cynthia, RSF, Klee and more.

He now has a new album out titled Atlantic Storm. The following is a blurb on the album from Strange Life Records, where you can pick it up.

"Monopoly's second album after releasing the ZOND3 CD on the Japanese Doppelganger records in 2008. Think of the great rural ambient sounds of Brian Eno's On Land mixed with dark isolationist dronescapes from the 1980s. Using rare modular synthesizers such as ancient EMS synthi's, Buchla's, Serge's etc. Atlantic Storm is the perfect music for a cold rainy day on the outer hebrides' atlantic shores...and that is ofcourse, just the way we like it. Probably one of the most essential rural ambient albums on strange life records so far! Comes in a DVD box with a Monopoly postcard. Check out the soundbytes here."

Note I put this up and more on MATRIXYSNTH-C.

Update: gear list via mono-poly:
Buchla 100
EMS Synthi AKS
Wiard
Serge Modular
Oberheim SEM (custom modular)
Blippoo Box
Modcan
Cyndustries
Blacet
Metalbox
Elby
DIY
Moog Modular

Boss VT-1 Voice Transformer Analog Vocoder

images via this auction

"This thing also has a "Robot" setting, which is basically an awesome analog vocoder. Whatever you say will be rendered to whatever note you dial yourself to on the pitch slider, you can go up and down a full octave, starting starting at the bottom at the low C, middle C in the middle and high C at the top. It quantizes it per half-note, so you can change to different notes pretty easily, without having to fine tune or anything. This is the closest thing to a Korg VC-10 I've ever had the chance to use! It make some amazing sounds, way better than a MicroKorg, and way cheaper than a Korg VC-10!

I should also mention that there is a blending slider, so you can get a really nice octave effect on your voice or whatever you run through it, like a Boss OC-3 or Electro Harmonix Octave Multiplexer. The built-in reverb it has is also amazing, combining the reverb and octave effects can make just about anyone's vocals sound great. You could run a sax through it too, I tried that and it sounded great.

This also come with some sort of professional modification, where there is a headset microphone connected to the unit, and also a phone line for a connection to any land line telephone. I didn't realize that others didn't come this way when I got it, but everything works great either way. There is still a 1/4 inch input for a mic or synthesizer, guitar, or whatever, or you can use the headset. I think you can even use both, but I never really tried that. If you don't need these mod on there, I'm sure you could take it off if you opened it up, but I just left both of them on because I didn't want to mess with it. I never tried the phone line thing, but it should work fine. You can trick your friends into thinking you are someone else, or an alien or something crazy. The voice changer on this is so convincing! It's not at all like the voice changer toys you see on Halloween.

You can find more information here at the Boss website"

David Rogoff on VCOs

David Rogoff sent the following into the Yamaha CS80 list. I asked him if I could put it up and he gave me the OK.

"This touches on a big, somewhat technical, issue of what kind of VCOs the CS80 uses. The VCO III chip is a linear VCO, sometimes called Hz/Volt, as opposed to the more common exponential (Volts/Octave) VCOs (e.g. MiniMoog, Curtis & SSM chips in SCI and Oberheim polys).

Here's a pretty good explanation: link

Here's a (I hope) quick one:
The most basic VCO is a sawtooth one, which can be a capacitor charged by a current. For non-EE types, here's my modified toilet analog (and you though the Metasonix vacuum-tube VCO was weird) : The capacitor is like the water tank of a toilet. The water filling it up is the current. The height of the water is like the voltage across the capacitor. Now, modify the float valve so that when the tank is full it automatically flushes. Then the cycle starts again. If you double the water filling rate ( = double the current), you double the frequency of the flush cycles.

The is a basic, linear VCO (actually Water-CO). It shows a couple of things. First, it's not actually voltage controlled, but current controlled. Ignore that for now. Also, the filling time is adjustable, but the discharge/flushing time is fixed. This is an issue with all sawtooth VCOs and is why many (e.g. Moog) VCOs have a high-frequency-tracking adjustment, which helps cancel this out. Here's the CS80 VCO: link

Ok, so why don't all synths use linear VCOs? As the above link explains, human ears don't hear frequency linearly. A above middle C is 440Hz. An octave about is 880Hz, or double the frequency. The next octave would be 1760Hz: double that. If you graph this, it's an exponential curve. So, the space (in Hertz) between two notes keeps getting bigger as we get to high pitches. If you had a modular synth with linear VCOs (like that old Paia), the top key might output 5 volts. One octave down would be 2.5volts. The next 1.25volts, followed by 0.625v and 0.3125v. This is a pain to generate. Also, as you get to lower notes, smaller voltage inaccuracies start becoming bigger pitch errors to our ears.

To avoid all this, someone (anyone know who? Dr. Bob? Tom Oberheim? Don Buchla?) came up with exponential VCOs. Basically, they're just a linear VCO with a circuit in front of them called (big surprise) an exponential converter. This is just a circuit that takes a linear input (1volt/octave) and outputs the doubling voltage (actually current...) that the VCO wants. Now, everything is simple.

So, why did Yamaha go for the linear? Two reasons, I'd guess. First, adding the exponential converter to each VCO adds more cost to the chips, since there's more circuitry. A bigger issue is temperature stability. As we've been talking about lately, all circuits are affected (i.e. knocked out of tuning) by temperature changes. The exponential converter, for reasons I won't go into, is really sensitive to this. People have been complaining about the tuning stability of the CS80, but it's rock solid compared to any poly-synth with exponential VCOs (P5, OBX, A6, etc). They all need computer-controlled auto-tuning routines to have any chance of staying in tune.

So, what issues/problems/advantages does the CS80 having linear VCOs create?

Good things:
1) modulation - linear vibrato sounds a bit different than v/oct vibrato, probably closer to acoustic vibrato (e.g. violin). Also, as the modulation speed increases, you start getting into F.M. land, which requires linear modulation (you don't want to know the math!). This is why some modular VCOs have linear FM inputs in addition to the normal v/oct controls.

2) sweep to D.C. - my favorite. If you start a pitch bend at the right end of the ribbon and slide all the way to the left, the pitch of the VCOs all go down to 0Hz / D.C. / flat-line. This is because the input to the VCOs goes to 0 volts and the frequency equals the voltage times a constant. With a exponential VCO this is impossible. Going 1 volt less on the control input goes down one octave. Mathematically, you can't get to zero Hz. You'd need to input -infinity volts! Also, many other limitations in the circuit block the VCO from even getting close. Big win for linear VCOs!

Bad things:
1) Keyboard voltages - as I wrote above, the keyboard has to generate exponential voltages. This is a big pain. In a digitally-controlled analog (like the CS80, P5, etc), the keyboard voltage comes from a DAC (digital-analog-converter). 99.99% of DACs are linear. The CS50/60/80 (and others in the family) have bizarre, custom exponential DACs. This makes interfacing the CS80 to other synths and/or MIDI-CV converters a pain.

2) CV mixing. Finally, we get to the original question of adding a pitch-bend input to the CS80. In the volts/octave world, everything is easy: you just add voltages together. Adding voltages is simple to do - just an op-amp and a few resistors. Let's say you had the following voltages come out of a v/oct keyboard: 1v, 2v, 4v. This could represent a low C (c1), C one octave up (c2), and C two octave above that (c4). To make it simple, let's say we have a pitch wheel or pedal add 1 volt to this (2v, 3v, 5v). This would be c2, c3, c5, so we've just transposed the sequence up an octave.

Ok, what happens if we try this with a linear voltage. For the same c1, c2, c4 notes, we might have 1volt, 2volt, 8volt. Adding one volt gives 2volt, 3volt, 9volt. The first note is correctly up an octave, but the next is only up about a 5th and the third note is only transposed up about a semitone. This, obviously, doesn't work. What we need to do, instead, is multiply the voltages. To transpose up an octave, double the voltages. To transpose down an octave, halve them. This is easy for a fixed transpose, but if you want a variable, like a pitch-bend pedal input, you need to multiply voltages. Just like it's much, much easier for people to add and subtract than multiply and divide, so it is for analog (and digital) circuitry.

If you follow the schematics or block diagram of the CS80, you can see that the voltage to the VCOs comes through a long chain of multiplications. The ribbon is actually the initial voltage source for the whole instrument. If the ribbon isn't pressed it outputs some fixed voltage (not sure the actual value - call it 2 volts). If the ribbon is slid up, all the way, from the left to the right, it would output double this voltage, which corresponds to one octave up. If the ribbon is slid the other way, it outputs zero volts, as mentioned above. Next, the voltage is sent through the concentric pitch knobs. Any normal potentiometer is a voltage multiplier, which can multiply the input by anything from zero to one.

This voltage then becomes the reference input to the exponential DAC on the KAS board, which multiplies it by it's exponential resistor network to create the CVs for each of the either voices. These voltages go to the VCO chips on the M-Boards. Are we done - nope - one more CS80 weirdness. In a v/oct synth, the octave/foot switches would just generate a voltage that would be added to the keyboard CV (e.g. MiniMoog). The CS80 VCO, instead, has a special footage input that needs an exponential current for each feet setting. Because this is difficult to do accurately over a wide range, we end up with the wonderful VR4, VR5, and VR6 trimmers to get the feet switching calibrated separately for each of the 16 VCOs. Yuch!

Getting back to the original question (remember Alice? There's a song about Alice...), a pitch bend input would need to control a voltage multiplier. This could be an added circuit, after the ribbon circuit, or could probably be merged with the ribbon voltage. I haven't figured out the details, but it's not rocket science. However, it is a lot more work than it would be on something like a Prophet 5.

Ok, I guess that wasn't quick, but at least I didn't have an graphs or get into transistor curves or Bessell functions.

David"