URSA MAJOR SST-282 SPACE STATION + KORG POLYSIX

video upload by Synth Tailor Electronics

"Here’s a URSA MAJOR SPACE STATION SST-282 that was just restored here at the shop. These sound so amazing and I hope I find one for my studio someday. They’re like having a Roland space echo without the tape/noise and sound incredible!

When it arrived, it wasn’t outputting any delay/reverb signals at all.

Repairs done:
-Found 3 blown Tantalum caps, replaced with new Tantalum caps.
-Rebuilt PSU (had leaking Filter capacitors)
-Replaced stuck/broken Power Switch
-Replaced all bad electrolytic capacitors and tantalum’s throughout.
-Replaced a bad RED square LED
-Replaced faulty/old ribbon connector and installed a machined 16 dip socket"

ACID SYNTH - Our Homage To A Classic That Launched A Genre

video upload by The Crow Hill Company

Press release follows:

The Crow Hill Company creates VAULTS - ACID SYNTH as an homage to the revered Roland TB-303 Bass Line synth and associated Acid House genre

EDINBURGH, UK: music-making community tools-maker The Crow Hill Company is proud to announce availability of VAULTS - ACID SYNTH as the latest entry into its lengthening line of free and accessible virtual instruments arising from company co-founder and composer Christian Henson effectively opening his ‘vaults’ for everyone to enjoy — this time creating an homage to the revered Roland TB-303 Bass Line, launched with high hopes in 1981 as a so-called Computer Controlled bass synth by the Japanese giant of electronic musical instrument manufacturing responsible for its creation before being deemed a commercial failure and discontinued quite quickly thereafter, though it was later instrumental in driving Acid House into the musical mainstream as a whole new EDM (Electronic Dance Music) genre and associated cultural movement, the popularity of which triggered a dramatic rise in the price of used units — as of March 19…

It is fair to say that when Roland released its TB-303 Bass Line in 1981 as a so-called Computer Controlled bass synth with the intention of mimicking the characteristics of an electric bass guitar, there were far fewer tools to create electronic music available. But buyers of the TB-303 Bass Line were possibly swayed by the fact that it could be time-synced — using Roland’s proprietary five-pin DIN sync interface (later superseded by MIDI) — to its contemporarily-released Computer Controlled sibling, the TR-606 Drumatix drum machine, making for an affordable rhythm section that could conceivably fit into a small briefcase as a beautiful backing combination for the solo gigging musician, further helped by both devices being battery operated as an attractive alternative to their (included) AC adapters… or so Roland had hoped.

Though the engineers involved tried their best to imitate the sound of an electric bass guitar with the technology of the time, the TB-303 Bass Line fell short in capturing its subtleties as an instrument, sadly, so it was discontinued within a couple of years, with Roland cheaply selling off the last of the 10,000 units manufactured. Now, normally this would be the end of the story, yet something incredible happened…

Helpfully, for the benefit of anyone not already in the know, The Crow Hill Company’s Theo Le Derf picks up what is an incredible story in itself: “DJ Pierre and his band called Phuture found a used TB-303 in a music shop in Chicago for a bargain price. They started experimenting with the bass sequencer and a drum machine while playing about randomly with the filter and resonance knobs. The sound they produced was so unique and, frankly, weird that they decided to commit the jam session to tape. With the release of this experiment on Trax Records in 1987, they unwittingly birthed a new genre: Acid House. This slimy, hypnotic, subversive sound subsequently built a cultural movement, and was the soundtrack to many illegal warehouse parties of the late Eighties — all of this from a tiny synth that was used ‘incorrectly’.”

Thanks to VAULTS - ACID SYNTH’s GUI (Graphical User Interface) being as intuitive as always, correct — or ‘incorrect’ — usage of the virtual instrument in question comes quickly. “The first large dial — CUT OFF — is a 24dB lowpass filter that controls what high frequencies you cut out, and it is automatically assigned to MIDI CC1.” So starts Theo Le Derf by way of an appropriately quick guided tour, before continuing: “RESONANCE determines the peak of the filter as it opens and closes, which creates that characteristically ‘squelchy’ sound that the synth is known for. The small dials are more concentrated effects — MOD controls how much voltage is being sent to the filter, so you can get some really interesting sounds by adjusting the CUT OFF dial and MOD simultaneously; DECAY controls the decay for all the envelopes; and, of course, there is also our standard ECHO and SPLOSH, with the SPLOSH being an algorithmic imitation of a cave, which suits this synth so brilliantly.”

It is as easy as that, though Theo Le Derf is keen to add: “Another thing to mention is that you can obviously play staccato, but when you play legato — MIDI notes overlapping with one another, you get a glide between the notes. This glide effect is another characteristic that the ’303 is renowned for.”

No need, necessarily, then, to risk dropping a bank-balance-busting four-figure sum on a decades-old Roland TB-303 Bass Line when The Crow Hill Company’s ‘tribute’ truly captures the essence of its distinctive sound for all to enjoy for literally nothing. Notes Theo Le Derf, ending on a high note: “The story arc of this synth is so amazing — from its unpromising beginning to completely defining a genre and an era, it’s so
exciting to have this celebrated instrument at my fingertips for free!”

VAULTS - ACID SYNTH is free for everyone — as are all VAULTS… releases from The Crow Hill Company — from here: https://thecrowhillcompany.com/vaults/

Sons of the Arpy: Roland SH-2, System-500, Deckard's Voice, FX Aid Pro, Mimeophon, G-Storm Electro

video upload by thesrabbit

"The SH-2 has some kind of power over me. I can't get away from it. Not that I want to!

This is the first time I've tried adding a 3rd oscillator to the SH-2 by running a single Roland System-500 512 square with PWM into the external audio input. I thought this would naturally lead to making a massive 3 detuned osc + sub monosynth sound, but instead I gravitated to something much more melodic, by setting up each oscillator at a different pitch, making chords with nice intervals. With the ability to set the bender to VCO 2 only, I can change the interval of one of the notes easily, either up or down, without disrupting the vibe at all. The T-Rex Replicator tape delay adds some echo and gritty texture, and then the Make Noise Mimeophon delay fans it out into the stereo field. The sequence of notes is a simple 4 note arp that I transpose with the NiftyKeyz. The mod wheel is assigned to tape delay time, and the arp clock output is fed into a 2HP clock divider, which drives the kick, though half a beat behind because that's how clock dividers work I guess. The kick is a simple decay envelope routed to the G-Storm Electro SH-2 VCF with a moderate amount of resonance and saturation. There's an additional percussive element with some noise going to the G-Storm SH-5 VCF, through the LP first and then the dedicated bandpass which is being swept by an LFO.

The Blade Runner-ish lead sound is of course the Black Corporation Deckard's Voice, paired with the Rachael ring modulator, though it's not being used as a ring-mod, but rather a second sawtooth oscillator. 2 saws are essential to the BR sound, and therefore the Rachael is a required addition to Deckard's Voice. The output runs into the Happy Nerding FX Aid Pro set to the Black Cloud reverb algorithm, which completes the sound.

There's just a tiny dash of master reverb in post that serves as the final glue to hold it all together."

Roland RS-202 and RE-201 | Vintage Synth & Tape Echo Magic

video upload by BellaBell

"Rich brass and strings pads from the Roland RS-202 Synthesizer running through the dreamy tape echoes of the Roland RE-201.
Recorded on a Revox A77 MK4 reel-to-reel for that warm, vintage vibe.
Just pure analog goodness and spacey textures.

Thank you for watching!"

Cantique de Noël / O Holy Night (Keyboards and Therevox version)

video upload by Benjamin Dehli

"A synthesizer / keyboard version of the Christmas carol Cantique de Noël / O Holy Night by Adolphe Adam. For the vocal melody I used a Therevox ET-4.3.

This version is inspired by the recordings and live performances of Bing Crosby, Luciano Pavarotti, Andrea Bocelli, but perhaps most of all Céline Dion (especially the vocal melody).

Instruments:
Dehli Musikk 4-track Glockenspiel: Glockenspiel
Dehli Musikk 4-track Music Box: Music Box
Doepfer Dark Energy: Drums and Percussion
Hammond C3: Organ
Hohner Clavinet D6: Clavinet / Baritone Guitar
Korg MS-20: Drums
Korg Polysix: Synth Harp
Logan String Melody II: Synth Strings
Louis Zwicki Pianette: Piano
Mellotron M4000D: Violins, Cello, Flute and Choir
Moog Matriarch: Synth Pad
Roland SH-09: Synth Bass and Drums
Sequential Circuits Pro-One: Synth Brass and Drums
Therevox ET-4.3: Vocals
Yamaha DX7: Tubular Bells
Yamaha L-20D: Harmonium

CLICK FOR MORE »

[ Audio Demo ] Roland RE-501 Chorus Echo + Oberheim Xpander

video upload by Funky Junk Italy

"Exploring the iconic Roland RE-501 Echo Chorus paired with the Oberheim Xpander—two legendary pieces that bring classic warmth and depth to any sound. Hear the rich, tape-echoed textures and lush chorus effects of the RE-501 in action, perfectly complemented by the powerful synth tones of the Xpander. Both available now on our website for those looking to elevate their studio with true vintage magic!"

Paraphonic setup with Therevox, Erebus and Dark Energy

video upload by Benjamin Dehli

"Connected the Therevox ET-4.3 and the Dreadbox Erebus v2 together to create 4 note chords.

The Doepfer Dark Energy creates the "drum" sounds and is triggered by its own LFO.

The Envelope output on the Erebus is connected to the Expression input on the Therevox and controls its VCA.
The Ring output on the Therevox is connected to the CV input on the Erebus and controls its pitch.
The two oscillators on the Erebus are 2 octaves apart and the pitch is relative to the Ring position on the Therevox.
The pitch of the two oscillators on the Therevox is tuned 19 semitones (1 octave plus a 5th) above and 24 semitones (2 octaves) above, relative to the lowest C on the keyboard controller.

For example, if you play a D with the ring on the Therevox and a C and D# on the keyboard, you will get a D minor chord with the notes from lowest to highest: D, A, D and F.

The "drums" from the Dark Energy is a single track with EQ automation (mostly high-pass filter) to emulate different drum sounds.

All the instruments are recorded live and no other instrument tracks were added, just effects (delay, reverb, etc.).

Effects used on Therevox ET-4.3:
Hairball Audio FET/RACK Revision D
Roland Dimension D SDD-320
Electro-Harmonix Deluxe Memory Man
Chase Bliss Audio & Meris CXM 1978
DIY Recording Equipment G Bus VCA Compressor

Effects used on the Dreadbox Erebus v2:
Hairball Audio FET/RACK Revision D
Fulltone Tube Tape Echo
Chase Bliss Audio & Meris CXM 1978
DIY Recording Equipment G Bus VCA Compressor

Effects used on Doepfer Dark Energy:
Hairball Audio FET/RACK Revision D
Electro-Harmonix Deluxe Memory Man
Chase Bliss Audio & Meris CXM 1978
DIY Recording Equipment G Bus VCA Compressor"

Website: https://www.dehlimusikk.no/

Blade Runner: Rachel's Song (cover)

video upload by Benjamin Dehli

"A cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner.
For the lead vocal part I used a Therevox ET-4.3.

Instruments:
Korg MS-20: Filter and noise for vocal
Korg Polysix: Synth pad
Logan String Melody II: Strings
Mellotron M4000D: Choir and chimes
Moog Minitaur: Bass
Rhodes Mark I Stage Piano: Electric piano
Roland D-50: Chimes
Roland SH-09: Quarter note beeps and noise
Sequential Circuits Pro-One: Brass and lead synth
Suzuki Omnichord OM-84 System Two: Harp
Therevox ET-4.3: Vocal
Yamaha DX7: Chimes

Amplifiers:
Fender Twin Reverb: Rhodes
Tandberg Model 2 T: Therevox

Microphones:
Shure SM57
Royer R-121

Effects:
Hairball Audio FET/RACK Revision D
Roland PA-120 (preamp, EQ and spring reverb)
Roland Dimension D SDD-320
Fulltone Tube Tape Echo
Chase Bliss Audio & Meris CXM 1978
DIYRE G Bus VCA Compressor

Tape recorder:
Fostex X-28H

Music: Rachel's Song from the Blade Runner soundtrack by Vangelis"

Rachel's Song (synth solo) #shorts #bladerunner #vangelis

video upload by Benjamin Dehli

"Working on a cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner. This is the synth solo part performed on a Sequential Circuits Pro-One.

Instrument:
- Sequential Circuits Pro-One

Effects:
- Hairball Audio FET/RACK Revision D
- Roland Dimension D SDD-320
- Fulltone Tube Tape Echo
- Chase Bliss Audio & Meris CXM 1978
- DIYRE G Bus VCA Compressor - Tape recorder: Fostex X-28H

Website: https://www.dehlimusikk.no/"

Solveig's Song on Therevox and Mellotron

video upload by Benjamin Dehli

"An excerpt from Solveig's Song by Edvard Grieg played on a Therevox ET-4.3 and a Mellotron M4000D.

Mellotron sounds:
- 3 Violins (Mellotron MK II)
- Acoust. Nylon Guitar (Mellotron MK I)
- Cello (Chamberlin M1)
- Cello (Mellotron M400)
- Flute (Mellotron MK II)
- French Horn (Chamberlin M1)

Mellotron signal chain:
- Mellotron M4000D
- Hairball Audio FET/RACK Revision D
- Fostex X-28H (recorded to cassette tape)
- Roland PA-120 (preamp, EQ and spring reverb)
- Chase Bliss Audio & Meris CXM 1978
- DIYRE G Bus VCA Compressor

Therevox signal chain:
- Therevox ET-4.3
- Hairball Audio FET/RACK Revision D
- Roland PA-120 (preamp and EQ)
- Fulltone Tube Tape Echo
- Therevox ET-4.3 (spring reverb)
- Chase Bliss Audio & Meris CXM 1978
- DIYRE G Bus VCA Compressor


Website: https://www.dehlimusikk.no/"

5/29/24 (four cameras) Roland TR-909 Rhythm Composer & RE-301 + DBX 128 (x2) + Lexicon PCM 70

video upload by Cfpp0

"Some more video editing practice, this time with two full clips and two cutaways. The Roland TR-909 clap goes to the RE-301 tape echo. The kick is dry, the toms, hats, and snare get Lexicon PCM 70 (small room), and all of that gets crushed by two DBX 128 compressor expanders in series."

SoundMaster ST-305, Roland Jupiter 4 & Echolette SE251

video upload by ohm_studi_ohm

"Quick impro to demo the Sound Master Stix Programma ST-305 (!) analog drum machine syncing the Roland Jupiter 4 arpeggiator. The Echolette SE251 provides echo/reverb.
The ST-305 is an 80s programmable analog drum machine. Very basic, no sound editing but you get 7 sounds, an accent track, dedicated volume faders and outputs for every instrument.
And the icing on the cake is it can be synced to external gear and/or sync other gear, which is a nice feature (you can use it slaved to a sequencer and in the same time slaving a synth, so it acts as a 'through').
I did not know this one till recently and it was a pleasant surprise."

Klemt Echolette SE-251 tape delay.

via this listing

Pics of the inside below.

"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400).
It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc
But this one used op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).

The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level.
In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.

Unit was fully serviced and modded:
- all electrolityc caps were replaced (except 3 bipolar ones )
- original 4x op amps were upgraded to better one (TL081)
- original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input
- unit was meticulously cleaned
- heads were cleaned, demagnetized and aligned
- unit was calibrated
- tape is new

The unit is in perfect working order and in excellent cosmetic condition."

CLICK FOR MORE »

4/24/24 (YLF 4, Op. 9, no. 2) Roland Jupiter 6 & RE-301 + Akai ME20A + Alesis Midiverb II

video upload by Cfpp0

"The left hand of Frédéric Chopin’s “Nocturne in E-flat major, Op. 9, no. 2” is translated into a sequence by the Akai ME20A MIDI sequence arpeggiator and played back on the Roland Jupiter 6 (cross modulation). The Jupiter 6 audio output goes into the Alesis Midiverb II, with the input overloading. Tape echo from the Roland RE-301 is applied on the Mackie Onyx 1640 mixer."

4/26/24 Chopin’s “Nocturne in E-flat major, Op. 9, no. 2” according to Akai ME20A & Roland Jupiter 6


"YLF plays the left hand of Frédéric Chopin’s 'Nocturne in E-flat major, Op. 9, no. 2' again, but this time as chords, which the Akai ME20A translates into a Bach-icized sequence. The Roland Jupiter 6 is in SOLO mode first, until it is switched to POLY-1 at 1:17, with some wiggling of filter cutoff and resonance, and the sustain and release on envelope 2, throughout the video, particularly towards the end.

(YLF #6, Alesis Midiverb II #46)"

4/23/24 (EPROM: “bright tom”) Simmons SDS1 triggered by Roland TR-606 into RE-301 Chorus Echo

video upload by Cfpp0

"A few triggers from the Roland TR-606 driving the auto run modulation on the Simmons SDS1 with the 'bright Tom' EPROM installed. Spring reverb and tape echo by the Roland RE-301."

Roland JX3-P Vintage Analog Synthesizer, Roland RE201 Space Echo Analog Tape Delay

video upload by Electric Vibes

"Roland Jx3p filter and sequencer plus Roland re201 delay and spring reverb, daw less recording on Zoom L8"

4/9/24 Metasonix S-2000 vacuum tube synthesizer + Korg SQ-10 sequencer & MS-02 + Roland RE-301

video upload by Cfpp0

"Finally, a Metasonix S-2000. For this lethargic elephant stroll, a Korg SQ-10 sequencer is sending 16 steps of Hz/v CV (channel A voltage out) to the S-2000 operators, while also triggering (converted by the Korg MS-02 interface) the S-2000 contour 1. The drive amount on Operator 1 and Operator 2 are incrementally increased and the fall and rise of contour 1 are also increased. Roland RE-301 tape echo is added via the Mackie Onyx 1640 mixer."

rare birds: Echolette SE-251 tape echo unit

Note: Auction links are affiliate links for which the site may be compensated.
video upload by ohm_studi_ohm

"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400).

It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc But this one useS op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).

The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level.

In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.

Unit was fully serviced and modded. [mods below]

I demoed it with 3 different instruments so you get a good idea of how it sounds with different sources. First is a Roland MC-202, analog mono synth, then an analog drum machine (Roland CR-78) and last an electric guitar (Squier Jagmaster, not in frame). Please note the SE-251 has no hi input impedance so I run the guitar through a DI Box first.

00:00 ROLAND MC202
03:18 ROLAND CR78
06:16 SQUIER JAGMASTER"

via this listing

"Unit was fully serviced and modded:

- all electrolityc caps were replaced (except 3 bipolar ones )

- original 4x op amps were upgraded to better one (TL081)

- original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input

- unit was meticulously cleaned

- heads were cleaned, demagnetized and aligned

- unit was calibrated

- tape is new"

CLICK FOR MORE »

ELI SL-5050 Tape Delay [FX w/ Synthesizers #17] Demo

video upload by gstormelectro

"Audio + Video by G-Storm Electro c. 2024

This is the ELI SL-5050 New Space Echo. Single delay line and playback head that uses a dictaphone endless tape cartridge. Very similar to Unicord EC-100, or the Univox EC80A Echo Chamber, or any various clones and incarnations. Playing my Roland SH-101 through it. Recorded direct, no other mastering or effects.

0:00 Intro
0:50 Medium
2:13 Slow
3:05 Fast
4:09 Slow w/ Long Spring Tank Reverb"

G-Storm Electro:
*BLOG* http://gstormelectronica.blogspot.com/
*LISTEN/DOWNLOAD* http://soundcloud.com/gstormelectro
**REVERB** http://reverb.com/shop/gstormelectro

Tabletop Session No.7 – Ambient Jam by Schäfer (Roland Juno-60 & Space Echo RE-201)

video upload by schäfer music

"This Jam Session is a free-form ambient improvisation on my Roland Juno-60 and Space-Echo RE-201.

Video: Joel Jaffe
Music: Schäfer

www.sonicscenography.com
www.lukas-schaefer.com"

Tabletop Session No.6 – "53" by Schäfer (Roland Juno-60 & Space Echo RE-201)

"This Jam Session is based on a work in progress of mine: „53“. The Roland Juno-60 was run through a Roland Space Echo RE-201 tape echo. The gate signal which controls the arpeggiator’s speed came from the omnipotent Pamela’s New Workout Module. The VCF was modulated with up to four different CV Sources (Sample&Hold, LFO, positive envelope and negative „ducking“ envelope)."

Roland SH-09 and Yamaha L-20D

video upload by Benjamin Dehli

"Layering sounds with a Roland SH-09 synthesizer and Yamaha L-20D electric harmonium / reed organ.

Instruments:
- Roland SH-09
- Yamaha L-20D

Microphones:
- Pair of AKG C451E

Effects:
- Dehli Musikk Fuzz Boost Limiter
- Fulltone Tube Tape Echo
- Chase Bliss Audio & Meris CXM 1978

Chapters:
00:00 Synth bass and harmonium pad
03:39 Synth lead and harmonium pad"