"Super-rare Moog MuSonics Sonic V synthesizer from 1972! This is #96 out of only 100 made and the only one I’ve seen with a front panel overlay that differs slightly than others I’ve seen (which, admittedly, is not many and not at all in-person). It’s actually more in the aesthetic style of a VI, as far as that particular detail is concerned.
The elusive predecessor to the Sonic VI was designed by Gene Zumchak, who also designed the 960 Sequencer, 961, and 962 modules. According to advertising literature, it was “designed for the music educator” and features “ring modulation, microtonal keyboard scaling, two-note keyboard capability, and extended modulation resources”.
The sounds this thing can make are absolutely insane. For those of you who are in to noise, sound effects, and sound design — this is a formidable and wildly entertaining beast. It is capable of some really beautiful, melodic sounds, as well, so it’s not just for pure craziness. It’s a unique instrument not often seen out in the wild and only in the collection of distinguished collectors, studios, and synth aficionados. A rare chance to grab an incredibly rare instrument!
Just serviced with the following:
- PSU recap - all pots cleaned and a few jacks replaced - ground hum eliminated - 741 op-amp replaced in Oscillator A - full calibration"
"This is a very rare synthesizer, the Moog MuSonics SONIC V, from 1972. Only 100 of these were made, and this is serial number 90. They were only available in 1971 and 72 when Moog joined MuSonics. I bought it many years ago in Buffalo New York, the same town where they were created. I took it to original inventor Gene Zumchak who still lived in Buffalo and he signed it for me on the front panel. He said he had not seen one since 1972 and never signed one before or since.
It is in all-working condition, 2 oscillators, 2 lfos, low pass filter, ring modulator, envelope generator, and VCA. (These are very similar in design to the later Sonic 6, which was a redesigned by Bob Moog and Dave Luce.) in some ways I consider this superior to the Minimoog, has it allows wilder and crazier modulation - plus the ringmodulator. As we say, it sounds more like a 'baby Moog modular.'
Please see the YouTube video I made a while ago, showing how great and fascinating this instrument can be." You can find them in previous posts here.
"Introducing Moog One custom sounds Presets Volume 4 by Caught In Joy. Most of the patches consist of more than one layer/timbral. Perfect for Berlin School, electronica and synthwave.
Moog One to me is a real king of the unique sonic landscapes. Through my sound design choices and experimentation, I created presets that explore new sonic territories, revisit the old ones and push the boundaries of what the Moog One can do. By combining different synthesis techniques, modulation routings, and unconventional settings, you can uncover unique and captivating sounds that are not typically found in factory presets. A lot of presets were inspired by the pioneers of electronic music: Tangerine Dream, Isao Tomita, Richard Barbieri, Jean Michel-Jarre, Vangelis, Klaus Schulze's and Edgar Froese's solo works and Amiga demo scene.
I hope these distinctive sonic landscapes will make your feel special and will inspire you to compose more music.
All patches are compatible with the Moog One Firmware v. 1.5.0 and up. Terms apply."
"Musonics (properly spelled "muSonics", per its trademark), was a synth manufacturer that existed briefly in the late 1960s. It is notable for the fact that its owner, Bill Waytena, bought Moog Music from Bob Moog in 1970. Waytena created Musonics in 1967 or '68, with the idea that he would market a synth as a home entertainment device, a market that Waytena saw as much larger than the professional musician market. He hired ex-Moog employee Gene Zumchak to design a synth called the Sonic V. However, the synth did not sell, and Waytena reasoned that it needed a well-known brand name for marketing purposes. In 1969 he learned that Bob Moog's existing company, R. A. Moog, was in financial trouble, and arranged to buy the company from Moog in 1970. He then merged Musonics with it. Thus, Waytena became the owner of the first incarnation of Moog Music. The merged companies were first called Moog/Musonics, changing to Moog Music in 1972. The Sonic V was Musonics' only product prior to the merger. Post-merger, Bob Moog took the design and made a few improvements, fitting it into an integrated flight case design that had been proposed during theMinimoogprototyping stage. This became theSonic Six, a model that Moog himself subsequently often used for public lectures and demonstrations. The Sonic V is virtually the same but it has the diode ladder filter, same as found in the EMS VCS3. People that have owned both the Sonic V and the Sonic 6, claim there's something special about the way the Sonic V sounds. This is currently being carefully restored as this one is signed by Bob Moog, dated 2/87, there were less than 100 of these ever made and far few of those are probably still even around. This is also getting a cinch jones conversion to cv/gate."
"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"
Note: Auction links are affiliate links for which the site may be compensated.
Moog muSonics Sonic V Demo video upload by MOS-LAB
"The sonic V is a synth developed around 1969/1970 by ex Moog employee Gene Zumcheck (the idea of a portable synthesizer had been refused at the time by Robert Moog).
This synthesizer was built by the company muSonics when Gene Zumchek join them, and was released "officially" when the company bought R.A Moog in 1971 under the Moog muSonics badge.
There were less than a hundred units built (mine has serial number 18).
Unfortunately, very few models are still in existence today, making it a very rare instrument. Not having been exported at the time, it was mainly
intended for universities in USA.
Its successor, the Sonic 6 is an improved and portable
version, but with a different filter (Moog ladder filter)
So it doesn't sound quite the same."
Spotted the above video in the listing below. I'm not finding it previously posted so up it goes. You can find additional demos in previous posts.
"Musonics (properly spelled "muSonics", per its trademark), was a synth manufacturer that existed briefly in the late 1960s. It is notable for the fact that its owner, Bill Waytena, bought Moog Music from Bob Moog in 1970. Waytena created Musonics in 1967 or '68, with the idea that he would market a synth as a home entertainment device, a market that Waytena saw as much larger than the professional musician market. He hired ex-Moog employee Gene Zumchak to design a synth called the Sonic V. However, the synth did not sell, and Waytena reasoned that it needed a well-known brand name for marketing purposes. In 1969 he learned that Bob Moog's existing company, R. A. Moog, was in financial trouble, and arranged to buy the company from Moog in 1970. He then merged Musonics with it. Thus, Waytena became the owner of the first incarnation of Moog Music. The merged companies were first called Moog/Musonics, changing to Moog Music in 1972. The Sonic V was Musonics' only product prior to the merger. Post-merger, Bob Moog took the design and made a few improvements, fitting it into an integrated flight case design that had been proposed during theMinimoogprototyping stage. This became theSonic Six, a model that Moog himself subsequently often used for public lectures and demonstrations. The Sonic V is virtually the same but it has the diode ladder filter, same as found in the EMS VCS3. People that have owned both the Sonic V and the Sonic 6, claim there's something special about the way the Sonic V sounds. This is currently being carefully restored as this one is signed by Bob Moog, dated 2/87, there were less than 100 of these ever made and far few of those are probably still even around. This is also getting a cinch jones conversion to cv/gate."
"The whole scene of Thief (1981) with TD's re-edition of 'Thru Metamorphic Rocks' theme, renamed as 'Igneous' in the OST release.
The film version is by far more extensive than Thief CD version.
Enjoy that sequence !"
TD = Tangerine Dream.
Curious what they were using back then. According to this thread, they used the following on tour during that time period:
Live in East Berlin, 31st Jan 1980
Chris Franke: Custom modular synthesizer (comprising of about 50% Moog and 50% Projekt Electronik): Moog Oscx2/R.M./VCF/VCAs Projekt Elektronik VcEnvx2 & Proj. Elek. 2VCO/W.Noise/R.M./Waves (for Drums) Digital sequencer & trigger selector Programmer for above (SCI model 700 programmer) Synth sound bank (for above) Moog 960 sequential controller x2 Projekt elektronik sequence controller x2 Moog 3-band parametric Moog 12 stage phaser Moog 920 programmer Moog 16-channel vocoder Rhythm robot sequencer Emu Oddity voice card 12 analogue drum sounds Drum envelope unit Drum EPROM sampled sounds and more...
Edgar Froese: custom Moog modular synthesizer (3 box units comprising Moog modules and sequencers plus sequence controllers from Projekt Electronic) Prophet 5 rev 2 PPG Sonic Carrier 1003 programmable duophonic DCO/DCF/DCA based synthesizer PPG Wavecomputer 360 polyphonic digital synthesizer PPG 350 keyboard sequencer Arp Pro-DGX monophonic preset synthesizer Korg PE-2000 polyphonic ensemble Roland MC-8 microcomposer Roland VC-10 vocoder Arp/Solina string ensemble Mellotron mk V
Johannes Schmoelling: - Minimoog - Yamaha CP-80 electric grand - Oberheim 4-voice - Elka Rhapsody 610 - Polymoog - Korg PS-3100 - Synthanorma sequencer
-----------
European tours (Nov-Dec 1980 & Jan-Feb 1981):
Equipment used:
Chris Franke: Moog/PE modular tower as above Minimoog Arp Odyssey mk III Elka Rhapsody 610 Prophet 5 rev 2
Edgar Froese: Projekt Elektronik modular synthesizer & sequencers (used by Peter Baumann during '76 and '77) PPG 340 A Generator Unit, PPG340 B Processor Unit, PPG380 Event Generator, PPG x 2 Terminals, PPG x 2 Computer Keyboards, Oberheim OB-X
He may have used some more keyboards during these tours but I'm not sure which ones (possibly the Arp pro-DGX, the PPG Sonic carrier or the PPG 360 wavecomputer?)
Johannes Schmoelling: Moog modular synthesizer (usually handled by Edgar Froese on stage) Minimoog Polymoog Prophet 5 rev 2 Yamaha CP-80 electric grand
-----------
British Isles tour (Oct-Nov 1981):
Equipment used:
Chris Franke: Moog/PE modular tower as above Minimoog Arp Odyssey mk III Elka Rhapsody 610 Prophet 5 rev 2
In November 1971, rival company muSonics bought R. A. Moog, Inc. and relocated the company to Williamsville, New York. An old factory at the north end of Academy Street was purchased. The company was renamed Moog Musonics, then Moog Music, Inc.[3]
In 1972, former televangelist and successful salesman David VanKouvering joined the company as VP of Marketing, creating a network of retail stores throughout the United States and then the entire world.[5] Despite the increased commercial success the company saw with the introduction of the Minimoog than with previous products, competition with contemporary manufacturers such as ARP Instruments, Oberheim Electronics, and Electronic Music Studios drove the company steadily deeper into debt.[6][7] Moog Music, Inc. was ultimately sold to Norlin Industries in 1973. At this point, rival companies such as the aforementioned ARP Instruments were producing both monophonic and polyphonic synthesizers that rapidly outpaced the Moog in popularity. By 1975, ARP owned 40% of the synthesizer market share, effectively boxing out Moog Music, Inc.[8]
In 1976, Norlin moved the company to a facility on Walden Avenue in Cheektowaga. In 1977, once his contract with Norlin expired, Robert Moog officially left the company to pursue his own ventures, founding the firm Big Briar.[9]"
---
And the press release for the new muSonics:
For Immediate Release
January 23, 2023
Chillicothe, Illinois - muSonics has acquired very failed Eurorack
manufacturer STG Soundlabs in a private equity trade valued at
6 million Dogecoin. Based in the greater Buffalo area, muSonics is
America's oldest synthesizer company whose first instrument, the
Sonic V educational synthesizer, is highly-regarded as one of the
most reliable analogue instruments of the 1970s.
Suit & Tie Guy, former STG Soundlabs president and newly appointed
CEO of the merged company, STG muSonics, was quoted as saying “I’m
excited to be an important part of a history-rich American brand
such as muSonics, which exists in a unique category alongside names
like Abercrombie & Fitch, Montgomery Ward, and Radio Shack."
The first STG muSonics product, the Voltage Controlled Amplifier in
the American modular synthesizer format, is currently available at
Noisebug of Pomona, California. It is the final revision of the
Voltage Controlled Amplifier made by muSonics in the early 1970s as
part of their very famous and well-regarded modular synthesizers.
Updates and improvements include 15 volt power support, selectable
AC coupling, and a new shallow profile of less than 2 inches behind
the front panel.
Pending the completion of the acquisition, muSonics will be moving
from their current office, a vintage dumpster located behind the
Wegman’s grocery store in Williamsville, New York, to downtown
Chillicothe, Illinois, making it possibly the only company moving
to the state this year.
"Someone had told me they thought that ring modulators were not useful - they made such ugly sounds. But that's a common use of them, so easy to think so. However, the Moog Sonic 6 and Sonic V models have ringmod built in, and it's REALLY great thickening when the two oscillators are tuned near unison. Listen..."
MOOG MuSonics Sonic V vintage analog synthesizer 1972 - ringmod detuned demo 2
"Similar to the other video of tuned oscillators, here's the ringmod demo using detuned oscillators, still cool, and still musically useful. I it's comparable to having wavetable synthesis or similar sources."
"This sound is inspired by lead sounds of the 70's/80's from Isao Tomita and Tangerine Dream (Remote Viewing), but will also be reminiscent of Kate Bush's 'All we ever wanted', and even Jeff Wayne's 'War of The Worlds' musical. It uses a filter/VCF in self-oscillation as a VCO, controlling it melodically, with envelopes and noise to help recreate the sounds. No VCO/oscillator is needed in the patch, and white or pink noise is optional, but necessary to get a Tomita-like whistle sound. Tomita originally used a Moog modular system for these sounds, so given that the AJH Synth MiniMod system and it's Transistor Ladder Filter are directly based on the early R.A.Moog version of the Minimoog, it's possible to get very close to such sounds. However, I've not tried to emulate it exactly, but you can see that the basis for this patch is very easily customisable, so it's a very useful synth patch to understand for a variety of musical applications. Patch sheet PDF can be downloaded here: https://kvisit.com/8AE/rv4G
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end, with notes below, to show you how to construct it for yourself.
Index: 00:00 Intro 00:29 Performance Example & Overview 02:22 Assembling the patch 03:14 Importance of envelope 03:42 Delayed LFO/Vibrato 05:25 Adding Glide 06:12 Adding Noise 06:56 Mod wheel control of LFO 07:36 Noise as Filter Mod source 08:16 Patch Diagram
Patch Notes: Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. This is based on the version in the video with noise mixed in as audio, and glide applied to the keyboard CV. For variations without noise or glide, and usage with a mod controller, see the appropriate part of the video (check Index). Only a couple of connections need to be changed for these purposes. V-Scale: Used here as a simple multiple, but since it's handling Gate signals any passive multiple could be used. DH-ADSR: Another Contour Generators could be used instead, but the advantage with the DH-ADSR is independent control of both Decay and Release, meaning greater control. It serves as a great companion to the Contour Generators for this reason. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Ladder Filter: The Gemini 2412 would also work well here, it's tracking in self-oscillation is actually better overall. It would just need to have high resonance/self-oscillation enabled by the rear jumpers (see online manual or video user guide). The Ladder Filter struggles to track at lower frequencies, this is an authentic characteristic of the original Minimoog filter, but it's fine for the pitch/note ranges used in this video. The Sonic XV will also self-oscillate, but it's ability to track 1V/Oct is not as tight as the Gemini. Modules used from left to right: Glide + Noise (Mk I or Mk II), V-Scale, DH-ADSR Envelope, Dual LFO + VCA, Contour Generators, Transistor Ladder Filter, Discrete Cascaded VCA."
"Following on from last week's video showing some ways to expand the sonic capabilities of your Moog Mother-32, this video details the use of the V-SCALE Eurorack module to fix tracking issues with external VCO's and synths. Previous video here: [posted here]
The Mother-32 is semi-modular in itself, but it also provides a gateway into Eurorack modular with minimal investment, for those who are unsure if it is for them. Even a single Eurorack module can make a big difference to your sound and capabilities. Since the Mother-32 only has 1 oscillator (and no sub-bass/sub-octave generator), the most obvious choice for many would be adding an external VCO. However, this can result in tuning issues between the synth itself and any external oscillators controlled by the synth's KB output (1V/Oct CV output). This is due to the output impedance, which can cause the 1V/Oct CV signal to become inaccurate, and mean that external VCO's can be out-of-tune within the space of a single octave. This problem gets worse as additional VCO's are loaded onto this pitch CV, affecting it's current.
The V-SCALE is a 5-way active buffer, in it's simplest form serving as an accurate buffered multiple, but more uniquely it is designed to address tracking issues encountered between modules or synths. It has a very high input impedance, and a very low output impedance - this alone can fix many tracking problems simply by connecting it between the misbehaving modules/synths. However, 4 of the 5 outputs are also adjustable - this is particularly useful for synths and modules that simply do not track correctly and need calibrating, something that can be difficult or near-impossible to change depending on the unit. This means it can also be used to to adjust the calibration of anything that needs strong 1V/Oct tracking, such as a self-oscillating filter/VCF when used as a melodic oscillator.
Index
-------
00:00 Intro
00:27 Overview of the issue
01:47 Mother 32 direct to external VCO
04:19 To external VCO via V-SCALE
05:47 3 VCO's via passive multiple
07:13 Passive multiples + V-SCALE
10:24 Testing with a different VCO
more VCOs mother-32 add vco to mother32 suboctave suboctaves subbass audio input ext audio in cv correction fix scaling tracking won't track my synth 1 volt per octave keyboard sequencer problem out of tune issue"
"Here are some ideas for expanding the sonic possibilities and fattening up the sound of the Moog Mother 32 analogue synth - We're sometimes contacted by customers who have, or want to add AJH Synth modules to theirs, as the Mother 32 has great connectivity for Eurorack integration, so hopefully this will video will show a little of what is possible. The Mother 32 has a single oscillator, so the most obvious choice would be to add more VCO's, in order to perform harmonies and simple chords, but also it doesn't have a sub-bass, or sub-octave generator, so this may also be worth considering. In this video we demonstrate both of these options, using the MiniMod Vintage Transistor Core VCO's, the Ring SM to generate sub-octaves and as a CP3 style mixer, but also the Wave Swarm to simulate multiple stacked sawtooth waves. We also use the Sample Hold & Slew to generate rhythmic, random filter modulation, the Precision Voltages as a convenient way to select precise octave and semitone pitch changes of VCO's, and use the V-Scale to address 1V/Oct scaling/tracking issues that may occur when using the Mother 32 to control external VCO's or other instruments via CV.
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.
Index:
00:00 Introduction/Overview
00:53 Sub-octaves/sub-bass (Ring SM)
02:40 Sawtooth multiplication (Wave Swarm)
03:50 Ring SM as CP3 Input mixer
04:44 Using it with a sequencer
06:33 Sample & Hold filter mod
08:37 The need for the V-SCALE
09:09 Adding more VCO's
10:25 Using the Precision Voltages
11:19 Multiple VCO's & a sequencer
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself: https://youtu.be/89bv0dI8yw4
"A purely functional video this week - we're sometimes asked which filter we'd recommend, but really it's a subjective thing, so here's some examples of the current 3 AJH Synth Low Pass filters compared, with both a sequence and static sawtooth sweeps. The settings are mostly kept similar, bearing in mind that it's impossible to get an exact match with different VCF designs. The video timeline has an index, so you can skip to particular sections by using the links below, or by hovering the mouse over the timeline on the video player.
Filters featured:
Transistor Ladder Filter (based on the R.A.Moog Minimoog)
Sonic XV Diode Ladder Wave Filter (based on the 'muSonics' Sonic V)
Gemini 2412 Dual Vintage State Variable Filters (based on the Oberheim SEM)
INDEX:
00:00 Intro
00:29 Video Overview
01:20 Sequence + 1VCO - Ladder Filter
02:18 Sequence + 1VCO - Sonic XV 24dB
03:16 Sequence + 1VCO - Sonic XV 6dB
03:57 Sequence + 1VCO - Gemini 12dB
04:26 Sequence + 1VCO - Gemini 24dB
04:58 Multiple VCO's
06:33 Fast sequence
09:03 Filter Sweeps - Ladder Filter
10:25 Filter Sweeps - Sonic XV
12:56 Filter Sweeps - Gemini 2412
vcf comparison analogue voltage controlled filters compared analog filter shoot out no talking dry audio only examples no fx transistor ladder filter vs sem filter vs diode filter"
"Sonic V test, during Stephen's (NR-Synth) summer visit to the Mos-lab studio.
Stephen works on a bass sound in the first part, then Seb tests the sound effects possibilities of the machine in the second part of the video."
"The sonic V is a synth developed around 1969/1970 by ex Moog employee Gene Zumcheck (the idea of a portable synthesizer had been refused at the time by Robert Moog).
This synthesizer was built by the company muSonics when Gene Zumchek join them, and was released "officially" when the company bought R.A Moog in 1971 under the Moog muSonics badge.
There were less than a hundred units built (mine has serial number 18).
Unfortunately, very few models are still in existence today, making it a very rare instrument. Not having been exported at the time, it was mainly
intended for universities in USA.
Its successor, the Sonic 6 is an improved and portable version, but with a different filter (Moog ladder filter)
So it doesn't sound quite the same."
Playlist:
1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave
'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion. The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.
A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG
Patch notes: Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels. Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.
2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet
This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet
This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.
"Syntronik 2 sets the new standard in modern virtual synthesizers. IK’s advanced sampling techniques, combined with a hybrid sample and modeling synthesis engine, power a comprehensive collection of rare and sought-after synths with stunning sonic accuracy and the deepest editing.
This is a massive update to the previous release, adding 11 new synths, exciting new, advanced, and much-requested functionality, and a huge number of all-new presets for the 22 original synths taking advantage of all these new features."
"Syntronik 2 features
33 powerful synths with familiar panel designs and easy-to-use controls
A collection of 54 iconic hardware synthesizers and string machines
Multi-sampled oscillators for ultimate authenticity
4 classic types of circuit-modeled filters to shape sounds
DRIFT™ technology for realism of subtle oscillator variations
Mix and match oscillators with filters for new original sounds
True 4-part synth to create rich sounds with Multis and splits
4 dynamic arpeggiators and new step sequencer for complex rhythmic textures
71 high-quality effects derived from T-RackS, MixBox and AmpliTube
More than 200 GB of sounds with disk streaming and over 5,500 presets
Browser search by category or keyword to find sounds in seconds
Optimized resizable interface and “lunchbox-style” effects panel
Load Syntronik sounds into SampleTank 4* for more expandability
Works as a 64-bit plug-in or standalone instrument for Mac/PC
Fully functional free Syntronik CS version also available"
New models.
The CATO captures the distinctive analog sounds of the Octave Cat SRM and its SSM filter. The pure-analog tonality of this synth is huge, and its modulation capabilities allow for truly unique and stylized timbres. Able to create gigantic Moog-style basses, the CAT can also go in its own sonic direction with its clever oscillator sync implementation.
Note auction links are affiliate links. See the site's privacy policy for more info.
"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."
"Super-rare Moog MuSonics Sonic V synthesizer from 1972! This is #96 out of only 100 made and the only one I’ve seen with a front panel overlay that differs slightly than others I’ve seen (which, admittedly, is not many and not at all in-person). It’s actually more in the aesthetic style of a VI, as far as that particular detail is concerned.
