MATRIXSYNTH

mad scientist drummer – Steve

mad scientist drummer – Steve from Sebastian Arnold on Vimeo.

mad scientist drummer – Spanky from Sebastian Arnold on Vimeo.
"Sebastian Arnold plays acoustic and electronic drumset and synthesizers. myspace.com/sebastianarnold"

via Ricko on electro-music.com
"I have been playing around for the last week using FSK (frequency shift keying) as a synthesis method. I don't think I have ever seen anyone write about this method in public, so here goes.

It is a way of getting good control over two separate formants with only two oscillators.

The configuration is simple: a slave (sine) oscillator synced to a master (square) oscillator. The output is from the slave. The base frequency is set from by the master oscillator, and the formant frequency is determined by the frequency of the slave oscillator, as you would image.

How the FSK set up is unusual is that you add to the Fin of the slave a little of the square wave (adjusted so that it the "space" is always 0V). So during the mark part of the square wave, the sync oscillator is a higher frequency than the space period: the effect is that you get an extra formant. The frequency of this 2nd, higher formant is set by the amount of the square modulation from the master (if the mark is 1V signal, the 2nd formant will be 18ve higher, etc). The relative levels of the formants to each other are determined by the pulse width of the master.

(Obviously, if the master frequency is higher than the formant frequencies, you don't get this formant effect.)

What is quite interesting is that if you want to have fairly fixed formants, you don't need to feed in the keyboard CV, and even if you want variable formants you can do it with a very simple oscillator without high-end (expensive) tempco because the base frequency oscillator stability is entirely determined by the master oscillator: fluctuations in the slave will show up as minor tone changes which may indeed be pleasant.

It would be easy to build an FSK waveshaper: just a syncable LFO driven to audio rates at a minimum.

The kinds of tones that are available tend to be woodwind-ish and sparse, and thin and buzzy at the low end, but interesting. Changing the square to another waveshape stops the FSK effect and is useless for the formant effect. Selecting richer waveforms than the sine obviously makes more harmonics which can disguise the formant effect but can be interesting in their own right.

(To do this digitally, you have to clip the square wave rather than use a band-limited version.)

I have found what is quite useful is to use the FSK in conjunction with a BP filter (signal from the master VCO) also controlled by the formant1 CV and output +/_ with the slave osc. That allows a richer band of harmonics, with exact formant either being emphased as if you had some super Q going on, or cancelled out."

Wooden noise drone synth

YouTube via jakewaldron. via brian c.

Roland TR-909

images via intercorni on the forum where it is up for sale.

Be sure to check these out full size.

ARP SOLOIST Owned by "Night of the Living Dead" Producer Karl Hardman

images via this auction

"This extremely rare and functioning 1971 ARP Soloist synthesizer was one of the first synthesizers originally designed for the live performer and is considered the first preset mono synthesizer ever manufactured.

The ARP Soloist was one of the first synths ARP ever produced and is the precursor to the more common, somewhat similar ARP Pro-Soloist. The Soloist was designed to have presets that provide the live musician with immediate access to cool patches and sounds and is smaller and lighter, making it more portable, than most synthesizers of the time. The presets can be modified by using the various effects, portamento, filters and aftertouch features on the top, front and back of this unit.

This synth was checked and serviced last week by a former ARP-licensed professional technician with previous experience working with this rare model. The original oscillator in this unit died and has been replaced with a brand new (same model) oscillator. All its other parts were checked and subsequently ok’d. As far as we know this synth is fully functioning. However, we are aware that the aftertouch in these models generally stops working over time. We have been unable to satisfactorily conclude that the aftertouch function on this particular synth is indeed functioning as it should. Therefore, while the aftertouch effects seem to work on certain patches and settings, we are selling this synth with an 'as is' disclaimer on the aftertouch functions.

Adding further interest to this particular synth is that it was previously owned and used by Karl Hardman, the man who produced and starred in cult horror film classic Night of the Living Dead. Hardman was a radio, TV, movie producer, and co-founder (together with life-long partner Marylin Eastman, who also starred in Night of the Living Dead) of Hardman Eastman Associates- one of Pittsburgh's major film and sound production companies. This ARP, which comes from their studio, appears to have been well maintained and is currently in wonderful condition.

The keyboard features 37 keys, aftertouch volume sensitivity, brilliance (resonance), vibrato, wow, bend effects, portamento, a repeat (early arpeggiator type) switch which can be controlled with the top sliders, envelope and LFO controls. On the back of the keyboard is a fine tune knob and two knobs which control the threshold and sensitivity for the effects and aftertouch. Also on the back is a 1/4 “ output jack for low level output and an RCA output for high level output.

The Soloist used the same potted main 4012 or “Moog” filter as used in the all the ARP 2600s made up until 1976 and featured a noteworthy and highly expressive aftertouch system. The aftertouch could be controlled and adjusted allowing the performer to add complex expression and alter various aspects of the sounds based on how hard, fast or long the keys are pressed combined with the various settings.

Condition and Description:
34.5" x 10" x 3.5" inches in size. Plastic slider knob for Volume and Portamento Speed missing but sliders are still easily adjustable; one small rubber foot missing from bottom; overall very light wear with a few faint scuff marks."

1971 ARP Soloist short demonstration
YouTube via LarsWigren

"A short demonstration of an original 1971 ARP Soloist synthesizer which I am currently selling on ebay. I recorded this for the ebay listing the day I got it back from the repair shop. The audio comes from the camera recording the sounds coming out from my stereo."
via Jeremy

more film synth spotting

via John:
"These two pictures come from the film 'Walk Hard: The Dewey Cox Story' -a really funny music-comedy with a lot of references to country and pop/rock mythology of the previous five decades. The first picture is a snapshot from the extras of the DVD, where the staring actor John C. Reilly records the vocal tracks and an ARP 2600 is visible. In the second picture you can see a Minimoog, which is strangely looks like its inards are removed(to make a Midimini by Studio Electronics maybe?) and a Fender Rhodes Suitcase model with silver top -an early one.
A nice movie, but as I saw that film with my (25 yrs old)son , he seemed like he didn't got a lot of internal jokes, that coming from the rock/pop mythology -for example the references to the legendary 'Smile' concept by (Beach Boys) Brian Wilson and stuff like that -I had to explain to him a lot, during the viewing :) Anyway, a very enjoyable movie for every music fan -recommented." See the Synth Movies label below for more.

Oakley Voltage Controlled State Variable Filter

"This is a two pole multimode filter capable of high pass, low pass, band pass and notch output modes. All four outputs are available simultaneously. This new version of the very popular Oakley design is based around the classic two pole state variable filter topology as used in a variety of vintage synths including the Oberheim SEM and OB-X. At high resonance the Oakley SVF will oscillate over the whole of the audio band and is temperature compensated.

The design is intended to fit into a 1U wide 'filter-core' module or a more fully featured 2U wide panel with seven control pots.

The 1U 'Filter Core' format is our new way of handling filter modules. Although the 1U module can be used as a filter module on its own, it is expected that users will make use of external mixers to control CV and audio levels going into the filter. In this way, you will be able to have a collection of space saving 1U filter cores that can be used with any generic mixer module. The Oakley Multimix is an ideal choice for a handy mixer module."

More info on the Oakley Modular site.

Roland VP-330 Vocoder Plus + Moog Prodigy by RetroSound

YouTube via retrosound72

"vintage synth demo track by RetroSound

bassline: Moog Prodigy; sequenced by the SCI Pro-One internal sequencer and triggered by the TR-707
strings and human voice choir: Roland VP-330 Vocoder Plus Mk2
drums: Roland TR-707

no overdubbing, no playback, no sequencer software used"

Korg Kaoss Pad Circuit Bent

images via this auction

"So what is this ?
It's a faulty Korg Kaoss Pad that I kind of bent. The KP touchcontrol broke and then the unit itself started acting funny.

First of all: IF YOU'RE LOOKING FOR A WORKING KAOSS PAD THE AUCTION IS NOT FOR YOU BECAUSE THE UNIT CANNOT PROCESS AUDIO AND THE TOUCH PAD IS MISSING.

Now, how does it work ? Well simply turns the unit on and it'll start making sounds. You can change programs by turning the program wheel, you can even still save your favorite presets to one of the 8 push buttons to instant recall. As you can see there are 3 body contacts that acts on the sound. They do have an effect on every preset but on most the do have.
You can also still sample the noise that comes out of the unit on one of the 2 samples location (see video).
There is also a reset button, to quickly reset the unit when you're fed up of the ongoing noise.

What you can't do ? use it as a fx unit, as a working Kaoss Pad because no audio can be process, all the sounds come from the box itself.

You don't have much control over the sounds, and some presets are not giving any sound and other are giving the same, but all in all, it's a nice cheap box if you'll looking for noises and drones.
Hear for yourself: DEMO#1,DEMO#2,DEMO#3
and there is a quick video down here"