Tom Oberheim's Marion MSR-2

via this auction via jan.

"Some facts/rumors about the MSR-2:

* it probably uses the same VCO chips as in recent Prophet08 and DSI Evolver.
* It has Audio-In, so you can process external audio signals thru the envelope/filter et al.
* The Marion MSR-2 is known for having the 'Oberheim sound' packaged inside a compact single-space rackmount module with modern digital reliability and MIDI implementation.
* Despite its rather harmless and simple appearance, the MSR-2 allows for some fairly complex but intuitive programming. The filters, envelopes, LFOs and other parameters are very analog-like in their sound and editing methods.
* The module is also 16-part multitimbral.
* And external inputs route a signal through the envelope and filter sections.
* The MSR-2 is rare but definitely worth checking out."

Update: see the comments for some useful info.

SCI Pro-One

images via this auction, via inverseroom.

"The MIDI jack receives only, and will only decode note and gate info--no mod and pitchbend (you can still use the wheels on the P1 when the MIDI jack is engaged). This means you can play the synth from a larger external keyboard, which I always did--or you can sequence it. The little toggle next to the jack switches the keyboard between using its own keys or accepting MIDI signals."

The Birth of MOTM

I just saw this on the My Synthesis Technology MOTM Analog Modular Synth blog. It's a letter from Paul Schreiber, the founder of MOTM, sent to the Analog Heaven mailing list back on Tuesday, April 22, 1997. Fascinating bit of modular history.

"Subject: My evil modular plans
Date: Tue, 22 Apr 1997 11:50:43 -0000

Here are my plans (well, to date at least) for my modular projects

1) The $35/module synth

This will presented 1 module at a time on the website. All documents will be in PDF format. I plan to author in Visio Technical for the schematics (or maybe OrCAD 4.3 DOS using Postscript output). The verbage will be MS Word 7.
(People who want these 'native' files can get them as well).

The modules are presented as a schematic, theory, parts list. No pcb. No front panel. All parts are either from Digikey/Mouser here in the States, or CEM chips (from me!).
I will avoid CEM when possible (saving them for item #2).

The schematics will be a merge of Electronotes, Moog, ARP, and stuff I plain make up. These are presented "as is": hey, they're only $35 in parts!! Some modules will have SPICE analysis charts as well.

This is to encourage a "jumping off" point for DIYers. I suggest a contest for:

a) nicest looking unit
b) best audio use . Make a big .WAV or something, let's all vote!

2) Re-Issue Digisound

These are updates/redesigns of the Digisound modules. Same "footprint". People with existing racks can shove these right in. Presented (from me, at least) as "semi-kit": all CEM chips + pcb + front panel. All other parts Mouser/Digikey again.

Guessing these will average about $85 each (from me) plus the R's & C's (not much!) I may go off and buy 1000 good pots and throw those in as well. Note that in my modules, ALL pots/jacks are SOLDERED to the pcb. NO WIRES!!

Since everybody likes sequencers, I'll do that one first!

3) Titan Modular

Makes the Serge and Moog stuff look like a SH101. The no-holds-barred design (for me. And anybody else who tags along!). This is a CD quality, (but FAAAAATTTTTTT) modular using DSPs, Xilinx gate arrays, $25 optical
shaft encoders, etc etc. Fully MIDI. patchable, and reload-able using any old computer with RS232. And the best part is, I expect a Moog 55 equivalent to fit in the size of a Moog 15 cabinet and cost around $4000. Last time I checked, Moog 55s were around $15,000.

As a teaser, the "low end" VCO has 16 independent outputs!

4) Moog 35 on a ISA card

I am pondering doing a full EXACT copy (part for part, slop and all) all on an IBM ISA card. Plugs into your PC. Can patch it, CakeWalk it, etc. Guessing this will run about $750. Any response? Have I lost all sense on this one???

Your kind comments and feedback welcome!

Paul Schreiber
Synthesis Technology"

Yamaha Tenori-On

images via this auction. Via donnachacostello on the Matrixsynth Forum. Note these are still only available in the UK, so if you are not in the UK and want one, here's your chance. Cute message.

Analog Solutions TransBass XPress

Saw this one on Analgue Haven where you can find samples.
"Key Features of the TBX-303:
Pure analogue voice circuitry.
Accurate TB303 circuitry clone.
Physically the same size and layout.
Extra tone controls and circuits for more sound variety e.g. LFO, CrossMod. Rugged steel construction.
MIDI In for software sequencer control."

More info on the Analog Solutions page as well. It's also referred to as the TB-X and TBX-303.

keybdwizrd - Motif Demo #4 (Brass and Woodwinds)

YouTube via keybdwizrd.
"Video demo of some of the brass and woodwind presets on the Yamaha Motif synthesizer."

Chimera Synthesis bC16

"bC16 miniature patch analog synthesizer [VCO, LFO, ADSR, VCF, VCA, ring mod,noise & headphone amp - powered from two 9v batteries] in a CD sized CNC machined case. $229 (inc. delivery) LIMITED NUMBERS available for (US) delivery 9-11 Jan 2008."

Chimera Synthesis

Cwejman VCO-6

"The VC0-6 is a single voltage controlled oscillator and has six individual waveforms. The frequency is controlled with manual controllers (knobs) and FM (leveled inputs). The VCO-6 can by sync-ed by an external signals frequency,

as well.
Frequency controllers
The oscillator's frequency is controlled by RANGE (from C2 to C8), TUNE knob

(± 6 semitones) and leveled FM inputs (DC coupled FM1 and exponential F2

and FM3). Frequency modulation (leveled FM1, FM2 and FM3 ) determinates the intensity of frequency modulation and/or pitch control. The FM2 and FM3 inputs are carefully calibrated for 1Volt/octave sensitivity and it tracks the musical

scale for more than 8 octaves."

via Mr. Array

Funkattack '07 6/6

YouTube via CountFunkulaMusic. via Count Funkula:
"I am a long time matrixsynth reader, first time contributor. I perform down to mid-tempo electronic music while simultaneously doing the visuals. I played a show in Columbus, OH about 2 weeks ago and have some youtube clips posted of the show. I've seen a few posts featuring Atari video music units; they're almost all demos and few really take into account the potential of the AVM as a really interesting live visualizer. My visual set up for that night included an Atari video music with my mixer's aux. output running into it, a Panasonic Wjmx-10 a/v processor, DVD player, vcr, and the house projector. If you want any more info or have any questions, please don't hesitate to ask. Thanks."

Kawai SX-210 Analog Synthesizer

YouTube via mcvadsr. "Analog Keyboard (1983)"

Update via Qwave:
"Here is a short personal review of this Kawai SX-210 I now own for half an year:

Kawai SX-210
common info:
This is a single DCO per voice synth from the pre Midi times. It got 32 sound memories on board and a HUGE 6 digit alphanumeric display for the sound names.

sound:
Well a single DCO per voice (8 voices all together) is nothing special. But the filter is a SSM 2044 analog filter chip. As used in many great synth. Including the PPG wave. But this is the only thing it got in common with a PPG.
The DCOs are of cause very stable in pitch. No autotune needed (or featured). And they are not sounding bad just because they are digital controlled. The wave shaping is still analog.

interface:
Think Moog Source:
a single endless rotary with a two digit (0 to 99) LED display for the values. All switches and buttons got an LED to show their status (on/off on button switches). Or the LEDs show what gray button is selected to be edited with the big wheel. There are no hidden functions and no second level button use. This makes it straight forward.

features:
You can stack 2 voices for an 4 voice mode. Or stack them all for a bug monophonic sound. Of cause the DCOs will be slightly detuned (preset) for a wider sound. No split or layer mode, because this is a non-multi-timbral synth. You can use a chord memory. And it will be stored with the sound.
The DCO got saw, pulse, sub (- 1 oct) square wave and (white) noise. You can use a combination of them or all together. But no mixer available.
The LFO is routable to the pulse wide, the filter, the VCA or retriggering the envelopes in any given combination. The LFO got saw, triangle and square wave. The reverse button let you change the phase. This is a great help on the saw wave. There is only one LFO shared by all voices. That is most like noticed if you use the delay parameter of the LFO.

The pitch bender is a Roland styled one. This is nothing I am used to (yet).

On the top right of the userinterface there is a red button to switch the preset analogue ensemble FX on or off. And this FX makes the Kawai SX-210 to the very best programmable string keyboard

A clear 6 letter/number read out for the sound names was a big plus in the early eighties. And although you have 16 or more digest on most synths today, you will prefer six digit read out more then no user sound name at all.

likes:
- anlog SSM filters
- pwm by the LFO to widen the sound
- 2 envelopes
- clear layout and easy to use interface
- preset ensemble FX

dislikes:
- no mod-wheel. But you can shut of the LFO with a single button
- no velocity or aftertouch
- mass storage beyond 32 patches by tape interface only
- no user changeable detune for stacks
- no other FX parameter then on/off for the ensemble FX
- no S&H on the LFO
- no visual feedback for the pitch of stacked notes (chord memory function). Nice for octave layers.

__________________
keep on turning these knobs

Till "Qwave" Kopper"