MATRIXSYNTH

Vermona drm1 mk2 analog drum synth

images via this auction

"this is the mk2 version with heavy duty silverknobs. sounds are trigged by midi."

Vermona DRM1mkii - lazy loops from Cold Hand Murr on Vimeo.
just messing around...

EDP Gnat

"Gnats are usually nothing but an annoyance, but in this case, we'll make an exception. The Gnat is a single-oscillator version of the Wasp. It has one digital oscillator and analog circuitry with a basic lowpass resonant filter, envelope with Attack and Decay controls, an LFO which can modulate the pitch or filter, and a built-in speaker. Like the Wasp, it has a very un-playable touch-sensitive flat keyboard with 25 keys. The Gnat also had EDP's propietary control that could be used to link the Gnat to a Wasp or other EDP gear. Like the Wasp, the Gnat also came in three versions. Besides the original, a Gnat Special (pictured above, released 1982) and Gnat Deluxe were released. They had wood panels and a few other changes and the Deluxe used a a standard 3 octave keyboard. The Gnat offers simple and traditional synthesis of analog bass, synth and other useful monophonic sounds. It's designer was Chris Hugget. Specifications: Polyphony - Monophonic Oscillators - 1 DCO (adjustable from 2' to 32'), switchable between ramp, square, enhance, and noise LFO - one LFO with sine, ramp, sawtooth, square, and random waveforms Filter - one low-pass 12dB/oct filter with resonance Arpeg/Seq - None Keyboard - 25 capacitive non-moving touch keys (or 37 standard keys on Deluxe model) Memory - None Control - EDP proprietary digital socket INPUT. MIDI retrofits and some MIDI-CV converters are able to provide control. Date Produced - 1980 - 1983"

KORG EPS-1

images via this auction
"The EPS-1 Electronic Piano and Strings, offers six different LED pushbutton-selected piano voices. A front panel mounted variable key Dynamics control allows the performer to adjust keyboard response and a built-in 3-band Equalizer allows tailoring of sounds; A special Presence boost control produces a totally different sound by variably emphasizing me harmonics portion of me selected voice, depending on how hard notes are played. Also featured are LED pushbutton selected stereo Tremolo and Chorus effects with variable Speed and Intensity controls. The separately articulated Strings section features touch sensitive attack time, making the EPS-1 the first low cost instrument to offer dynamic articulation of strings.

Strings may be used separately or layered with piano sounds. Each string voice features individual note articulation plus overall Attack and Release Envelope controls, me touch sensitive feature may also be fumed off. Volume, Bass and Treble controls, plus LED push button on/off switch complete the Strings section. The EPS-1 also features a special Key Transpose switch, which allows transposing me entire keyboard up and down a fifth from middle "C", a new piano-type damper pedal, me DS-1, which provides effortless sustaining functions for both piano and string voicings. Rear panel: stereo, mono, separate strings and headphone output jacks and tuning control."

Moog 950B Scale Programmer

via this auction

"Very rare Moog 950-B Scale Programmer."

Anyone know more about these?

Update via elgauchoandres in the comments: "It was a very nice add-on for the modular.

From moogarchives.com:

950B SCALE PROGRAMMER:
Designed to be connected to the 950 Keyboard Controller, the 950B bypasses the 950's equal-tempered interval control, thus allowing for the individual tuning of each note on the keyboard. The 950B consists of sixty independent manual controls, each of which varies the magnitude of an interval between two successive voltage levels on the 950. Tuning is continuously variable from 0 to 2 semitones..
$460.00
From "Moog Catalog 1971", R.A. Moog Inc, March, 1971.
(http://moogarchives.com/m950b.htm) "

Da B Crew

A family portrait of the Plan B clan taken in the Noisebug analog compound yesterday, from left to right: Sam Hernandez (our go to guy), Sergio Trejo, Dylan Sang (sitting), Some fool inna hat, Kateri Lirio and Elias Angulo.

Gear Costs

Ivan posted the following on AH. I thought it was an interesting perspective many of us seem to forget over time, myself included. I asked Ivan if I could put it up here and he gave the ok.

"Just an observation here since gear prices always seem to bring gasps from the audience. It may sound snobbish, but we've all got our opinions.

I started thinking about another forum post regarding Richard Lainhart and his Buchla 200e and Haken Continuum Fingerboard controller. Back around 1978 I worked with a club band that played the local circuit. Their keyboardist had the typical mondo setup. Hammond B-3 with Leslie 122, Yamaha CP-80, Arp String Ensemble, Minimoog, and a Clavinet. I think he had another synth too but I can't remember (maybe an Arp Odyssey). Oh, and Anvil ATA cases for everything (including the B-3 and CP80). This was 1978 and he had, roughly, $20,000 worth of gear. A new Corvette the same year was $11,388. I seem to remember the local university purchasing a mid-size Emu modular synthesizer in 1978 for $18,000.

Fast forward 30 years. Richard Lainhart has a $20,000 Buchla and a $5000 Haken Continuum. This is extremely rare equipment that most of us will never touch. Yet compared to a rock and roll keyboard or synth setup of the 70's or 80's it is inexpensive, especially when considering inflation (a 2008 Corvette is about $60,000). Even a brand new MOTM modular synthesizer is less expensive than a Emu modular was back in 1978.

Anyway, I know for most of us electronic music is a hobby (and an obsession, but that's beside the point). But quality gear still costs a few dollars. Even if you're using soft synths you get what you pay for in terms of computer audio interfaces. It's pretty simple; a Metric Halo or RME box sounds better than an M-Audio box.

My point? I see posts about Tom Oberheim's new synth and people think it should cost less than the new one did 30 years ago! Look, it still costs a lot to produce a piece of quality hardware. I'm getting tired of the bushing-less pots, cheesy construction, and other cost cutting done to turn good circuit designs into inexpensive "mass market" products all in the name of saving a few bucks. What happened to the brick shithouses that people used to build? There is a reason all of these Moogs, Oberheims, and others are still around and working. They were built well using decent components. And guess what; it cost a lot do build them that way. Nothing magical happened between now and back then to drastically reduce quality component costs.

I worked for one of the big pro audio companies that forever changed the price point for mixers. Were they good for the price? Yes. Did a $600 mixer rival the performance of a world-class studio console? No f'ing way, regardless of what the marketing department told you. Not in terms of performance, and not in terms of build quality.

Speaking of which, if do happen to have many thousands of dollars in gear, you might consider spending more than $100 on the mixer that you route it through..."