Click the auction link on top when you get there for additional listings.
"A really excellent condition Memorymoog Plus. It looks so good I was tempted to call it near mint, but maybe that is pretty hard to say of something that is 40 years old. If I were scoring it out of 10 it would be 8.5. It is seriously gorgeous. It plays beautifully as well. I'd forgotten what a fantastically well designed control surface this has, and how easy it is to tweak sounds. One or two program slots seem to be blank, but nearly all the ones I tried contain well use-able sounds which can of course be altered and saved to your taste. Mono mode is awesome too. Such a solid synth and solid sound. The only thing we didn't test is the sequencer - I''ve never owned a Plus and couldn't remember how to get it to work. This amazing machine is so much more than a one-trick pony. Really delightful. Currently 110V, so you'll need a decently powerful transformer to use it in UK /Europe etc..
It has an old but solid flightcase which would be sort of OK for personal delivery, gigging or storage - but not couriering, so we will put it as another lot (28214). Actually we hadn't realise how ropy the foam was getting - so bad that it shed bits onto the synth which we missed when photographing! VEMIA will make a custom carton for safe shipping: 24GBP."
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
"Nakama is a Performance looper/delay with progressive tape disintegration granulation and surround sound. Out today for MacOS (Windows version out in October).
Nakama is a live performance looper/delay designed to create huge layers (up to one hour) of asynchronous sound in a stereo or surround setup. (2,4 or 8 channels).
You can use a modular synthesizer a guitar a voice any electroacustic device or audio file.
Nakama can process one to four separate musical instruments at the same time with 8 tape delay/loopers and 4 granular processors.
Guitarists can use their favouriteamplifier plugin.
Nakama can loop and delay the sound at full quality or gradually transform it with several modes of sound degradation.
Tape saturation noise wow and flutter sticky shed syndrome spectral gating data corruption and filters.
After a certain number of iterations what was once an orderly and crystalline sequence of synth or guitar notes
it becomes a shapeless bubbling matmos of sound. Let mutation be the message!
Stereo is great but surround is magic!Nakama is designed to work with 2 4 or 8 channels.
A growing number of musician is discovering the beauty of sound in 360° in live situations. Nakama brings surround to the performance with a few clicks.
12 sources can be placed anywhere around you or moved in orbits. Recording is possible without using a DAW and if you want you can record multichannel PCM audio files. All the controls are MIDI mappable."
"This is an absolute beginner's introduction to making & performing music with a drum machine and a synth, plus setup and gear recommendations. I'm using the very excellent Roland TR-8 drum machine and T-8 "TB-303-style" synth. I'll explain the very basics of how to compose and perform on these machines, explain how they're connected, whether you need a mixer, and suggest other starter gear you might consider if you want to begin exploring computer-free music making."
00:00 Anyone can make music! 00:49 Making a Beat 5:15 Introducing the Synth 5:57 Explaining Cutoff & Resonance 7:11 Explaining Env Mod/Decay (aka Envelope) 8:22 Adding Delay 8:51 Counting 8 Bars & Creating Contrasts 11:10 Faders In and Out! 11:43 Summary & Importance of Listening 13:23 Audio Connection Explained 15:36 Sync Connection Explained 17:40 Do I need a Mixer? 18:58 Beginner Gear: Roland T-8 21:51 Beginner Gear: Korg Volcas/Samplers 22:51 Beginner Gear: Roland TR-8 23:55 Beginner Gear: Arturia MicroFreak 24:49 Beginner Gear: Elektron Digitakt 25:14 Why you should try this
1. Intellijel Cascadia sound demo with Vector Five12 sequencer (no talking)
Sound demo showing how to set up a basic patch and modulations (based on some of the start-up examples in the manual) - with CV pitch/gate controlled through the amazing Five12 Vector Sequencer to give us a driving techno line with lots of dirt.
side-note: I don't know if I was hallucinating after too much coffee, but by the end I thought the melody had morphed into the Star Wars Imperial March. WELCOME TO THE DARK SIDE!
2. Intellijel Cascadia: patching Ring Mod into FX loop with Chroma Console
Fourth part of my initial Cascadia explorations, again using the Chroma on fx duties, but this time with the added textures created by patching the Cascadia's Ring Modulator into the FX loop. Tasty sounds!
3. Intellijel Cascadia x Chroma Console = 'Add N to (X)'
Building on the patch and sequence created for my first Cascadia sound demo, we take things further with the addition of the inspiring multi-fx unit Chroma Console from Hologram Electronics. The perfect pairing for creating experimental sounds - and if you slow the tempo you're in instant 'Add N to (X)' chunky synth groove territory. Once again driven by the Five12 Vector Sequencer.
4. Intellijel Cascadia x Chroma Console PART 2: Filthy fuzz bass!
Had so much fun experimenting with this killer combo in the first video, that I ended up recording another video just to show how dang low down and dirty the Cascadia can go with a little help from its friends (in this case, FX from the Chroma and sequencing via the Five12 Vector)
"In this video, we are going to get into the fascinating world of the legendary Roland SH1000 synthesizer. Join us as we explore its extraordinary features, uncover the pros and cons, and even discover some famous users who have embraced this iconic instrument. Throughout our exploration, we will also shed light on the concept of the SH1000’s 2 Low Frequency Oscillators (LFOs) and how they contribute to the unique sound of the SH1000. Whether you're a seasoned musician or simply intrigued by the world of synthesizers, this video is sure to provide valuable insights and knowledge. So, if you're ready to learn more about the history, functionality, and impact of the Roland SH1000, hit that play button and prepare to be amazed! Don't forget to like and share this video with your fellow music enthusiasts. Let's celebrate the brilliance of this timeless synthesizer together.
The SH-1000, introduced in 1973, was the first instrument produced by Roland, and probably one of the first compact affordable keyboard synthesizers in all of Japan. It was designed to complement a home organ. Above its keyboard is a wooden sheet music stand. Organ-style coloured preset selector tabs are located below the keyboard. All the extra parameter controls are located to the left of the keyboard. The SH-1000 is a monophonic analog synth with a single oscillator feeding a lowpass filter, an ADSR envelope, and two LFOs. It features 10 Preset sounds, but they are pretty weak. Fortunately you can create your own sounds for some really great mono-synth bass, lead, percussion and FX sounds. Basic square, ramp and pulse-width waveforms are available from the oscillator and the LFOs have sine, square and sample+hold. It has a terrific ‘Growl’ and ‘Wow’ effect for a pretty scary analog sound. It also features white noise, pink noise, portamento, octave transposition and a Random Note Generator. Although there is no user memory, unique sounds can still be quickly recreated or discovered thanks to its simple interface. It’s a dinosaur! But it’s also a classic piece of Roland history. It has been used by Vangelis, Human League, Blondie, The Band, and Jethro Tull. A little later in 1973 the SH2000 was released with more Preset sounds (up to 30) but far less flexibility, controls and features. This may have been because the SH-1000 was a little confusing to its target demographic at the time. But today’s synthesists will love the unique sound and nostalgia of Japan’s first compact synthesizer!
The audio is DIRECT, 100% DRY, & IN STEREO - You are hearing the raw audio as it comes directly from the synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever.
Timings
0:00 - Introduction & History 1:06 – Wind, Noise, Modulation, Tremolo 4:35 – Presets 5:27 – Live Panel, Bass Modulation & Tremolo 6:51 – Bass with Glide 7:24 – Imagination “Just an Illusion” Bass 8:40 – Filter Resonance Modulation"
0:00 - Introduction & History
1:06 – Wind, Noise, Modulation, Tremolo
4:35 – Presets
5:27 – Live Panel, Bass Modulation & Tremolo
6:51 – Bass with Glide
7:24 – Imagination “Just an Illusion” Bass
8:40 – Filter Resonance Modulation
"In this video, we are going to get into the fascinating world of the legendary Roland SH1000 synthesizer. Join us as we explore its extraordinary features, uncover the pros and cons, and even discover some famous users who have embraced this iconic instrument.
Throughout our exploration, we will also shed light on the concept of the SH1000’s 2 Low Frequency Oscillators (LFOs) and how they contribute to the unique sound of the SH1000.
Whether you're a seasoned musician or simply intrigued by the world of synthesizers, this video is sure to provide valuable insights and knowledge.
So, if you're ready to learn more about the history, functionality, and impact of the Roland SH1000, hit that play button and prepare to be amazed! Don't forget to like and share this video with your fellow music enthusiasts. Let's celebrate the brilliance of this timeless synthesizer together.
The SH-1000, introduced in 1973, was the first instrument produced by Roland, and probably one of the first compact affordable keyboard synthesizers in all of Japan. It was designed to complement a home organ. Above its keyboard is a wooden sheet music stand. Organ-style coloured preset selector tabs are located below the keyboard. All the extra parameter controls are located to the left of the keyboard.
The SH-1000 is a monophonic analog synth with a single oscillator feeding a lowpass filter, an ADSR envelope, and two LFOs. It features 10 Preset sounds, but they are pretty weak. Fortunately you can create your own sounds for some really great mono-synth bass, lead, percussion and FX sounds. Basic square, ramp and pulse-width waveforms are available from the oscillator and the LFOs have sine, square and sample+hold. It has a terrific ‘Growl’ and ‘Wow’ effect for a pretty scary analog sound. It also features white noise, pink noise, portamento, octave transposition and a Random Note Generator. Although there is no user memory, unique sounds can still be quickly recreated or discovered thanks to its simple interface.
It’s a dinosaur! But it’s also a classic piece of Roland history. It has been used by Vangelis, Human League, Blondie, The Band, and Jethro Tull. A little later in 1973 the SH2000 was released with more Preset sounds (up to 30) but far less flexibility, controls and features. This may have been because the SH-1000 was a little confusing to its target demographic at the time. But today’s synthesists will love the unique sound and nostalgia of Japan’s first compact synthesizer!
Analogue Solutions ‘splits’ Colossus AS200 Slim synth into ‘quarters’ to create Colossus AS250 Quartz range of expanders with possible piecemeal purchase
SHATTERFORD, UK: having shed some pounds off its ‘against-all-odds-created’ Colossus AS100 Classic super-synth (that took its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS as one of the largest and most expensive examples ever birthed by anyone anywhere) to create Colossus AS200 Slim as a comparatively slimline version pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Colossus AS250 Quartz as a range of add-on expanders — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to enhance existing Colossus systems or other modular synthesisers while also allowing for piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost — as of May 2…
As a range of add-on synth expanders, each Colossus AS250 Quartz ‘quarter’ has a specific set of general features and is named accordingly: AS250-VCO — comprising a bank of 12 voltage-controlled oscillators (OSCILLATOR 1 through to OSCILLATOR 12), plus two noise generators (NOISE GENERATOR 1 and NOISE GENERATOR 2), RANDOM VOLTAGE GENERATOR, SAMPLE AND HOLD, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; AS250-Scope — comprising four discrete voltage-controlled amplifiers (VCA 1 through to VCA 4), four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two low frequency oscillators (LFO 1 and LFO 2), LCD (Liquid Crystal Display) OSCILLOSCOPE as standard or CRT (Cathode Ray Tube) OSCILLOSCOPE optionally available, and TOUCH KEYBOARD CONTROL / SEQUENCER; AS250-VCF — comprising eight voltage-controlled filters (with FILTER 1 through to FILTER 4 each of a SEM-type 12dB multimode design and FILTER 5 through to FILTER 8 each of a Moog-type 24dB low-pass design) with an associated VCA each, four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two spring reverbs (REVERBERATIONS 1 and REVERBERATIONS 2) with three real mechanical springs each, two RING MODULATORS, two SLEW LIMITERS, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; and AS250-Seq — comprising a 64-step analogue SEQUENCER (capable of operating in four different playback modes), four backlit moving-coil SIGNAL METERS, two JOYSTICKS, two MULTIPLES, MAIN MIXER, and two SUB MIXERS.
Modular by nature, it goes without saying, though, that each expander in the Colossus AS250 Quartz range features extensive patching capabilities with almost all parameters connectable via dedicated 3.5mm jack sockets, which when used in combination with those 31 x 15 ANALOGUE PIN MATRIX ROUTING panels — patch using (included) 3.5mm mono mini-jack leads to/from the synth circuits themselves to any matrix channels to be used, then patch using (included) red (10 kΩ) and black (0 Ω) pins accordingly — allow signals to be easily split and sent to multiple destinations with minimal cabling. “It is impossible to test every combination of patch,” proclaims Analogue Solutions Founder Tom Carpenter, before adding: “Some patches might produce unusual but still interesting results, or you could get something not mixing or buffering in quite the way you expect — just remember this is a living analogue synth, not a giant software controller that has clinical ‘perfection’.”
Put it this way: all voice and modulation circuits involved in Colossus construction are 100% analogue; in fact, Analogue Solutions steered purposefully away from digital technology to the extent of avoiding any MIDI (Musical Instrument Digital Interface) connections — those in need can, after all, always turn to third-party MIDI-to-CV boxes or Eurorack modules — though there are, of course, digital elements to the sequencer control involved in the aforesaid AS250-Seq expander that are unavoidable. As a brief aside, it is worth noting here that classic analogue sequencers like ARP’s advanced-for- its-time Model 1601 (launched in 1976) deployed digital logic chips while the colossal EMS Synthi 100 — itself inspiring Analogue Solutions’ Colossus concept from the get-go — even featured a digital sequencer that was truly ahead of its time.
Each expander in the Colossus AS250 Quartz range is — in keeping with that Colossus concept — large scale... think large knobs controlling metal shaft potentiometers, multi-turn vernier-VCOs, and panel-dominating pin matrixes constructed from eye-wateringly expensive Swiss-made broadcast-quality signal routers. Reality has it that the Colossus concept is a no-expense-spared super-synth. Indeed, it is fair to say that high-quality-constructed synthesisers such as the ‘complete’ Colossus AS100 Classic or Colossus AS200 Slim — also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself — only come around once in a decade, or, possibly, a generation. It is, of course, also fair to say that this comes at a cost. Thanks to the timely introduction of Colossus AS250 Quartz — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to create a range of add-on expanders enhancing existing Colossus systems or other modular synthesisers, piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost is now an option.
Limited quantities of the Colossus AS250 Quartz expander range are available to order — priced (excluding VAT and delivery) at £6,900.00 GBP (AS250-VCO); £5,500.00 GBP (AS250-Scope); £6,900.00 GBP (AS250-VCF); and £5,500.00 GBP (AS250-Seq) — directly from Analogue Solutions’ dedicated webpage here: https://www.analoguesolutions.com/colossus-quartz"
Pittsburgh Modular Taiga Talk with Richard and Michael
Additional user videos further below.
Taiga - Paraphonic Modular Synthesizer New desktop synth from Pittsburgh Modular Synthesizers packs a powerful punch with 3 oscillators, wave folders, innovative vactrol-less dynamics, and more!
January 31st, 2023 - Pittsburgh, PA - Pittsburgh Modular Synthesizers today announced Taiga, a 3-oscillator paraphonic synthesizer.
Taiga is a powerful, complete, modern, and modular instrument that's a tour de force of the Pennsylvania based analog synth R&D team's recent inventions. Taiga wraps these new tools into a surprisingly accessible package that provides a massive pallet of 100% analog sounds to its users.
Taiga’s sound can be attributed to three uniquely Pittsburgh innovations. A trio of huge analog oscillators, the unmistakably smooth sound of the Pittsburgh Filter, and the warmth + punch of the unique Dynamics Controller. These enable you to not only create sounds that would be traditionally expected from an analog synthesizer but also to explore new sonic textures and performance possibilities.
Taiga oscillators
Waveforms generated by the three Taiga oscillators stretch beyond the basic geometric shapes and sounds associated with analog synthesis. Taiga waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga.
The 'Pittsburgh Filter'
The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga’s oscillators.
Pittsburgh Dynamics Controller
Pittsburgh's new Dynamics technology imparts Taiga with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga.
When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga sounds more natural or complex compared to other instruments.
Echos, Mixer, MIDI, and much more
Pulling no punches in rounding out Taiga’s capabilities, Pittsburgh has included MIDI to CV conversion, mixer, preamp with soft clipping overdrive limiter circuit, analog bucket brigade delay, dual envelope generators, digital multi-modulation tool, LFO, noise generator, clock-synced arpeggiator, and an internal clock with tap tempo (can be externally synced too). You can use Taiga without patching or dive into its 60 patch points to use its components as separate modules with external devices or reroute its internal patching. The creative possibilities abound!
TAIGA Review // What if Bob Moog & Don Buchla collaborated on a synth in the 70s? // Tutorial
Pittsburgh Modular TAIGA synthesizer REVIEW // 3 things I LOVE & 1 thing I DISLIKE
video upload by BoBeats
CONTENT:
00:00 What is the Taiga?
03:36 Part 1: OSCILLATORS explained
13:56 Design, Mixer, Preamp & a few other things
16:02 Part 2: FILTER module explained
21:05 Part 3: i don't like this...
25:15 A few more functions worth mentioning
26:35 Part 4: DYNAMICS module explained
30:47 Final Verdict: is it worth buying?
"Here's a modular lofi hiphop patch that came out so leftfield it was too fun not to share! It's built around #Stolperbeats and Befaco's fantastic Percall Quad Drum VCA, with Stolperbeats sequencing the shuffled gates and a wooden baseboard amplified and routed through our #TausenddB and #Multiplikand patched as a texture control.
Stolperbeats, 'beats tripping over themselves' in German, is our upcoming drum trigger sequencer designed to create shuffled beats influenced by artists like Flying Lotus, Hiatus Kaiyote and J Dilla. We really love those beats and used to reconstruct them for our tracks in the DAW, so we ended up digging deep into the techniques how real-life drummers like Questlove from The Roots or Perrin Moss from Hiatus Kaiyote play these shuffles.
This patch is almost a little hack as it uses Stolperbeats' clock outputs as a musical signal. Subdiv outputs the swung clock or a related set of tuplet subdivisions, perfect for syncing up cartesian sequencers like Make Noise Rene that advance one step per clock tick. Sync plays a straight unswung metronome ranging from once every four bars to 24 ppq, great for keeping a Delay or LFO in time.
Here, Stolperbeats' clock signals are patched to trigger Percall's VCA envelopes, shaping the sounds picked up from the board with piezo contact mics, and creating groove from the offset flams of the shuffled and straight clocks. Enrica is performing the drum rolls by changing the subdivisions on the fly. It's all held together by the lovely blips from Winterbloom 's Juno-inspired DCO Castor & Pollux on kick and a Patching Panda Hatz patch on snare duty.
We'll be showcasing this setup tonight at Muelheim Modular's lovely synth shop in Köln Mülheim. It's part of Mülheimer Nacht 2022 so if you're in Cologne, swing by and say hi! You will be able to try out the patches and modules hands-on. If you want to build our synth #DIY kits, we're hosting a workshop at Superbooth in Berlin, 13.05.2022, 17:00. If you are unable to make it to Berlin, kits are available at Muelheim Modular and Exploding Shed (EU), Thonk (UK) and dsp.coffee (US), or visit our website and mail us directly."
"We re-vived an old friend, the Drone Synth in a beautiful wood-case! Available as a DIY kit only. A classic 4-OSC Drone Synth with OSC-Sync. 2 Channels with 2 OSC each, Mixing Circuit leading into a 2-Chn. Tilt-EQ (combined Hi- and Lo-Shelf). The VCA features a CV-In, Pitch is controllable manually only. Available again from september 2021 via Exploding Shed."
"RC-808 is a drum synth that can do the rap all by itself. In another words, we will go back to the days of the talking drums. It would be great if you could have a listen to the files.
Giving articulation ability to drum sequencers was actually a part of the Roland history ever since Don Lewis connected an expression pedal to add volume level accent to give variation to a primitive preset patterned rhythm box. This lead Mr Kakehashi to implement "Accent" as a parameter of rhythm machines.
When Mr Kikumoto designed programmable drum sequencers and MIDI protocols, he wondered why the sequencers onboard drum machines don't have any pitch nor duration parameters. Because they are non-tuned percussion? But then synths can provide frequency and envelope curves to match your needs and tastes. Isn't this lack of these parameters result of prejudices or stereo types that still confines the drum sound expressions to a certain notion only?
This is the reason why the RC-808 Standalone edition has a small piano roll style sequencer.
With full fledged general purpose 8 partial synth engines per instruments, you can create both tuned and sustained sounds that can be used for percussive purposes. For instance, this offers "open and close" sound variation to not just hi-hats but to any other instrument you can imagine, like "open and close bass drum" you hear on the demo files here.
Recently, as Kikumoto san was reviewing HipHop and Rap music, he found rappers' rhyme and flow concept somewhat resembling his RC-808 concept of providing further expression to drum sounds.
Inspired with the rhyme and flow concept, he is thinking of expanding this scheme to shed new light to drum sound expression, not just to hiphop and rap, but to all kinds of music genre, with a concept of Drum Rap like MC talking drum so to say."
"Circa 1975: A photo from the Frankfurt Music Fair
Peter Zinovieff in the EMS synthesizer booth.
They are featuring the rare SYNTHI P model, just announced on the left side and stand. Underneath the board listing EMS musical artists is a SYNTHI HI-FLI effects unit is barely seen. Another unusual/prototype model is next to the Hi-Fli."
Peter Zinovieff and Electronic Music Studios video upload by JeffreyPlaide
Peter Zinovieff: Synth Pioneer video upload by Sound On Sound magazine Jul 21, 2016
Peter Zinovieff talks about modern musical interfaces video upload by Expressive E Jan 6, 2016
Peter Zinovieff feature uploaded by Erica Synths on Nov 23, 2020. This was the latest video to feature Peter Zinovieff that I am aware of.
Peter Zinovieff interview 2015 video upload by 香港電子音樂社 Hong Kong Electronic Music Society Jun 30, 2015
Dr Peter Zinovieff intro & performance excerpt - Deliaphonic 2017 video upload by Deliaphonic Aug 29, 2018
And a few perspectives from others:
Bright Sparks Behind The Scenes - The Brits video by GForce Software published Feb 16, 2021
Cosmic Tape Music Club Podcast hosted by The Galaxy Electric - E1 Peter Zinovieff
video by The Galaxy Electric published Jan 27, 2021
"Peter Zinovieff, a hugely influential figure in British music whose early synthesisers helped to change the sound of pop, has died aged 88. He had suffered a fall at home earlier this month.
With its marketing slogan 'think of a sound – now make it', his company Electronic Music Studios (EMS) was one of the first to bring synthesisers out of studios and to the public. With products such as the portable VCS3 and Synthi A, EMS customers – including David Bowie, Kraftwerk, the Who, Tangerine Dream and Pink Floyd – were often taught to use the instruments by Zinovieff.
In 1967 he collaborated with Paul McCartney on Carnival of Light, a performance of a 14-minute avant garde composition created between Beatles sessions for Penny Lane that has never been released.
He was also a respected composer of his own work, including early experiments with AI composition and sampling – he claimed to have invented the latter technique." You can read the full post here.
"Peter Zinovieff (26 January 1933 – 23 June 2021) was a British engineer and composer, whose EMS company made the VCS3 synthesizer in the late 1960s. The synthesizer was used by many early progressive rock bands such as Pink Floyd[3] and White Noise, and Krautrock groups[4] as well as more pop-oriented artists, including Todd Rundgren and David Bowie. In later life he worked primarily as a composer of electronic music.
Zinovieff was born on 26 January 1933;[5] his parents, Leo Zinovieff and Sofka, née Princess Sophia Dolgorouky, were both Russian aristocrats, who met in London after their families had emigrated to escape the Russian Revolution and soon divorced.[6] During World War II he and his brother Ian lived with their grandparents in Guildford and then with their father in Sussex. He attended Guildford Royal Grammar School, Gordonstoun School and Oxford University, where he earned a doctorate in geology.[7][8]
Zinovieff's work followed research at Bell Labs by Max Mathews and Jean-Claude Risset, and an MIT thesis (1963) by David Alan Luce.[9] In 1966–67, Zinovieff, Delia Derbyshire and Brian Hodgson ran Unit Delta Plus, an organisation to create and promote electronic music. It was based in the studio Zinovieff had built, in a shed at his house in Putney. (The house is near the Thames, and the studio was later partially destroyed by a flood).[10][11] EMS grew out of MUSYS, which was a performance controller operating as an analogue-digital hybrid.[12] It was a synthesiser system which Zinovieff developed with the help of David Cockerell and Peter Grogono, and used two DEC PDP-8 minicomputers and a piano keyboard.[13] Unit Delta Plus ran a concert of electronic music at the Watermill Theatre in 1966, with a light show. In early 1967 they performed in concerts at The Roundhouse, at which the Carnival of Light was also played; they split up later in 1967.[11] Paul McCartney had visited the studio, but Zinovieff had little interest in popular music.[14]
In 1968, part of the studio was recreated at Connaught Hall, for a performance of pieces by Justin Connolly and David Lumsdaine.[15] At the IFIP congress that year, the composition ZASP by Zinovieff with Alan Sutcliffe took second prize in a contest, behind a piece by Iannis Xenakis.[16]
In 1969, Zinovieff sought financing through an ad in The Times but received only one response, £50 on the mistaken premise it was the price of a synthesiser. Instead he formed EMS with Cockerell and Tristram Cary.[17] At the end of the 1960s, EMS Ltd. was one of four companies offering commercial synthesizers, the others being ARP, Buchla, and Moog.[18] In the 1970s Zinovieff became interested in the video synthesizer developed by Robert Monkhouse, and EMS produced it as the Spectron.[19]
Jon Lord of Deep Purple described Zinovieff as "a mad professor type": "I was ushered into his workshop and he was in there talking to a computer, trying to get it to answer back".[20] Trevor Pinch and Frank Trocco, in their history of the synthesizer revolution, see him rather as aristocratically averse to "trade".[21]
Zinovieff wrote the libretto for Harrison Birtwistle's opera The Mask of Orpheus,[22] and also the words for Nenia: The Death of Orpheus (1970).[23] The section Tristan's Folly in Tristan (1975) by Hans Werner Henze included a tape by Zinovieff."
Update:
Peter Zinovieff: A Tribute by CatSynth TV
video upload by CatSynth TV
"We look back at the life and work of Peter Zinovieff, who passed away last week at the age of 88. His work at Electronic Music Studios (EMS) was a major influence on musicians of the 1970s and beyond. At EMS, he co-created the well-known and coveted VCS3 and Synthi series. But he was also a composer in his own right, working on pioneering electronic music in the 1960s and returning to active composition in the 2010s with several collaborations with artists in other media and exploring massive sound spatialization.
Additional background music provided via the Arturia Synthi V as a tribute."
Don't miss 14:05 on Wendy Carlos metting Bob Moog at the AES conference. You can explore more on her webiste here: http://www.wendycarlos.com.
"Thanks for joining us for Episode 3 of the Cosmic Tape Music Club monthly Podcast! Join your hosts Jacqueline and Augustus of the experimental pop band The Galaxy Electric as they get cosmic on the topic of Wendy Carlos. Wendy is a genius as well as the self proclaimed "Original Synth". She is a platinum selling artist, a Grammy winner, and an Ivy League school grad. We share all sorts of facts including winning a science fair by building a computer from scratch, melding the worlds of classical music and synthesizer, the Moog Modular, scoring for Kubrick, digital audio pioneering and much much more!
Chapters: Intro 00:00 Early Beginnings 2:09 College 6:55 SOB 11:24 AES Conference Moog sighting 14:05 Rachel Elkind 19:39 Clockwork 26:35 Gonna let it Shine 29:40 Tron 31:27 Inspiration to Tomita 36:51 Stevie Wonder popped by 38:50 Vocoder your Moroder 39:47 microtuning 42:48 Digital is King 46:16 Sticky Shed 48:26 Astrophotographer 53:59 Outro 59:38"
"The Anvil" was featured in this post from 2014. Muzines, an online repository of music magazines, posted an article on The Anvil here. The question though, is did any of these ever get produced? If you know, feel free to leave a comment. The advert to the left implies they were taking orders at some point they were selling off their IP. Interesting bit of synth history. One of those mystery synths no one knows what happened to...
Update: note the address in the print is 29 Chowmley Gardens, Aldred Road, London NW6. Someone mentioned it could be Cholmley Gardens, pictured. A search on Chowmley gets redirected to Cholmley, so this is likely. Interesting to see where it could have all happened. I used to walk by Serge's shop in Hollywood, none the wiser, when I was a kid. I do remember the wig shop. :)
Update2: interesting side note from Rob Walker: "Reading the in depth article linked to, one of the designers was Roy Gwinn who is known for his Guitar Effects pedal design which Chris Carter adapted into the Gristleizer. I sold Roy a Doepfer Euro case a couple of years back, I’ve asked if he can shed any light."
Update3: via the comments below: "The story of the Anvil Percussion Synth is in RHYTHM MACHINES 2: The 1980s Drum Computers - By Alex Graham. It's available on Amazon (the book, not the Anvil)." [on Amazon here]
Update4: From Roy Gwinn: 'No, the Anvil was never finished. I underestimated the time to do the software, and the hardware was a bit iffy when it got hot. All fixable, but we ran out of money.'
"It's been Superbooth 2020 Home Edition and there's too much stuff. Not all of it was new but we had unprecedented detail in awesome live streams about a load of modules and synth. Including my own live stream interviews with synth related people who fascinate me. There are lots to get through and this is just the stuff that I liked in particular - there are loads of things I didn't have space for.
Erica Synths goes nuclear, ST Modular releases 1000 DIY modules, Ritual Modular gets into 1U, 1010music gives us a mini sampler, Befaco does a mini VCMC, Expert Sleepers gives us double the trouble, Bastl loops MIDI, Liquid Foam is a very cool box, Tangible Waves lets us all build modules, Strokes 2 is a mad software groove machine, TiNRS has a Covid kick drum module, Future Sound Systems has a complex VCO, Noodlebox is a thing, Critter and Guitaris does video, There's a whole synth in KOSMO format, Elk Audio OS does something interesting, and there's a shed load of stereo filters. But first, Distrokid.
Original offered by Folktek for $1 million dollars. It went up for auction in 2013 and reached $39,100 with 55 bids at the time of this post. You can find previous posts featuring the Folktek Impossible Box including some demos here.
"These just arrived this morning, just finishing setting them up and hope to have something musical put out by tomorrow evening or Saturday at the latest :)
I'd parted with quite a bit of AS gear and really regretted it so am rebuilding :) All synth sounds are AS Telemark."
Update:
Impulse Command and Wine
Published on Aug 8, 2019 Sounds From The Shed
"This may or may not be tuneful, but it was a sunny day in Northern Ireland I had a few beverages and played about in the Shed with the new toys and came up with this. I'll give it a more detailed examination when I'm thinking straighter :)
It's a brief play about with the IC being modulated and transposed by the Generator sequencer."
"In one I use the Moog ones ability to run 3 different sequencers on different voices and different clock divisions. It's a HUGE! synth. Video images don't do its size justice."
"A really excellent condition Memorymoog Plus. It looks so good I was tempted to call it near mint, but maybe that is pretty hard to say of something that is 40 years old. If I were scoring it out of 10 it would be 8.5. It is seriously gorgeous. It plays beautifully as well. I'd forgotten what a fantastically well designed control surface this has, and how easy it is to tweak sounds. One or two program slots seem to be blank, but nearly all the ones I tried contain well use-able sounds which can of course be altered and saved to your taste. Mono mode is awesome too. Such a solid synth and solid sound. The only thing we didn't test is the sequencer - I''ve never owned a Plus and couldn't remember how to get it to work. This amazing machine is so much more than a one-trick pony. Really delightful. Currently 110V, so you'll need a decently powerful transformer to use it in UK /Europe etc..
It has an old but solid flightcase which would be sort of OK for personal delivery, gigging or storage - but not couriering, so we will put it as another lot (28214). Actually we hadn't realise how ropy the foam was getting - so bad that it shed bits onto the synth which we missed when photographing! VEMIA will make a custom carton for safe shipping: 24GBP."
