"Mint condition...... And heck if a lot of fun and sounds awesome.
comes with all accessories (matrix pins/cables/power)
In perfect condition, everything works like it should. 2 to3 day shipping...
Ample combines the best elements of several of our recent products.
The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator
It shares all this yet still has its own sound!"
Ample can be as complex or as simple as you want it to be
We have given this synth a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.
We have presented the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.
SYNTH – PERCUSSION – AUDIO PROCESSOR
Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.
"Over the last month, we have been recording videos for our Instagram channel. Here is a compilation of some of the clips!
In the video, the A-121-S stereo filter is mainly used as an end-of-chain filter. In combination with the A-149-4 quad random voltage source, it is possible to add modulation to the stereo field.
The feedback path was often patched in the clips, for example with a bandpass filter that had high resonance. This can lead to some pretty crazy sounds, as you can hear!
Another interesting thing to try is playing really high or low notes. Some of these the BBD is unable to track, which results in some quite nice glitches.
The A-188-9 and A-188-1 BBD combo offers a wide range of sound possibilities and often produces happy accidents. It's totally worth trying!
Questions? Let us know!
Module A-188-9 is a so-called high speed VCO that tracks prefectly to the 1V/oct scale in the frequency range of about 15kHz ... 500 kHz. The main application is the exact drive of BBD modules (A-188-1/2) to generate sounds realized by means of the so-called Karplus-Strong synthesis. But even in cooperation with other modules featuring high speed inputs (e.g. digital noise, delay, frequency divider) the A-188-9 makes sense. In principle, the module is made of a precision audio VCO followed by a PLL (phase locked loop) unit that multiplies the frequency of the audio VCO by 32. Thus the module can be used also as an audio VCO as it features the standard waveforms sawtooth, triangle and rectangle with adjustable pulse width."
"After the last set of whacky sounds [posted here] I wanted to document some more 'classic' Matrix 12 vibes. I found this great bank by Peter Urbanek.
From the .txt
PATCHES BY PETER URBANEK (free)
Reviewed by Mike Metlay
Peter's patches tend to be organized in sets, with several subtle variations on a
theme, and named accordingly: VOICE 1.1, VOICE 1.2, etc. It seems that when a
patch deviates enough from the basic form, he gives it a name of its own and
groups it after the others of its ilk. For this reason, Peter's patch tape is organized
quite neatly, making it easy to audition all of a particular type of patch. Heavy use
is made of both Levers, both Pedals, Pressure, Velocity, and Release Velocity on
many patches, for effects ranging from vibrato to ENV shape changes and
resonant sweeps on note attacks. It should be noted by all that to Peter, "vibrato"
means everything from triangle-wave warbles to deep noise-wave growls. His
Multi Patch setups are meaningless: they're left over from the factory patch tape.
Blanking them would've been nice.
In contrast to the previous set, the patches here bear little resemblance to the
sounds after which they're named. Each sound group, like VOICE, STRIN,
CHURCH, etc., appears to describe the general character of a sound rather than
it's true intent. Peter seems to enjoy the "analog synthesis for its own sake"
approach to programming; he eschews realism in favor of timbre.
And what timbres-thundering basses, blasting church organs that seem to belong
to any church I've ever heard of, bizarre sound effects (though not on the level of
the next tape reviewed) with random LFOS, rich filtered string pads ... all heavily
overlaid with a grimy analog crunch that threatens to bury the listener. There are a
few slightly altered factory patches as well, but these have also fallen to Peter's
grim analog touch.
In fact, there aren't that many different kinds of sounds on this tape; it has a
definite "one flavor" feel to it throughout, and that flavor doesn't lend itself to
realism, so if you're looking for variety or realistic sounds, look elsewhere. But if
you want to learn exactly why no digital synth can cross an Xpander and live,
these sounds would be a fine place to start."
"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay
All right, gang, I know what you're expecting in this space, so I'll oblige you
and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's
favorite twisted puppy is back from the audio torture chamber, and he's brewed up
the most brain-slashing package of monstrous elektronoyze EVER! This stuff's
great for warping your brain patterns, killing your cat, etc..."
Okay. Happy now? Good, now let's get serious. I heard from Art recently that
he didn't get a terribly good response to his first mailing, and that few, if any,
XUG members looked him up for his second set of patches
He seemed in a pretty good humor about it, but I couldn't help wondering if my
presentation of his patch set didn't scare a lot of people away just by the wording.
So, with a new patch set from Art (more diverse than the first two) in hand, I'd
like to try again.
One of the most unhealthy trends I see in today's patch-editing software is the
patch randomizer, that cute but overused utility that generates random patches at
the click of a mouse. Literally thousands of these random patches are being sold
by unscrupulous hackers as "original sounds," and a whole new generation of
MIDI morons is springing up (pardon the pun) whose idea of "good programming
chops" is the ability to tweak a randomly generated sound into something that
(almost) works. No program of this type exists yet for the xpander, and I'm glad of
it: the lack of computer-generated garbage on the market forces the user
community to seek one another for new ideas, rather than some electronic I
Ching. We come together in this Group to share ideas and learn from one another
and I believe that studying another human being's work beats watching a
computer coughing up random numbers. Which brings us to the music of Art
Springer.
In my opinion, these patches are important. VERY important. I get so enthused
about Art's work because I see in him a reflection of my college days, when I
puttered about with ARP and Buchla modular monsters creating sounds for the
sheer joy of it, putting together tonalities never before heard on Earth rather than
trying to make a realistic shakuhachi. This was, and often still is, the meat and
potatoes of electronic music to me. And when I hear Art telling me that people-
Xpander users!-are returning his work because it's "too weird," I know
something's wrong. The Xpander isn't a sampler or a digital piano. It's not an
imitative instrument by nature. It's a powerful, multiply interfaceable modular
synthesizer with a great deal of flexibility. Art Springer takes a stance on its use
that no other Group member has had the courage to try: using its Power as a CV
percussion device to enhance the sounds of his more traditionally oriented synths.
(By the way, Lionel and I are big fans of his music ... it's not as inaccessible as
you might think, and the odd tonalities make his dance pieces a lot of fun.) This is
a new idea to a lot of you, and I don't blame you for being frightened. But it's
better to learn from someone whose ideas differ from yours than to convince a
computer to feed you something safe. I'd like to suggest something simple to start
with: get one of Art's sound sets, trigger your Xpander with your drumbox, and
try writing music with these sounds as part of the atmosphere rather than
conventional drum noises. Or do something completely different. The important
thing is to try to expand (hm) your horizons to something new. These sounds of
Art's do take getting used to, but I think you'll learn a lot from them. Trust me."
"I was lucky enough to be able to restore this amazing instrument.
Hampered at the end by a wrong logic chip installed. From factory? Or 'the last guy'?
Music from my new ATMOS album 'Height Supremacy' under my ATMOS artist name Galactic Horizon.
Click the auction link on top when you get there for additional listings.
"Here's the original orange AXXE from my ARP collection — now enhanced with powerful and unique upgrades that set it apart from the rest, tailored by synth guru and ARP specialist Saint Eric. The keybed has been equipped with aftertouch - stepping into a Pro Soloist's territory! - easily one of the most expressive we've experienced on many synths we've had in our hands. It's really a joy to play: internally routed to the VCA and/or VCF, the AT pressure mechanism can be tastefully dialled using three front panel controls and has its own CV output too, for further control of external synths and modern-day modulars. This unit has a really characterful VCF which received the 4075 Timothy Smith filter upgrade. In addition to the external audio input for routing outboard signals to the VCF, on the rear panel you'll find a CV mix output which sums the keyboard, the sensitive PPC pads, the portamento and octave switches for controlling outboard synths. And you have a special variable CV output with two dedicated attenuators to adjust the scaling response, all controllable from the main panel, turning this synth into a powerful and unique analogue keyboard/CV controller. There is also a separate LFO CV output, very useful as the synth is modded to use the internal LFO and Sample & Hold in free-run mode just using a selectable switch. More useful and common modifications to this synth apart from the upgraded VCA and clean-audiopath improvements, are three different ADSR response modes: Fast, Normal & Slow via a three-position switch, A rich, powerful and extremely versatile analog. Cosmetics are just outstanding. Really impressive when you have it in front of you! It’s like travelling back through time: see the pics - notice on the left of the keyboard the nice touch that the original ARP badge imparts. It’s hard to let it go, but I know it deserves a new home in good hands. As a bonus, an ARP 70's logo T-shirt is also included on this listing. You'll provide the IEC power plug. [ If you’re purchasing from outside the EU, please be ready to provide any details that might be needed — thanks for understanding! ] Will be packed thoughtfully."
"I bought this from analogia.pl (i.e., Maciej Polak, check out his album 1977!) in 2022, serviced and converted to North American power. This synth is a little limited, but it sounds great and the portability can't be beat. It also has two features that (as far as I know) are unique to this model among early Korgs: the "bender" buttons and the "Phaser" waveform. As far as I can tell "Phaser" is a very nicely dialed-in pulse width modulation that sounds especially nice in the lower registers.
No major issues in testing, but two notes:
The output jack was a little intermittent when I started testing, but after working a 1/4" plug in and out of it the signal is solid. Guessing it was a little dirty and could eventually use a cleaning if you're handy.
The "Traveller" slider is a little stiff around the center of its travel. All audio passes great, so this is really a "feel" thing and something I've also noticed on some (but not all) other early Korgs.
In great cosmetic shape overall, but there are many little blemishes and signs of wear, which I tried my best to capture in the photos."
1. themkI | An exploration of a 70s classic
2. themkI | Overview
3. themkI | Presets playthrough
Press release follows:
Thephonoloop tweaks themkI as deeply-sampled, expressive VI exploring electromechanical keyboard classic’s imperfections with colourful Version 1.1 update
KATOWICE, POLAND: Thephonoloop is proud to announce that it has tweaked themkI — already available as a deeply-sampled, expressive VI (virtual instrument) for Native Instruments’ KONTAKT PLAYER platform housed in an MPE (MIDI Polyphonic Expression) compatible engine built for discovery and experimentation, exploring the beautiful imperfections of a Seventies-vintage electromechanical keyboard classic — with a colourful Version 1.1 update introducing sharper contrast for better visibility alongside new GUI (Graphical User Interface) colour options for customising its look, as of October 7…
"Is it possible a fatigued fuse could bring this legendary synth to its knees? Let's find out and also see how easy it will be to convert the VCS-3 from 115V to 240V.
"Pladask Stereo Dradd. I'm in love. Enjoy the video!
00:00 Introduction
02:14 Front Panel
05:37 Grain Algorithm Walkthrough
11:06 TDL Algorithm Walkthrough
15:40 Tape Algorithm Walkthrough
24:04 DX7 into TDL
26:05 Sidrax Interlude 1
26:38 Phaser Synth into Tape
32:01 Guitar into TDL
33:46 Piano into Grain
34:20 Elmyra 2 into Tape
37:28 Sidrax Interlude 2
38:22 Plaits into Tape
40:02 Strings into Tape
41:12 Pacifica into Grain
44:28 Final thoughts and outro patch"
STEREO DRADD is an experimental time-based audio processor for the eurorack system. The module can stretch, bend and invert time through granular synthesis, modified sample playback and tapped delay lines. Intended as a tool for adding synthetic and unnatural ambiance/coloration to your synth patches.
"The time has come that bridge rectifiers from the mid 70's can fail short due to age. In this repair I managed to find a blown one and another that was on its way out! This was an RS bridge rectifier dated 1976.
Featuring suporting member Saul Stokes aka Frequensea with a Novation Circuit Tracks.
"Syd and I, performing live at Lumen Labs in Berkeley, August 2nd, 2025. Milan Metro should find itself on streaming platforms in the next month. One of the things I have been working with Syd on is to have her perform the song a few times before singing in the studio. This allows her to get comfortable with her voice articulations and lyric memorization prior to studio recording. Currently, I feel like Milan Metro is the most original piece of music we've done so far. A nice yin and yang of a younger life perspective, combined with my lengthy background in instrumental electronic music. I hope you enjoy.
Unfortunately, we had a second GoPro connected to the main mixer outs to record some really nice audio. The battery ran out very quickly, so we're stuck with the GoPro's internal mic. Not terrible, but could have been better.
"🎵 Welcome to Cheerful Electronics OPL Studio - First Contact! 🎛️ In this sound design experiment, we dive deep into the world of FM synthesis using the powerful OPL Studio, exploring retro sounds inspired by classic OPL3 chips. Whether you're a fan of chip music, vintage FM synths, or curious about pushing the limits of sound design, this video is your perfect starting point.
Get ready for rich, textured tones and quirky sonic explorations as we showcase the raw potential of OPL Studio. This first contact session covers live tweaking, patch creation, and modulation — perfect for anyone diving into retro synth workflows or looking for viral FM synthesis content.
If you're into chiptune, retro game soundtracks, or nostalgic hardware-driven music, you'll feel right at home. Watch now and get inspired to experiment with your own OPL3-based synths and plugins!"
OPL Studio is the ultimate OPL2 / OPL3 synthesizer! It gives you almost limitless control over what you can do with the OPL3 synthesizer chip.
Features of OPL Studio
OPL Studio has a long list of features. To name a bunch of them:
Integrated patch editor to edit predefined instruments and create your own Load and save instrument banks from popular formats such as *.BNK, *.SB, *.O3, ect.
Patch linking to layer up to 4 instrument patches for even more complex sounds Polyphonic sequence editor to create up to 32 drum and 32 melody sequences Quad sequencer to live play up to four sequences
Composer module that lets you create complete songs from your sequences Midi channel mixer
from Dani:
"One of my favorite aspects of modular synthesis is that signals we can hear are made of the same basic building block as signals which provide control and modulation -- they're all just voltage moving at different rates!
When we use an audio signal in the place of control voltage, we're touching into a technique broadly known as audio-rate modulation. Using audio-rate modulation in the Whimsical Raps ecosystem is incredibly rewarding, as it can unlock unexpected behaviors in familiar and new modules alike.
Here, Mangrove (our formant oscillator) modulates Silhouette's (our new 'signal combiner') SPOT, which is mixing six audio channels from Just Friends (our six-voice digital oscillator). I noticed that sending Mangrove into SPOT bleeds Mangrove's audio signal into the mix, so I tuned Mangrove to harmonize with Just Friends. This endowed FORMANT changes with new power, adding harmonic depth to the chaotic modulation -- notice the sizzle around 0:30 as FORMANT is cranked up.
Once INTONE adds distance between the ratios of Just Friends' oscillations, I reduce FORMANT to a low-frequency grumble -- I particularly enjoyed Silhouette's delayed vocalizations of these changes across the stereo field. Manually scanning SPOT offsets the input channels we're highlighting, which reveals the new INTONE-spread pitches. Increasing FORMANT introduces audible discontinuities as Mangrove regains its pitch, which are unique in the left and right channels. A final INTONE adjustment is added for performative spice, which is caught by the bucket-brigade device for a muted splash of stereo color."
Today I am exploring various synth and percussion elements through the JHS Colour Box v2 for that lovely vintage console saturation. Or downright savage noise when pushed harder, if that's your bag. A/B comparison effect on/bypass except the last section, got lost in the moment on that one. Tried my best to mind the levels, but now and then the volume is a bit inconsistent. Some normalization applied to remedy some of that, you understand. The EQ applied some nice touches, really helps pick out some sweet spots here and there. Recorded direct on iPhone via EPM6 mixer via Go:Mixer:Pro-X.
0:00 Novation Bass Station II
0:44 Bass Station II
1:22 Bass Station II
2:01 Oberheim DX
3:10 Behringer 2600
3:45 Eurorack 208HP Percussion System
5:15 Pittsburgh Modular Taiga
6:06 Roland JX-3P via Big Sky on Hall reverb"
"Join me play through all of Pete Townshends DX1 patches. Then listen to another 64 sounds I have collected/made over the last 15 years. I have 2 DX Ram cartridges that I can plug into the DX1 at the same time!
"Can we bring this Yamaha CS80 back to life? Did the fender Rhodes destroy it? Let's find out!
For some reason the audio goes slightly out of sync at the end not sure why?
As a Cs80 novice I did my best to check all its parameters however I feel I would need more time to realise how it works. So this video is more of a record of what I found after the repair. There is more work to be done with this poor synthesiser so a detailed inspection is needed.
"High-quality Wavetable Oscillators with Spectral Wave Morphing
Spline features three state of the art wavetable oscillators. The large selection of built-in wavetable sets can be morphed in new and in familiar ways. Freely combine wavetable sets and morph algorithms to create a vast sonic palette before ever leaving the oscillators.
Familiar Filters for any Occasion
You loved the filters in Odin 2 and they're back here! Including new variants not seen before.
Drag and Drop Modulation
Unhindered workflow: Simply select a modulation source, drag the target knob and things get moving.
Get Glitchy with Enablements
Enable or disable any processing module per note or as a running sequence. For example, swap oscillators mid-melody or sequence drastic sound changes to completely reshape your audio.
Shape Your Sound with Spline Modulators
All XY-Pads can be automatically driven by Spline curves. Just draw in your desired motion. Spline will handle the rest.
Big Selection of Internal FX
Spline features a comprehensive list of post-processing FX, all integrated into the internal modulation and enablements systems."
"As legend has it, when the Fender Rhodes was turned on the CS-80 blew up! Let us investigate what has happened to the Yamaha CS-80.
This CS-80 belongs to Pete Townshend and is housed at the University Of West London.
"Mint condition...... And heck if a lot of fun and sounds awesome.
