Profile: Adrian Utley - Portishead - PT3

See the write-up on Sonic State. See all three parts here.

Welcome to Synth DIY UK

Jen SX1000 primarily featured. See the write-up on Sonic State.

MIDIbox SID V2 Bassline Demo #5

YouTube via ucapps
"MP3 with better audo quality available at midibox.org

Bassline demo played on a MIDIbox SID V2 in a MB-6582 case made by Wilba.

0:03 first bassline starts to play
0:10 selecting different sequences, drums played from a sampler
0:17 "pumping" effect realized by sending the bassdrum to the sidechain of a compressor
0:25 checking the new O23 feature: bassline played unisono
0:33 changing the oscillator phase offset
0:47 detune
1:05 disabling the O23 functions
1:15 second bassline w/ external delay Fx starts to play
1:22 showing the V-meter function in bassline mode
1:47 activating oscillator synch, second oscillator played with constant pitch
2:23 activating ring modulator, played with different pitches
2:55 tweaking cutoff/VCA release/O23 pitch (distortions are SID internal)
5:38 second bassline with detuned oscillators "

Euro joins the party!

via Muff Wiggler.

Blacet Research MX2040 Mixer

via Kwote Music where you'll find more info and images.

PSPSeq 3.0 Released

"PSPSeq is a free homebrew application for composing music on the Sony PSP handheld game system. PSPSeq contains both realtime synthesis and sample playback capability, along with multiple FX modules of widely varying types for modifying instruments in countless ways. PSPSeq also has a powerful and unique step sequencer for triggering samples and arranging loops into full songs.

Key features of PSPSeq:

- up to 16 independent audio tracks per song
- a wide variety of synthesizers from traditional virtual analog and FM to Karplus-Strong
and unique digital oscillators with parameter controls rarely seen in commercial synths
- WAV file playback with looping, pitch shift, and configurable start/end points
- many FX algorithms from digital filters and waveshapers to bitmasks and decimation
- all synthesizer parameters can be set to unique values on a per-step basis
- step sequencer with configurable step length, swing, highly accurate BPM, and tap tempo
- probabilistic sequencing: the decision to retrigger to be based on a 0-100% probability
rather than a boolean yes/no operation
- song sequencing with 100 different loops per song, 1000 measures per song, and loop
repeat capability
- load and save of synthesizer presets between songs
- record loops and songs to WAV"
http://www.dspmusic.org/psp/

Alesis Ion | demo (2 of 2) by syntezatory.prv.pl

YouTube via Jexus

"2003 Alesis Ion. All sounds programmed by WC Olo Garb. Video editing by WC Olo Garb. ||| Syntezatory.prv.pl Videos: showing you not what a synthesizer can do, but what a man can do with a synthesizer."

1972 Moog Sonic Six Analog Synthesizer Demo

YouTube via peahix.

images via this auction. http://www.myspace.com/peahix

"1972 Moog Sonic Six. This synth is currently listed on eBay: item #130238825211. This is a quick demo showing some of its features, definitely not a comprehensive demo. Also I cover the two main problems this unit currently has:

1) There is a problem with the lower portion of the keyboard, where the pitch sort of does a "bump and glide" down to those notes after playing higher notes. It's a bit unpredictable and hard to describe- just watch the video. Not sure what the source of this problem is.

2) The modulation input for the ring mod is currently not working. In the video I demonstrate that the signal input works (Osc B), but the mod input switch does nothing. Again, not sure of the source of this problem.

Apart from these issues (which should be fix-able by a qualified tech), and a few missing knobs, slider caps and screws (replacements should be available), the synth works quite nicely.

The oscillators have been calibrated, and once warmed up, they hold their tuning well. All the key contacts seem to be in good shape and the keyboard has a nice, playable feel to it.

This unit features the earlier non-Moog filter.

The audio was recorded direct. There's also and onboard speaker which works well and sounds nice."

Roland SH-101

YouTube via beamercola


images via this auction

Roland RS-202

images via this auction
"take a simple organ 'divide down' sawtooth oscillator as the basic sound source for unrestricted polyphony and throw the whole thing through a chorus unit. Add simple vibrato, a choice of registers and and a simple attack/release envelope shaper and you have the perfect recipe for rich strings. That the Roland RS202 could deliver silky string sounds is undisputed - it sounded gorgeous and I remember being full of envy when a friend of mine bought one and let me play it (and I borrowed it whenever I could!). It was simple to operate, a joy to use and as soon as you played it, a unique sound just dribbled out through those rear panel jacks! The RS202 wan't quite as 'mushy' as other, competing string synths of the time and it had its own sonic identity. The RS202 came in its own flight case... It had controls for tuning and master volume and various large rocker switches that allowed you to select different string sounds: Strings I and Strings II (an octave up from Strings I). Like other string synths of the era, there was also a brass sound that could be selected and, like other string synths of the era, it was next to useless! No.... it was the string sound(s) that defined the RS202. At the heart of the RS202's string sound was Roland's 'ensemble' or chorus effect. For whatever reason, Roland got this just right not only on the RS202 but also in the chorus effects pedals that they (and their subsequent subsidiary company, Boss) were to release. This rich ensemble effect was enough to guarantee the RS202's success. However, unlike the competition of the time, each key also had its own envelope shaper so that each note articulated properly. This was a huge improvement on other such string synths at the time and made the RS202 far more playable and expressive - it's just a shame that the sound's attack was limited to just two preset values determined by the setting of a single grey rocker switch labelled 'SOFT ATTACK'. By way of compensation, there was at least a totally variable 'SUSTAIN' (i.e. release) control so all was not lost. The other grey 'TONE' rocker switch allowed you to select two different timbres for the string or brass sound. The RS202 was also 'bi-timbral' with different sounds for the bottom two and top three octaves respectively and flexibility was enhanced by the fact that the lower and upper sections were (almost) completely independent of each other thus you could have solo 'cello in the bottom half of the keyboard and a lush string ensemble in the upper half of the keyboard. Or you could have combinations of lower and upper brass and strings and so on according to the settings of the five identical rocker switches for each lower / upper section. Two sliders allowed you to balance the two sections."