"Oberheim Service Notes from 1980's in Oberheim 3 Ring Binder These documents comprise an official Oberheim issued compilation of Authorized Service Notes.
These are NOT Oberheim Technical Service Manuals.
They are Engineering Change Orders (ECO's) which are mostly circuit updates.
Each ECO has been implemented over time to improve the performance of a particular Oberheim Model.
They have been grouped to include all the changes to a particular model.
The OB-Xa Bulletins for example are grouped into the 100 series; The Expander is the 600 Series.
One would still refer to the actual Oberheim Service Manuals to actually perform these updates.
View this binder as an Addendum to each of the Service Manual models on the list.
The Bulletins cover:
Model_____ECO-Nmbr
OB-Xa_____100-145
DSX_______201-217
DMX_______301-338
OB-8_______402-442
DX_________501-512
Xpander_____602-631
DX-MIDI_____703-705 -after SN Q63603
Matrix-12_____805
Matrix-6______901-906_(2-901's-Maybe 2nd one SB907? 2 different dates)
1. Introducing Thorus XT - Video credits: Anthony H. | Music credits: Théo G.
2. UVI Thorus XT | Overview - Video credits: Venus Theory
3. UVI Thorus XT | Showcase - Video credits: Théo G.
Discover Thorus XT, a state-of-the-art chorus effect offering the best of both digital and analog circuit-modeled techniques with up to 8 variable, fully continuous voices, and deeply shapable extended analog controls.
A deep, flexible, state-of-the-art digital chorus, Thorus has long been one of UVI's best-selling effects. Thorus XT offers a brand new take, driven by advanced DSP and joined by a second engine that faithfully models the analog bucket-brigade circuits that chorus was born on. Two worlds, one plugin, from brilliant shimmer to grainy vintage modulation, and everywhere in-between.
Your Sound, Your Way
Both digital and analog engines run on the same morphable 8-voice architecture and the same set of controls. Set your modulation once, switch engines, and hear the identical movement through two very different paths, keep whichever one best suits the material.
Two Engines, Unified Control
Cutting-edge DSP drives a variable chorus architecture with continuous and morphable voice control; sweeping voices results in the last voice fading in and out smoothly, with no stepping. Speed and Depth shape the modulation, Shape sets its waveform as sine or triangle, Edge dials feedback and color, and Stereo Mode places the image. Fewer voices give pronounced, identifiable modulation; more voices blur the line into a thick, immersive wash.
Digital - Clean, Precise, Transparent
The digital engine is the Thorus chorus you know and love, refined. Clean, precise, prized for its clarity, now with a continuously variable voice count. Every voice reads a single shared delay line at interpolated positions, for a crystalline, detailed sound. When clean isn't the objective, Quality becomes a band-limited sample-rate reducer delivering a downsampled, lo-fi edge that stays musical where it counts.
Analog - Warm, Colored, Alive
The analog engine is a faithful bucket-brigade chip emulation, found in classic hardware units like the Dimension D, and Juno-6. Where the digital engine is clean by design, Thorus XT’s analog engine gives you the natural imperfections of hardware: aliasing, resonance, pumping compression, hiss, per-voice variation—all fully shapable through an extended control set.
"As we'd expect from Joranalogue, they take inspiration from classic, seemingly simple functions and turn them into musical and technically impressive devices. Flow 3 is a compact filter that builds upon on the idea of an auto wah, it's a filter with 'auto dynamics'. There's on board modulation, that can modulate itself or your modular system, stave variable filter outputs, CV over everything and an easy to play with layout in 6HP."
Update: Press release follows:
Joranalogue Audio Design announces availability of Flow 3 auto-dynamic filter module for Eurorack that sounds bigger than it looks
STEKENE, BELGIUM: having made its impressive-sounding debut during a showcase at SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany, high-quality Eurorack music synthesiser modules-maker Joranalogue Audio Design is proud to announce availability of Flow 3 — an auto-dynamic filter that sounds bigger than it looks, thanks to the novel variation on the classic state variable filter topology that lies behind its compact 6 HP panel — as of August 25…
Firstly, Flow 3’s core integrator saturation of its simultaneous — low-pass (LP2), attenuates frequencies above the filter frequency (or cutoff) at -12 dB/octave and self-oscillates at a phase of 180°; bandpass (BP2), selects a band of frequencies around the filter frequency (but below and above that the attenuation slope is -6 dB) and self-oscillates at a phase of 90°; and high-pass (HP2), attenuates frequencies below the filter frequency at -12 dB/octave and self-oscillates at a phase of 0° — outputs provide for a sound that is clean yet distinctive.
RESONANCE response is exceptionally smooth — it, too, can easily reach self-oscillation (at higher feedback levels), the temperature compensation and exact calibration effectively transforming Flow 3 into a reliable quadrature sine/cosine VCO (Voltage-Controlled Oscillator) with tight pitch tracking.
The ace up Flow 3’s sleeve, however, lies in its auto-dynamic nature — helpfully highlighted by the non-erasable AUTO DYNAMIC FILTER graphic positioned across that compact, clean-cut 6 HP panel. After all, it is a filter that can modulate itself, achieved by a combined DECAY generator/envelope follower circuit controlling the filter frequency over an adjustable range; either fire decay envelopes from external triggers, or flip it to AUTO mode to follow along with the incoming signal’s amplitude envelope (or both, simultaneously).
Saying all that, then, creating heavy-hitting analogue kick drum sounds becomes a breeze, but, with a bit of patching, Flow 3 can even be used as a spectrum splitter (or crossover), cleanly separating the full audio range into low and high portions, for dual-band signal processing — perfectly possible thanks to the Linkwitz-Riley filter response at minimum resonance.
Ultimately, users of Flow 3 can clearly get carried away as the Eurorack module concerned creatively takes the old auto-filter concept to new voltage-controlled heights, hearing for themselves exactly what the fuss was all about at that impressive-sounding SUPERBOOTH26 showcase!
Coming complete with a 16-to-10-pin Eurorack power cable, two black M3 x 6 mm hex screws, two black nylon washers, and a hex key, Flow 3 is available as a 6 HP module — measuring 128.5 mm (H) x 30 mm (W) x 52 mm (D) with a +12 V: 45 mA/-12 V: 45 mA maximum current draw, reverse polarity (MOSFET) power protection, 100 kΩ impedance inputs and 0 Ω (compensated) impedance outputs — through Joranalogue Audio Design’s growing global network of authorised dealers at a MSRP (Manufacturer’s Suggested Retail Price) of €215.00 EUR or $225.00 USD.
"Mono Two by Monomono is a monophonic Max for Live synthesiser built around the semi-modular spirit of the Korg MS20, optimised for Ableton Live and fully operational on Push 3 Standalone. In this walkthrough we go from first filter sweep to full patchbay session, covering everything that makes this device tick. Monomono have expanded on the original MS20 architecture with dual filter circuit switching, tempo-synced LFO, bipolar and unipolar envelope modes, stereo spread, and a guided patchbay with attenuator and multiplier utilities.
Dual oscillator architecture with waveform selection, pulse width, and ring modulation K35 versus OTA filter circuit comparison and real-time switching Filter sweep with peak resonance and highpass filter in action LFO shapes, free and synced modes, phase reset, and tempo sync Envelope Generator 1 with delay, attack, and release for frequency modulation Envelope Generator 2 bipolar and unipolar modes, hold, and legato switching Modulation visualisation on dials showing scope and depth of applied modulation Stereo spread control from full mono to wide stereo Patchbay walkthrough with attenuator, multiplier, and guided orange-highlight routing Push 3 Standalone patchbay navigation and sample-and-hold patch demonstration
[You can find additional demos by Starsky Carr, BoBeats, and Molten Music Technology further below.]
Pittsburgh Modular Lifeforms SV-2 Lifeforms SV-2 from Pittsburgh Modular is a duophonic analog semi-modular keyboard synthesizer that honors classic East Coast subtractive architecture while packing a punch of flavorful twists afforded by modern technology. A full-blown revamp of the SV-1, it features updates to nearly every aspect of the instrument: new oscillator core, classic PGH filters updated with new character modes and overdrive stages, new spring reverb, new response curves and range modes on the ADSR envelopes, a custom 37-key keyboard with pitch-bend and mod wheels, and a redesigned interface with eighty-four patch points along the top. Moreover, a 24hp Eurorack expansion bay with three power headers sits alongside them, so external modules of your choosing can be dropped into the signal path at any point.
Playlist:
1. Synterra : Audio Demo : Vaemi
2. Synterra Nedir? : VAEMI’nin Yeni Enstrümanı #synth #generativemusic #sounddesign #synthesizer
3. Synterra : VAEMI’nin Yeni Generatif Enstrümanı : Tüm Özellikleri #Organic #NaturalPatterns #Plants
Click CC in the player controls for subtitles.
"We are delighted to announce Synterra, VAEMI’s new instrument, which many of you have been waiting for. We are truly excited.
Synterra is a unique device designed as a more comprehensive instrument than similar equipment created to date, capable of interacting with organic objects, living organisms, and different surfaces in its surroundings.
Synterra can use changes in the magnetic and electrical fields around it, liquid or solid organic materials, fruits, plants, fungi, trees, light, and the touch-sensitive area on its surface, allowing your own resistance to become part of the music and the patch.
Synterra also determines its initial position during startup by using the magnetic field of its environment as a reference. This allows the device to position itself according to its surroundings each time it is powered on and begin processing incoming signals based on this initial reference.
In addition to these features, the device offers 8 different scale options. Synterra converts signals received from living organisms or other sources into data. It then processes this data through probability and quantizer structures, creating an algorithmic arrangement that generates different notes at different times. In this way, the device establishes a generative synthesis structure within itself.
Synterra features 9 different synth presets. These presets include a variety of synthesis characters based on subtractive synthesis, wavetable, resonator, Karplus–Strong, drums, and noise.
The device can also be used practically without being connected to any living organism, as light and your own resistance can be incorporated into the circuit. In addition, a much wider variety of sensors can be added to the system through the clip cables and the additional sensor input.
Synterra can be powered by either batteries or USB. Battery operation allows you to use the device comfortably on nature walks, in outdoor spaces, and in creative environments outside the studio.
The onboard potentiometers allow you to adjust the output level of the internal sounds, as well as the amount and sensitivity values. This enables you to use the device comfortably across a broader range of applications and receive signals at more suitable levels from different living organisms or organic sources.
"Circuit3 announces Metanoia: Music From Therapy, an instrumental album of analogue synthesis, personal reckoning, and a collaboration with Vince Clarke that reshaped the project.
The album closes with ‘The Hope’, the collaboration with Vince Clarke. Across 11 minutes, it builds a melodic drone landscape that holds both hopelessness and hope at the same time. The piece suggests that neither feeling disappears; they sit beside each other, always present, always waiting to be recognised.
Circuit3, the retro-futurist project of Dublin-based Peter Fitzpatrick, steps away from his melodic synthpop background on Metanoia. The album moves into spacious, quietly expressive instrumentals. The sound is minimal and tactile, shaped by the classic late‑70s and early‑80s electronic vocabulary without being locked inside it."
1. MATRIA GLOBALESSA - Midicontroller for Moog® Matriarch™ Globals
Release trailer for the MATRIA GLOBALESSA, a Stereoping Midicontroller for direct access to the global parameters of the Moog® Matriarch™ Synthesizer
2. MATRIA GLOBALESSA - features and editing demo
This video demonstrates real life usage of the MATRIA GLOBALESSA with the Moog® Matriarch™.
No music here, sound starting at about 1:44
0:07 connections and communication
0:42 power supply system and energy saving sleep mode
1:22 parameter organization and editing of various parameters like pitchbend range, OSC frequency range, pitch variance, noise cutoff, delay brightness
4:40 Arpeggiator pots
5:45 round robin fun
3. MATRIA GLOBALESSA - Getting the DIY kit together
Step-by-step video showing how to assemble the MATRIA GLOBALESSA DIY kit
Complete DIY kit for a "MATRIA GLOBALESSA" MIDI controller.
This controller allows for the direct editing of global parameters on the Moog® Matriarch™.
This is the colorful version of the controller; for the Dark Matriarch™, we offer the black/red sister product, PREFS MISTRESS.
The photos show the assembled unit. The product is supplied as a DIY kit; you must assemble it yourself. Please watch the assembly video and consult the assembly instructions.
1. GForce Prophet~5 | Available Now
2. Introducing the Official Sequential Prophet~5 by GForce Software
3. GForce Prophet~5 | A Walkthrough of the Sounds
4. Sequential Prophet~5 by GForce Walkthrough
00:00 Intro
02:14 Aquarium Visit 1983
02:30 Auto Buchla
02:41 Central Texas Disc Golf Semi-Finals
02:51 Clouds Over Ocean
03:08 Concrete Engineering
03:22 CV Input
03:38 Heat Index
03:49 Horizons
04:00 Luggage Carousel
04:15 Natural Science Center
04:27 Network Protocol
04:44 North American Walnut
05:04 Observatory
05:17 Peach Flower
05:32 Plant Irrigation
05:47 Prairie Dawn
05:58 Rainbow Vision
06:13 ROM Upgrade
06:25 Sea Foam
06:44 Silicon Manufacturing
06:55 SSM Bass
07:06 Striking the Circuit
07:17 Television Relay Circuit
07:27 UCSD Research Grouping
07:42 Woodland Hills
2. GForce Prophet 5 vs the Hardware - Starsky Carr
I put the GForce Prophet 5 VST head-to-head against my real Sequential Prophet 5 hardware — testing filters, oscillators, envelopes, LFOs, vintage mode, FM, sync, unison, and more — to find out just how close it really gets.
The GForce Prophet 5 is the ONLY Prophet 5 software officially endorsed by Sequential, making it the only plugin that can legally call itself the Prophet 5. But does the endorsement mean anything sonically? After hours of clinical testing with spectrum analysis, oscilloscopes, and direct A/B comparisons, the results genuinely surprised me.
In this video:
Rev 1 vs Rev 2 vs Rev 3 filter comparison (SSI vs CEM — hear the -difference)
Oscillator shapes: sawtooth, square, triangle side-by-side
Pulse width modulation & LFO speed accuracy
FM / oscillator sync behaviour (I did find a minor difference here)
Polymod and audio-rate filter modulation
Unison & Vintage mode — does the voice-to-voice character match?
Low frequency oscillator mode
X-Mod section: LFOs and envelopes on everything
Built-in effects: chorus, phaser, distortion, multi-mode filter, delay, reverb
CPU load test: 10 simultaneous instances vs Ozone on the master bus
The verdict? The differences I found are no greater than you'd hear between two hardware Prophet 5s. If you don't own the hardware and aren't doing a clinical A/B, you will not notice them.
The GForce Prophet 5 is also remarkably CPU efficient — 10 instances use less CPU than a single Ozone instance. It adds two layers, up to 10-voice polyphony, full CC modulation, and an X-Mod section that turns a classic polysynth into something far more powerful."
"Experience a live, fully hardware synth-pop set from Syd and I, recorded at Resident Electronic (Noisebridge) on Capp Street in San Francisco. Syd and I are a father/daughter music duo composed of Saul Stokes and Sydney Stokes. This performance features our unique blend of nostalgic synth production, positive electronic vibes, and contemporary melodic vocals. Special thanks to Jah's Tin (Resident Electronic Host and Musician) for capturing all the video angles as well as excellent quality audio.
00:00 - Intro
00:05 - 10th of a Second
05:11 - Be Somebody
10:01 - Skinned
Everything you hear is performed live using a 100% battery-powered, DAW-free hardware rig Stokes designed. The rig consists of:
"New Uses for Old Circuits is a series looking at linear and nonlinear processes in the modular system.
In 1966 Karlheinz Stockhausen went to Japan. Fascinated by the Noh theatre, Sumo, and tea ceremony traditions he found there, he made use of the facilities of NHK public broadcasting to make Telemusik. The piece centers around Stockhausen's so-called 'Gagaku Circuit' - a double ring modulation process which attempts to take two separate sounds and intermodulate them.
More about Telemusik: https://stockhausenspace.blogspot.com...
0:00 Stockhausen In Japan
3:58 Gagaku Circuit and Intermodulation
6:40 Musical Esperanto
7:48 A Quick Channel Update
8:38 Ocora Records
9:11 Double Ring Modulation
13:17 Building the Gagaku Circuit
17:26 Nomades Du Niger
19:27 Introducing the Intermodulation
21:30 Gagakuing Gagaku
22:51 Gagaku and Voice
24:59 Musique Kabiye and Voice
25:55 Musique Kabiye and Contraluz
The substance of the work consists of recordings of a variety of traditional ethnic musics from around the world, together with electronically generated sounds. More than twenty of these recorded fragments are intermodulated on tape with electronic sounds and with each other to produce 'odd hybrid-types'—modulating, for example, 'the chant of monks in a Japanese temple with Shipibo music from the Amazon, and then further impos[ing] a rhythm of Hungarian music on the melody of the monks. In this way, symbiotic things can be generated, which have never before been heard'."
Note this is the first post to feature Unusable Engineering. You'll find additional plugins by them below.
Playlist:
1. Curves & Membranes - Software Bézier Monosynth w. Orbital Modulators & Membrane Filter - Walk Through
2. Curves & Membranes - Sound Demo and Patch Ideas - No Talking
3. Curves & Membranes | Synthesizer Patch Creation & Sound Design Walkthrough
4. Curves & Membranes v1.1.0 | New Features and Sound Examples
5. Curves & Membranes Filter Walkthrough | Understanding the Membranes
6. Unusable Engineering Jam | Curves & Membranes in a Different Context
7. Unusable Engineering Update | Curves & Membranes Features and Grain Discharge
8. Unusable Engineering Breakfast Jam | Curves & Membranes + Full Bundle
"Curves & Membranes is a focused mono synth built around a shapeable Bézier oscillator, two visual modulation systems, and a membrane-based filter. In this full walkthrough I go through the core ideas behind the instrument, how the oscillator works, how the preset morphing and orbital modulators create movement, and how the membrane filter shapes the sound.
The goal with Curves & Membranes was not to make a do-everything synth, but to build something more specific: a synth where sound, shape, and motion are tightly connected, and where the structure stays easy to understand while still allowing a lot of character and timbral movement.
Synaptic Resonance is a neural vocoder-style effect where incoming audio, or an optional sidechain, excites a two-dimensional neural simulation. That simulation is then read back somewhere else and used to animate a bank of forty steep resonant band-pass filters.
In this walkthrough I go through the basic idea behind the plugin, show how the Stim Plane and Read Plane shape the behavior, and explain how the neural controls affect the way the model reacts, spreads, remembers, recovers, and settles.
The core idea is fairly simple: the input excites the model, and the output is affected by reading the model. That is what gives the plugin its character. It can behave like a vocoder, a resonant filter instrument, or something more unstable and alive depending on how it is set up.
The Fragmenter 45 is a circuit bent Extron 1604 HDMI Scaler. It is a very high quality unit that demanded a very high retail price when originally released. The HDMI signal integrity is pixel perfect and doesn't compress your image when passed through this thing. It processes 1080p 60fps signals without even breaking a sweat!
This one features some effects that are new to myself, targeting a specific part of the clock circuitry that I have not experimented with before on any other device. The 3 push buttons trigger different clock glitch effects that completely take over the signal and make some mesmerizing patterns. They are an extreme and immediate set of effects, perfect for the most intense parts of a live visual performance. A bonus feature of these buttons is that when subtle artefacts build up on the screen after a while even when the effects are all off, a quick press of one of these buttons and they are all cleared! No need for a reset mid performance!
Another effect unique to this device in the horizontal warp effect that makes the clean HDMI signal degrade into something that looks like a weak analog transmission.
8 knobs control the colour digitise effect and another 9 knobs control the "fragment" effect section that splits the image up and repeats it in slices at a 45 degree angle. These two banks of knobs can be linked together with a toggle switch for even more effect possibilities.
This unit also features a VGA input and can scale the signal to a HDMI output, all of the effects work the same when doing so."
"Oberheim Service Notes from 1980's in Oberheim 3 Ring Binder
