11/22/25 Ace Tone FR-1 + muSonics Wave Folder + .com Q118 Q125 + Oakley ADSR/VCA + (…)

video upload by Cfpp0

"11/22/25 Ace Tone FR-1 + muSonics Wave Folder + Synthesizers.com Q118 Q125 + LWSS Oakley Modular ADSR/VCA + DeltaLab Effectron II + Alesis MIDIVERB II

Bossa Nova and Slow Rock. Ace Tone FR-1 Rhythm Ace drum machine audio output to the Synthesizers.com Q118. The Q118 amplifier output to the muSonics Wave Folder. The Q118 gate output to the LWSS Oakley Modular ADSR/VCA gate input. The Q118 envelope output to the control input on the muSonics Wave Folder. The Oakley VCA output to the Mackie Onyx 1640 mixer, with Alesis MIDIVERB II gated reverb. The Wave folder output multiplied on the muSonics Mutliples, then sent to the DeltaLab Effectron II delay, overloading the preamp, and then to the Mackie with the same gated stereo reverb on the MIDIVERB."

11/12/25 Roland (RYK) System 100m & RE-301 + Peavey 1300 + Alesis MIDIVERB II + Paia 6740 + CXM 1978

video upload by Cfpp0

"The left RYK Modular 185 sequencer is gating the right RYK 185. The right RYK 185 CV output controls the pitch of the left Roland 110 VCO and modulates the right 110 VCA. The 140 lower envelope controls the left 110 VCA. The upper 140 envelope controls the right 110 VCA. The left RYK 185 gate output is modulating the 140 LFO, and that LFO is modulating the left 110 filter and the right 110 VCO slightly. The 150 LFO is modulating the right 110 filter and the left 110 VCA. The left 110 audio output goes to the Roland RE-301 for tape echo, with the intensity set at the threshold of feeding back, and that signal is panned left on the Mackie Onyx 1640, with spring reverb from the Paia 6740, stereo reverb from the Alesis MIDIVERB II (preset 27), and a larger stereo reverb blended on the CXM 1978. The right 110 audio output goes to the Peavey 1300 delay and is panned center on the Mackie, with the same three reverbs."

10/29/25 ARP 1613 + Metasonix R-54 53 52 51 56 + Zerosum ZI61 & VCA + MFB ADSR + OAM + MIDIVERB (…)

video upload by Cfpp0

"10/29/25 ARP 1613 + Metasonix R-54 & 56 & 53 & 52 & 51 + Zerosum Inertia ZI61 & Voltage Controlled Annihilation + MFB ADSR + OAM Time Machine + Alesis MIDIVERB 2

The ARP 1613 sequencer output A controls the Metasonix R-52 sweep CV in, which creates the high resonant rasp on the reversed quarter notes. The R-52 runs into the R-53, which adds the pitch to the R-52 rasp, then through the R-51, controlled by the MFB dual ADSR, gated by the ARP 1613 gate bus 3. This signal goes through the R-56 for more distortion and spring reverb—panned center on the Mackie Onyx 1640, with stereo room reverb from the Alesis MIDIVERB II. Meanwhile, the more mechanical-sounding squawk/chirp/scream loop is the ARP 1613 quantized output B controlling the pitch of the R-54, which runs through the Zerosum Inertia Voltage Controlled Annihilation, which runs through the Zerosum ZI61, high is controlled by the MFB dual ADSR, gated by the ARP 1613 gate bus 3. The ZI61 is panned left on the Mackie, but it also feeds the OAM Time Machine delay, which is panned center on the Mackie.

NTS:
USCIS, windowless"

7/1/24 Akai ME20A + Roland Jupiter 6 & RE-201 Space Echo + Mackie Mix12FX (vocal plate)

video upload by Cfpp0

"An Akai ME20A chord translation, dragging in and out of sync. A shorter version was already posted as a YouTube Short. That version started with the softer attack, while this longer version starts with a harder attack and shorter envelope on the Jupiter 6 and shorter gate length on the ME20A. The Roland Jupiter 6 was traded and the Akai ME20A was sold."

10/12/25 Roland SH-101 + Peavey 1310 + Yamaha EM-100 + CXM 1978

video upload by Cfpp0

"Transposing a sequence on the Roland SH-101, with it’s audio output running though a Peavey 1310 delay, with one output panned center in the Yamaha EM-100 mixer, with the EM-100 internal spring reverb. The other 1310 output runs through another Peavey 1310 delay, which also runs through the EM-100, panned left, with spring reverb and a hotter impedance. There is also a little bit of stereo reverb blended on the CXM 1978.

NTS:
13 mile run, Canadian jets, Italian parade"

10/9/25 Pasco Scientific 9301 & 9302 + Yamaha EM-100

video upload by Cfpp0

"10/9/25 Pasco Scientific 9301 & 9302 + Yamaha EM-100

Some lowpass filtration on the Waveform Analyzer. The left 9301 dual function generator goes from DSB to FM to Gate. The spring reverb is the internal tank on the Yamaha EM-100 mixer."

9/29/25 SSL 1660 + FSFX 103 + STG + acVOKS + .com Q128 + Paia 6740 + MIDIVERB II + MP-4 + DDL-3

video upload by Cfpp0

9/29/25 MFB dual LFO + Metasonix R-51 52 53 54 + Zerosum Inertia ZI61 & VCA + (in description)

video upload by Cfpp0

Almost sounds orchestral.

"9/29/25 MFB dual LFO + Metasonix R-51 & R-52 & R-53 & R-54 + Zerosum Inertia ZI61 & Voltage Controlled Annihilation + Gieskes Fan VCO + OAM Time Machine + Alesis MIDIVERB II + Paia 6740 + CXM 1978

Keanoop on a Kawasaki KLR 600 in the Hsuehshan Tunnel."

9/28/25 (bird) ElectroComp EML 400/401 + Paia 6740 + DeltaLab Effectron II + MIDIVERB II + CXM 1978

video upload by Cfpp0

"Some stringy flutes. The 16 steps on the right side of the ElectroComp EML 400 are producing V4, which is controlling the envelope decay on the EML 401. I’m resetting that loop throughout the video, to change the accents and envelope. The 16 steps on the left side of the 400 are producing V3, which is controlling the 401 filter (in high pass mode). The 400 sequence is being clocked by ALM Pamela’s New Workout, with a division of 140bpm. The 401 output hits the DeltaLab Effectron II delay hard and overloads the limiter. The delay goes from the Effectron II to the Mackie Onyx 1640, with spring reverb from the Paia 6740, gated stereo reverb from the Alesis MIDIVERB II, and pitchy downsampled stereo reverb blended on the CXM 1978. The bird was racing our ferry and won."

Hitchcock

9/7/25 Roland System 100m & RE-301 + Lexicon PCM 70 Snoopeggio

video upload by Cfpp0

"9/7/25 Roland System 100m & RE-301 + Lexicon PCM 70

Snoopeggio.

Testing the Roland 184 polyphonic keyboard we just got back from our tech. Here we have three of the 184’s CV outputs modulating two 112 VCOs and one 110 VCO, while three of the 184’s gate outputs modulate three 140 envelopes, which control two 130 VCAs and a 110 VCA. These three signals are mixed and panned on the 131 mixer, with its stereo outputs hard-panned on the Mackie Onyx 1640, with the “concert hall” algorithm on the Lexicon PCM 70. The 131 mono output runs to the Roland RE-301 for tape echo, which is panned mono on the Mackie. The feedback on the RE-301 is increased after the hold switch is engaged on the 184."

8/31/25 (transpose) Roland CSQ-600 & System 100m & RE-301 + Alesis MIDIVERB II

video upload by Cfpp0

"We bought this Roland CSQ-600 “serviced” but there’s something wrong with it. Sometimes you go to record and it’s just silent, or the first few notes are silent. Anyways, we’ll get it fixed. Today I managed to record one sequence of notes into the CSQ-600 from the Roland System 100m 181 keyboard, then used the 181 to transpose the looping CSQ-600 sequence. This transposed sequence is modulating two 110 VCOs, and the 140 envelope is controlling the 110 VCAs. Offscreen I’m increasing the sustain and release, pretty much the whole time. The two 110s get mixed on the 130 mixer and the mono output is sent to the Roland RE-301 for tape echo, while the stereo reverb is preset 12 on the Alesis MIDIVERB II.

NTS:
77F, Joy’s Filet, 9th floor"

Multivox Rhythm Ace FR6M & FR60 drum machine with speaker and mic input

Note: links to listings are affiliate links for which the site may be compensated. 7/6/23 Multivox Rhythm Ace FR6M into Ibanez DD 700 (BOSSA NOVA)

video upload by Cfpp0

via this Reverb listing

"This is the Multivox FR6M Rhythm Ace, but a rare one that has the FR60 on the side in the same wooden housing, with slits in the left side for the speaker to pump out the beats and whatever is plugged into the mic input.

There are 1/4” outputs on the back. If nothing is plugged into the output then the beats are played through the speaker. If you insert a cable into the output jack the speaker is bypassed. There’s a volume knob that also is your on and off power switch. There’s a balance knob so you can hear just percussion or percussion and hi hats. In the video posted in the photos section of this listing you can hear it start off with the balance fully clockwise and a lot of cymbals, then I fade it counterclockwise and it has an effect almost like a lowpass filter. You can hold down more than one button to select more than one beat. You can get just a four on the floor and many variations with the three white buttons that correspond to the switch knob. And of course there is a tempo knob. The mode switch is a nice feature. Each beat has a variation A or variation B mode, but you can also select auto, which will play each variation in succession.

Our tech recently installed a new three-prong power cable and tried to eliminate the faint hum the unit makes, but it’s still there. It’s not a ground hum or anything you would hear in the signal, but more like the sound when a guitar amp is on. Also, once in a while if you’re doing a lot of beat changes a button may fly off. I just put it back when I’m done. It’s fun."

CLICK FOR MORE »

8/24/25 Roland SBX-80 clocks a pair of Pasco Scientific 9301 + Yamaha EM-100 + Alesis MIDIVERB II

video upload by Cfpp0

"8/24/25 Roland SBX-80 clocks a pair of Pasco Scientific 9301 dual function generators + Yamaha EM-100 + Alesis MIDIVERB II

The Roland SBX-80 is set to 80 bpm, time base 1. The time base output is boosted by the right Pasco Scientific 9301 microphone preamplifier, then patched to the modulation inputs on both 9301s. The spring reverb is the internal tank from the Yamaha EM-100 mixing the two 9301s. A stereo reversed reverb from the Alesis MIDIVERB II creates the stereo echo."

8/18/25 (feedback) Metasonix S-2000 + Paia 6740 + Alesis MIDIVERB II

video upload by Cfpp0

"The Metasonix S-2000 sounds like a pretty cheerful creature with both contour two and contour three engaged, but gets more angry when contour three is turned off. A lot of that raspiness is due to feedback. The S-2000 audio output is multiplied by the Synthesizers.com Q124, then a copy goes to the Mackie Onyx 1640, with spring reverb from the Paia 6740 and stereo reverb from the Alesis MIDIVERB II, which is what we hear in the video. Another copy of the S-2000 output is sent through the STG soundlabs Attenuators, to the Lower West Side Studios M830 Signal Distribution System (just to convert it to 3.5mm), into the audio input on the S-2000 so it hears itself hearing itself."

4/8/25 (octaves overlay) SWTPC Psych-Tone + ADR Pan Scan + Eventide H3000B

video upload by Cfpp0

"4/8/25 (octaves overlay) SWTPC Psych-Tone + ADR Pan Scan + Eventide H3000B

Do people still have stereos at home, with two speakers? The SWTPC Psych-Tone synthesizer is running through the ADR Pan Scan, and its stereo outputs are hard-panned on the Mackie Onyx 1640 mixer. The Eventide H3000B is on an auxiliary send, fed by both channels. The Pan Scan rate is close to, but not the same as, the rate of the Psych-Tone sequence, which creates the random feel of the automatic panning. The H3000B delay fills the center of the stereo field. I recorded the same sequence in three videos, each with a different range setting, and they are overlaid here."

808/25 Happy 808 Day! Three 808 clones + (gear in description)

video upload by Cfpp0

"808/25 ALM Pamela’s New Workout + DSP 808 + Birdkids Unicorn Boom + Ladik S-143 & U-202 + Roland SPH-323 & System 100m 140 & RYK 185 & e-licktronic 118a + Simmons Clap Trap + DeltaLab Effectron II + Paia 6740 + Lexicon PCM 70 + Alesis MIDIVERB II + Peavey 1300 + Mackie Onyx 1640

Happy 808 Day!"

8/1/25 Free State FX 116 & 101 & 107 + SSL 1310 + Paia 6740 + Alesis MIDIVERB II

video upload by Cfpp0

"8/1/25 Free State FX 116 & 101 & 107 + Synthetic Sound Labs 1310 digital delay + Paia 6740 + Alesis MIDIVERB II"

7/31/25 EML 200 + Metasonix S-1000 Wretch Machine + SSL 1600 + acRLS

video upload by Cfpp0

"7/31/25 ElectroComp EML 200 + Metasonix S-1000 Wretch Machine + Synthetic Sound Labs 1600 + Analog Craftsman acRLS

It was inevitable. The Metasonix S-1000 Wretch Machine is now in the 6U rack on top of the ElectroComp EML 200 stack. Just to the right of the Metasonix TM-1, TM-1 SE, TM-5, TM-2, TM-7, and Zerosum Inertia Cenotaph. We’ve tried to find a TM-6 to add to the racks for several years now, but to no avail, so why not just put the S-1000 here? Duh. This was a test video, with the EML 200 square wave driving the Synthetic Sound Labs 1600 clock divider, which triggers the S-1000 and drives the EML 200 envelope and the Analog Craftsman acRLS shift register thing, which modulates the S-1000 oscillators, pulser, and filter. Both signals get spring reverb from the EML 200. Sounds like creatures to me."

6/12/25 (lowpass) ElectroComp EML 200 + 5U

video upload by Cfpp0

"I forgot to upload this and now I don’t remember what was going on offscreen, but because the 1U DeltaLab Effectron II appears above the top EML 200, there must be a rack of 5U above, assisting the EML 200s."

4th of July/25 Zerosum Inertia and Metasonix process a flute playing “The Star Spangled Banner”

video upload by Cfpp0

"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."