Cwejman Workshop + 3 New Modules

Title link takes you to the post in German or you can click here for an English translation via Google.

New Modules translated from the post:
1) Noise module (NS-4)
The module produces genuine similar noise in white, for pink and red. In addition offers it SAM-polarize + Hold and a lying processor, with which itself Coincidence tensions with Glide to adjust leave. That SAM-polarizes + Hold can also independently of the noise to be used and has even an input automatic controller for external signals. The S+H - Rate, as well as the lying processor leave themselves by button or CV steer, the S+H Triggger entrance serves for Synchronisation and processes signals of all kinds.

2) quadruple VCA (VCA-4MX)
This module contains 4 identical spanunngsgesteuerte amplifiers, for Audio, as well as for CV-signals are suitable. By altogether 8 out of courses one receives a very flexible module, because beside the four single exits there are 2 sum exits (4 in 1), one normally and one inverted, as well as 2 further sum exits (1+2 in 1 and 3+4 in 1). Thus that can Module either as Quad Attenuaror (weaken who), as 4in1-Mixer, or as two separate 2kanal-Mixer to be used. Like always with Cwejman are clay-technical components of higher To quality, rush is quasi not measurable.

3) INSERT module (INS-2MX)
This module serves for grinding in external effect signals similarly a Aux way in a mixer and all two times.

Sagittarius 1994 Lemaril video

YouTube via studio35d.
"In 1994 I created a track that I called 'Sagittarius'. As an experiment, I also created a video for the track. The video is a live performance with additional footage (for different cam-angles) and effects.

The main instrument you hear on the track is the Yamaha SY77. Other synths such as Pro-One and Mono/Poly were used for additional effects and sequences. Rhythm sounds are short samples of analog synth sounds on the DSS1.
Sequencing was done on Amiga500 with Music-X software.

I didn't have any editing facilities for video available at the time, except for this fantastic [Insert] button on my VCR. You could add footage over your main video track, without erasing the original sound, which was cool. Drawback: Once you messed up, you had to cover it up with something else that lasts a little longer.

The video contains some flaws, which I preferred not to edit, just to keep it as original as possible."

If you like this, also see these previous posts.

MOOG Taurus

Title link takes you to shots pulled via this auction.

Details:
"From a 1980 Moog Flyer
The Moog Taurus Pedal Synthesizer lets you make music with your feet while your hands are busy playing keyboard, guitar, or drums. The Taurus has three programmed voices and a voice that you can program completely In performance you can select a Moog voice or your voice instantly The Taurus is a variable synthesizer that features two audio oscillators to create phasing effects, parallel intervals, and rich percussion sounds. In addition, functions like glide, decay and pedalboard octave may be switched by foot during performance. And its five octave range makes Taurus more than a bass instrument. Add another dimension to your control over sound-add a Moog Taurus 1 pedal synthesizer.

TAURUS FEATURES
Three pre-programmed synthesizer voices: Bass, Tuba, and Taurus
· One fully programmable voice. You create the sound and pre-set it yourself.
· Five octave range-16' 8' 4' 2' and 1'
· Foot sliders for loudness and tone color variation.
· Ultra stable oscillator design: less than one cent (0.06%) short term drift, less than two cents (0.18%)
long term drift.
· Electronic preset selectors. Presets never have to be cancelled.

Introduction
THE MOOG TAURUS IS A FOOT-CONTROLLED PEDAL SYNTHESIZER COMBINING THE FEATURES OF A
SYNTHESIZER-GOOD SOUND AND VERSATILITY-WITH FOOT CONTROLLED SOUND MODIFIERS AND
PRESETS.

THIS VERSATILE MUSICAL INSTRUMENT OFFERS THE CAPABILITY OF PRODUCING TRADITIONAL OR
NEW SOUNDS, INSTANTLY SELECTABLE FROM THE FOOT-CONTROLLED PRESETS. ONE OF THESE
PRESETS IS FULLY PROGRAMMABLE SO THAT THE PLAYER MAY SET UP A "SOUND" AND GET TO IT
INSTANTLY.

TO PROVIDE MAXIMUM PROTECTION, THE UNIT IS ASSEMBLED IN A RUGGED WOOD AND METAL
HOUSING.

Description
The basic functions of the Taurus Synthesizer (see accompanying block diagram) are programmable. That is, values of the various parametersthat are used to control the details of a sound are determined either by the internally fixed values (for the three fixed presets) or set by the player accessible controls (for the VARI ABLE preset). In normal usage, the VARIABLE preset is set up prior to performance using the VARIABLES controls in the control box. During actual performance, the player selects one of the four presets instantly by depressing one of the four PRESETS foot-buttons. These four PRESETS are mutually exclusive, that is, only one preset may be ON at any one time.

The basic tone sources are two voltage controlled oscillators (A and B). Two basic pitch controls are used for fine tuning the instrument. First, the TUNE control is used to set the pitch of both oscillators to the desired reference, such as another instrument being used simul taneously. The BEAT control is used to make fine adjustments in the relative pitch of the two tone oscillators (by modifying the "B" tone source pitch). In addition to these basic tuning controls, the "B" tone osciliator pitch in the VARIABLE preset mode may be varied over a greater than one octave range by adjust ing the OSC B FREQ control. The relative pitches of the two tone sources are internally set for the three fixed presets.

The entire instrument may be shifted either up or down one octave by use of the OCTAVE foot-button. As the OCTAVE foot-button is successively depressed, the instrument tuning changes by one octave; an indicator light shows that the instrument tuning is in high range. For the three fixed presets, the OCTAVE button switches the instrument between the 16' and 8' ranges. When the instrument is in the VARIABLE mode, a manual OCTAVE slide switch in the VARIABLES control box may be used to select three pitch range positions (LO-MED-HI). These three positions correspond to a 16' or 8' range for the LO position, an 8' or 4' range for the MED position, and a 4' or 2' range for the Hl position. The "B" oscillator range extends to 1' with the OSC B FREQ control positioned all the way up.

The instantaneous pitch of the instrument is controlled not onty by the OCTAVE and fine tuning controls, but also by a GLIDE control and GLIDE foot-button. The glide effect is a smooth transition in pitch between successive notes. The GLIDE foot-button operates in a manner similar to the OCTAVE foot-button in that the glide effect can be alternately turned ON and OFF, the ON state indicated by the GLIDE light being ON. The amount of glide effect is determined by the GLIDE slider in the VARIABLES control box. The player may thus set up the amount of desired glide effect using the GLIDE slider and then use the GLIDE foot-button to switch the effect in or out.

The two tone sources are combined in different amounts in the mixer. In the three fixed presets the amounts are internally set, while in the VARIAB LE MODE the relative amounts of the "A" and "B" tone sources appearing in the final output are determined by the B-MIX-A control in the VARIABLES control box.

The output of the mixer is applied to the voltage controlled filter which may be used to provide either dynamic or fixed timbre modification. Whenever a note is depressed, a filter contour signal is generated, successively opening and closing the filter. The amount of opening and closing the filter is determined by the CONTOUR AMOUNT slider. The rate at which the filter is opened is determined by the CONTOUR ATTACK control slider while the rate at which the filter is closed is determined by the CONTOUR DECAY slider. These contour controls determine the characteristics of the dynamic aspect of the filter function. The effect of the filter is determined by the settings of the contour controls and by two other controls (CUT-OFF and EMPHASIS). The cutoff frequency is the filter characteristic which is "moved" by the contour signal. The initial cutoff frequency is determined by the FILTER foot-slider and by internally preset values for the three fixed presets. For the VARIABLE preset, this initial filter cutoff frequency is determined by the FILTER foot-slider and by the CUT-OFF control in the VARIABLES control box. For example, using the VARIABLE preset with the CONTOUR AMOUNT control set all the way down, the tone color may be changed but not dynamically, by either the FILTER foot-slider or the CUT-OFF slider.

The EMPHASIS control varies the amount of peaking of the filter. That is, the intensity of the frequency components of the tone generators which lay near the filter cutoff frequency is emphasized to a degree determined by the EMPHASIS control.

The output signal from the voltage controlled filter is applied to the voltage controlled amplifier (VCA). The VCA serves the function of "turning on and turning off" the sound. This articulation of the signal is caused by the VCA contour generator. The rate at which the sound is "turned on" is called the attack time. This attack time is internally set for the three fixed presets and is set by the ATTACK control in the VARIABLES control box for the VARIABLE preset. The sustained loudness of a preset is called the SUSTAIN LEVEL. The SUSTAIN LEVEL is determined by an internally preset value for the three fixed presets, and by the SUSTAIN LEVEL control for the VARIABLE preset. In addition, the overall loudness is determined by the LOUDNESS foot-slider. The manner in which the sound dies out or decays is determined by two functions. If the DECAY light is ON, the sound dies out at a rate determined by the DECAY control in the VARIABLES control box for the VARIABLE preset. If the DECAY light is OFF, the sound dies out immediately when the note is released (no decay).

The output of the VCA is applied to the OUTPUT LEVEL rotary control on the inset rear panel. The OUTPUT LEVEL control is used to match the signal level of the Taurus to the amplifier. GeneralIy, the OUTPUT LEVEL control will be set so that the maximum desired loudness for any preset is achieved when both the LOUDNESS and the FILTER foot-sliders are in their uppermost positions. When using the TAURUS with a bass amplifier or similar musical instrument amplifier, plug the TAURUS into a high level amplifier input, and set the amplifier volume control one-third to one-half of the way up. Then set the OUTPUT LEVEL control on the Taurus rear panel for the desired volume range.

The Taurus may be operated using either a 115 or 230 volt line voltage.

(From 1978 Norlin Music Taurus Pedal Synthesizer Owners and Service Manual)

Check out these sites!!!
http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Moog/Taurus/25/1
http://web.archive.org/web/19991002101508/http://umbc7.umbc.edu/~rous/taurus.html
http://www.oldtech.com/synth/MoogTarus12.html
http://www.soundonsound.com/sos/1995_articles/jun95/moogtaurus.html"

Chroma Polaris

Title link takes you to shots via this auction.

Another in the funky keys category. Suddenly the Polysix with reverse keys is actually looking good to me. What's odd is the auction doesn't mention the keys. Anyone know anything about them?

Pearl Syncussion SY-1

flickr by gargar1974.

"The Pearl Syncussion SY-1. One of the coolest drum synthesizers ever. Two independent channels with capable of making weird noises, eighties toms and the baddest kick drum you've heard."

Click here for a larger shot.

AH Bay Area 2007

"Thanks to Gino Robair, we've once again set a location and date for the AH Bay Area gathering in California. September 9th at the 21 Grand in Oakland, more info forthcoming as we get closer, so save the date if you think you want to attend.

http://www.fdiskc.com/ahcali/

You've probably seen the pictures from our previous installments, so you know it's always a good time.

-Brandon"

Steiner Parker Synthacon Demo via REwire

mp3 here

via REwire.

"I made a demo of my Synthacon, which I won after you posted the auction a few weeks ago (Thanks!).

This is a 2:57 song/demo using just the Synthacon for all sounds including drums which I sampled and sequenced. I knew this was the choice for Industrial style sounds and it does not disappoint. In the picture, the little Doepfer mixer module perched on top I use to scale the CV to play it at 1v/Oct. The Synthacon has multiple inputs on the back allowing me to modulate many of the functions with modular envelopes and synced LFO's to expand on it's own two envelopes and allow the third oscillator to be used for pitch rather than as an LFO. The Multi Filter, one of the most popular cloned ones, is what makes this rip but the stable edgy oscs are half the equation."

Oberheim OB-X Filter Modification

via Magic Smoke Electronics, here.

MOOG Ladder Filter in HP Mode

via Fernando on electro-music.com. BTW, does anyone know if threads on electro-music.com expire like VSE? I'm always worried stuff like this will disappear over time. That's one of the reasons why I chose to host this site on Blogger vs. my ISP. This blog should remain long after I'm gone.

"Hi all,

Reviewing Moog ladder schematics in my archive I found this variation:

moritaVCF76.gif

it includes a switch to HP mode by just injecting the input signal to the output buffer (through a trimmer and a resistor)

I like this version:
rjb_diy_synthe_202a_vcf_moog_schem_revB.pdf
pcb_202a_vcf_revA.pdf
diy_synthe9.htm

and wonder if it would be possible to implement the Morita trick to get HP response..."

Be sure to check out the follow up replies on electro-music.com.

Sur-Audio Lab VOID and COS

"Sur-Audio lab is a new 3rd party developer for the SoniCore Scope system located in Athens, Greece. We are concentrated in synthesizer designs that take advantage of the unique architecture and the pristine sound quality of the Scope platform.

To begin we proudly presents you 2 synthesizers: VOID and COS.
We think that both extends the sound programming capabilities and functions of the Scope system.

VOID combines a classic analog shell with some extensive shaping plus onboard effects. It includes Flexor® technology so the creation of new age timbres is really one step away.

Be sure to check the 11x35 matrix which allows total control of every aspect of sound properties. There is also an advanced clock sync modulation mode for sample accurate modulations from your sequencer."

"COS
Do you know "morph" technology? Do you want to control every pot of the front panel with 4 parallel modulators? (velocity, aftertouch, modulation, key note)
Well that's COS !

An advanced analog hybrid (sync, FM, Phase Mod, Ring Mod, 12 filters to choose from) with polyphonic morph function. Just assign your desired morphs and the creation of rythmic controllable sounds is a matter of seconds!"

Samples:
http://www.soniccore.com/audio/cos_plus_void_preview_theme.mp3
http://www.soniccore.com/audio/cos_seq_collect_1.mp3
http://www.soniccore.com/audio/void_collect_1.mp3

They should both look pretty familiar. : ) There is no mention to their counterparts so I wonder what the connection is if any. Spec via their press release via HC (Note the Waldorf OSC):

VOID features:
* Voices: 16 max (depends on the DSP's and patch complexity)
* Sound generators: 2 main oscillator featuring 6 wave types and 2 modes each to choose from: Pulse Sync - Pulse width, Saw sync - saw, Waldorf oscillator, sine sync – sine shaped, noise filtered - noise comb filtered, 2 sines added, 2 sines fm 'ed.
* Oscillator modulation section: Filter FM, Warp shaping, a distorted Ring modulation type, Frequency modulation, Phase Modulation, Ring Modulation. Envelope generators: 2 ADSR envelopes
* LFO's|: 3 multi-wave lfo's with rate, delay, amount, fade-in, fade-out, 6 waves to choose (sin-square-saw up-saw down-triangle-random), key-retrigger, offset, phase, plus special clock sync modulation
* Filters: LP 12-24db/octave, HP 12-24db/octave, BP 12-24db/octave, Band Regect, Juno filter (12db LP followed by 12db HP), LP Vintage 24db, Lowpass/bandpass parallel config, Lowpass/highpass parallel config, Highpass/Lowpass in series config, 2 bandpass in series, a Comb filter followed by a Flip n' Clip shaper, a Comb filter
* Filter saturation: Soft Sat, Bit reduction, Sample rate decimator, 6db lowpass, 6db highpass, Warp shaper, Squish shaper
* Effects: Delay, Reverb, Flanger, Chorus
* Distortion: Fat Sat, Distortion, S/r reduction, 6db Lowpass, 6db Highpass, Warp shaper, Squish shaper
* Others: Audio input for Lfo sync purposes with pre-recorded Ramps for sample
* accurate Lfo synced modulations,Envelope follower input Modulation: an 11x35 matrix with 18 parralel modulations plus a 5x7 modulation era.
* Programs: 194 presets in different categories
* Requirements: SonicCore (Creamware) Scope platform hardware and software. *
* Pentium 3-4 for optimal use. Creamware Modular 2 software

COS features:
* Voices: 16 max (depends on the DSP's)
* Sound generators: 2 main oscillator featuring 6 wave types and 2 modes each to choose from: Triangle sync- Tri shaped, Pulse Sync - Pulse width, Saw sync - saw, sine, sync - sine shaped, noise filtered - noise comb filtered, 2sines added, 2sines fm 'ed.
* Morph function: Every pot (totally 50 pots) of the front panel can be modulated in a polyphonic manner and different amounts with four controllers. Available controllers are Velocity (with curve modifier), Keyboard note (with key modifier), Aftertouch, Modulation wheel.
* Oscillator modulation section: Modulation modes include: Filter FM, Osc distortion, a distorted ring modulation type, Frequency modulation, Phase Modulation, Ring Modulation.
* Envelope generators: 2 ADSR and an AD envelope
* LFO's: 2 multi-wave Lfo's with rate, 6 waves to choose (sin-square-saw up-saw down-triangle-random), key-retrigger, offset
* Filters: LP 12-24db/octave, HP 12-24db/octave, BP 12-24db/octave, a 12db filter followed by 12 highpass filter,a Comb filter, an experimental config with a Bandpass filter followed by a shaper, a Lowpass filter followed by a tube simulation, an LP filter followed by a sample rate decimator, an experimental config with a Lowpass filter followed by a shaper, an LP and a BP filter in parallel, 2 bandpass filter in parallel, a lowpass filter and a highpass filter added together
* Part specific options: Key range assignment, Velocity modifier, Keyboard modifier, Aftertouch modifier
* Programs: 1 bank *250 presets

More pics at the bottom of this page.