MATRIXSYNTH

Oakley TM3030 Midi controlled synth

"The TM3030 is a midi controlled bassline clone that is designed to sound good, be easy to build and use no really difficult to get parts. The design features the same controls as the little sliver box we have all come to love: tune, waveshape, cut-off, resonance, envelope sweep, decay time, accent and volume."

Pictured: "The first prototype in a half rack width metal case. The production PCBs are slightly different in that they have a slightly different layout and use 0.1" headers for all the input and output connectors."

Title link takes you to more info including samples on Oakley Sound. Note the prototype is for sale for 220GBP.

Thomas Henry UD-1 Drum Voice

"As the summer of 2006 drew to a close, Thomas Henry returned to his teaching assignment somewhere in greater Mankato, and thus brought to an end a summer of brilliant and inspired synth design on his part. As a parting shot over the bow, warning of things to come, Thomas sent me a design for a drum voice he has chosen to release to all the synth DIYers out there - the UD-1 Drum Voice Module...

Anyone familiar with Thomas' ADV Bass design will recognize the basic architecture of the UD-1 Drum Voice. The UD-1 has an input for pulse, which it uses to 'fire' the drum voice, and, of course an output. Thomas added one more valuable input to the UD-1 - voltage control of the pitch of the drum voice."

Title link takes you there.

syntezatory.prv.pl - Kawai SX-240

YouTube via Jexus.

"2 May 2007. Brought to you by WC Olo Garb." syntezatory.prv.pl

Oberheim Matrix-6

via this auction.

I almost put this one on Matrixsynth-b, but I figured the synth that started it all for me deserved a post here.

KORG Poly-800

Title link takes you to shots via this auction.

Alesis A6 Andromeda

Title link takes you to shots via this auction.
Details:
"Real Analog Powerhouse
Andromeda’s fully analog signal path is controlled by a high-speed Motorola Coldfire microprocessor, offering 16-voice polyphony with 16-part multitimbral capability. Andromeda features two analog oscillators per voice, with standard waveforms (available simultaneously), suboscillators, hard and soft sync, and more. It provides two analog filters per voice: these 2-pole (multimode) and 4-pole (lowpass) resonating filters are classically-derived designs, and offer you an astounding range of sonic variability.

Andromeda also provides external audio inputs that allow you to route any signal through its filters. Andromeda has three LFOs, each with six waveforms and many powerful features. It also has three 7-stage, 3-level envelopes capable of functions never before found in any analog synthesizer. An extensive mod matrix offers you an enormous freedom in configuring Andromeda’s sonic firepower, adding to its monstrous capabilities.

In-Depth Control of Your Sound
Andromeda’s 61-note synth-weighted keypad features velocity and aftertouch sensitivity, and its ribbon controlled offers multiple, assignable functions. A distinctive, futuristic front panel features 72 knobs and 114 buttons (the majority are single function), optimally arranged for rapid-fire tweaking and in-depth experimentation. Andromeda’s large, backlit LCD display provides real-world values of parameters (time, frequency, BPM, etc.) and high-resolution graphics. No other synth has ever offered such a sophisticated, informative control panel for creating analog pyrotechnics.

Extensive features
In addition to its real analog synth engine and hands-on interface, Andromeda provides a wide range of performance features, including multiple keyboard modes, portamento with nine slopes, and legato functions. For added grins, Andromeda provides a built-in arpeggiator and analog-style sequencer with MIDI sync, high quality digital effects Z(reverb, chorus, echo and more), and a nasty little analog distortion circuit. Internal program memory features 256 preset and 128 user-defined programs. Andromeda also offers a PCMCIA-format memory card slot for additional programs and mixes.

Polyphony: 16-voice, 16-channel multitimbral
Synthesis Method: Real analog subtractive
Oscillators: 2 oscillators (with subs) per voice, 5 waveforms available (sine, triangle, square, up saw, down saw)
Filters: 32 total - 2-pole multimode resonating filter per voice, 4-pole lowpass resonating filter per voice
Program Memory: 256 preset and 128 user-defined
Mix Memory: 128 user-defined
Audio Outputs:
_16 mono outputs, one for each of 16 voices (eight 1/4" TRSjacks)
_Stereo main outputs (two 1/4"jacks)
_2 mono aux outputs (two 1/4"jacks)
_Stereo headphone output (1/4"TRS jack)

Audio Inputs:
_Two 1/4" jacks
_External Audio Filter Inputs: Three 1/4" jacks - one each for Voices 1-16, Voice 15, and Voice 16
Pedal Jacks: Pedal/CV, Switch and Sustain - each with dedicated 1/4" jack
MIDI Connections: MIDI In,Out, Thru
Memory Card Slot: PCMCIA-format
Power: 100-230 VAC, 50/60 Hz30W
Dimensions (WxHxD): 40.1" x 4.8" x 16.1" (1019mm x 122mm x 409mm)
Weight: 47lbs. (21 kg)"

PAiA Modular

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Details:
"PANEL ONE INCLUDES THE FOLLOWNG MODULES:
4730, 4710, 4710, 4710, 4730, MULTIPLIER, ENVELOPE FOLLOWING, POWER SUPPLY, 4720, 4761.

PANEL TWO:
4712, OSCILLATOR CONTROL, INVERTER BUFFER, 4750, 4712, 4761, 4740, 4740, 4740.

PANEL THREE:
4712, 4730, 4710, 4711, 4720, 4720, 4740, 4770.

PANEL FOUR:
4770, 4770, 4710, 4720, 4740, 4761, 4780 SEQUENCER, OSCILLATOR CONTROL.

PANEL FIVE:
4781, 4711, 4720, 4720, POWER SUPPLY.

PANEL SIX:
4780, 4730, 4761, 4780, 4730, 4770.

ANALOG KEYBOARD."

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MOOG the Source

And another one. Title link takes you to shots via this auction.

Cool buttons.

Details:
"The Moog Source is a 2-VCO, micro- processor- controlled, programmable monophonic synthesizer, with 16 memory locations, and a 3-octave, 37-note (C-C) keyboard. It features an arpeggiator and a digital sequencer with memory for two seqences of up to 64 notes. The Source was one of the first to use digital parameter access for programming, a method now commonly found in today's synthesizers, using membrane switches, a two-digit LED display and a single data knob. Both VCOs have three available waveforms (sawtooth, triangle, and pulse; with pulse width modulation) and three available octaves (32', 16', and 8'). VCO2 can be detuned at fixed intervals and it can be also synced to VCO1. The mixer section features levels for VCO1, VCO2 and Noise. The VCF (24dB/octave) has parameters for keyboard tracking (off, 1/2, and full), cutoff frequency, resonance, and contour (Moog's word for envelope) amount. There are two ADSR envelope generators, one for the VCF and one for the VCA. The envelopes can be set in single or multi trigger modes. The LFO (triangle and square waveforms) can be routed to the VCOs and the VCF. The Source also features a sample-and-hold which can be routed to the VCF. To the left of the keyboard is the pitch bend and the modulation wheel, along with two octave-switching buttons. These and a volume knob are the only dedicated controls. On the back panel are the audio out, cassette interface, a recessed pitch knob (for fine tuning), and CV and S-trigger inputs and outputs."