MATRIXSYNTH

Synthesizer Treffen Schweiz 2006

YouTube via Metunar
"Video of the Swiss Synthesizer Meeting in 2006.
(Rapid Equipment Movement)"

Update: videos now on a different YouTube account:
http://www.youtube.com/user/SwissSynthMeeting

Macbeth M3X

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via this auction

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AtomoSynth Abyssal Clear Edition

more images at AtomoSynth

via this CL listing
"The Oberheim Xpander was an analog synthesiser launched by Oberheim in 1984 and discontinued in 1988. It was essentially a keyboardless, six-voice version of the Matrix-12. Utilizing Oberheim's Matrix Modulation (TM) technology, the Xpander combined analog audio generation (VCOs, VCF and VCAs) with the flexibility of digital controls logic.

The Xpander "Owner's Manual, First Edition" describes the technology as this:

"An analogy to the Matrix Modulation system might be all of those millions of wires that existed on the first modular synthesizers. As cumbersome as all of that wiring was, it alllowed the user to connect any input to any output, resulting in sophistication and flexibility unmatched by any programmable synthesizer...until now."

Analog Components

Each of the six voices of the Xpander is completely independent. That is to say, each could be configured to create a different timbre - this is accomplished via the multi-patch mode which will be described below.

Starting at waveform generation, each voice has two voltage controlled oscillators (VCOs). Each of which is capable of generating sawtooth, triangle, pulse or noise waveforms. Furthermore, the "duty cycle" of the pulse width can be modulated as well. Although perhaps better known for subractive synthesis, the Xpander is also capable of frequency modulation (FM) synthesis by modulating VCO 1 with VCO2.

Moving on from the VCOs, the signal then passes through a multi-mode voltage controlled filter (VCF). The available modes on the filter are:

* one-, two-, three- and four-pole low pass
* one-, two and three-pole high pass
* two- and four-pole band pass
* two-pole notch
* three-pole phase shift
* two- and three-pole high pass plus one-pole low pass
* two-pole notch plus one-pole low pass
* three-pole phase shift plus one-pole low pass

From the filter, there are two sequential voltage controlled amplifiers (VCAs) through which the signal must pass. And finally the audio is delivered to a variety of outputs: mono, stereo and six independent outputs (corresponding to the six voices).

Digital Controls

Of those analog audio components (VCOs, VCF and VCAs), each can be modulated by several different digital controls.

* ADSR Envelopes - each voice can have up to five envelope generators. Each envelope is of the standard Attack-Decay-Sustain-Release model (ADSR), with the addition of an initial Delay phase, thus making them DADSR envelopes, to be exact.
* Low Frequency Oscillators (LFOs) - each voice can have up to five LFOs applied. Each LFO can have a different waveform: triangle, square, up-saw, down-saw, random or noise. Additionally, a sampling mode is provided, whereby an independent source (e.g. a different LFO) is sampled at a set frequency.
* Lag Generator - the lag function is similar to portamento on traditional sythesizers. However, the lag modulation in the Xpander can be applied to any control or audio signal.
* Ramp Generators - each voice can have up to four ramp generators. Similar to the attack portion of an ADSR envelope, the ramp generates a linear signal from zero to the user-defined ramp height.
* Tracking Generators - there are three tracking generators available for each voice. The tracking generator provides a mapping from a control source (e.g. key range on the keyboard, or volume pedal, or mod wheel) to a modified output, based on the user-defined settings of the generator."

Nord Wave - Impressions

You can find the full review with samples on Carbon111
"As an added bonus, Clavia has licensed the original Mellotron library (with their hissy, warbly, warts-and-all character) for use in the Wave as well as some very high-quality samples from some respected third parties so there's plenty of fodder for interesting sound design right out of the box. Integrating samples into a VA environment is a blast with all the cross-modulation and unusual filtering that can be done!"

via SYNTHWIRE

Richard Brewster MegaHz 101108 modular analog synthesizer

YouTube via halmcgeevideo
"Richard Brewster in performance at Day One of the MegaHz Fest at The Bridge PAI, 205 Monticello Road, Charlottesville, Virginia, Saturday, October 11, 2008. This was Richard Brewster's first live performance in 25 years, and presented here is most of one of two performances by Brewster that day on his MOTM-style modular analog synthesizer. The MegaHz Fest was a two day experimental music and noise event in Charlottesville and Richmond, Virginia, presented by the HzCollective. Filmed by Christopher Miller, with Hal McGee's Sony CCD-TRV138 NTSC Hi8 analog video camera."

LYNC LN-1000 JAN HAMMER Keytar

via this auction, via the forum.
see the update below
"The most mythical, the most wanted keytar in the world. The keytar which was used (a custom model) by Jan Hammer. It has been nicknamed "The Rolls-Royce of the keytars".

This is not the (inferior) LN-4: this is the next (and improved) model LN-1000.

Much better than the Roland AX-1 / AX-7 and others:
- 49 keys / 4 full octaves (The Roland only has 45 keys).
- Velocity sensitive keys with AFTERTOUCH (Roland keys only transmit velocity).
- Real continuous controller mod/pitch wheels (The Roland only has a very awkward and almost unusable ribbon / D-beam control).
- ...And much more (if you are looking this article, that's because you already know what type of jewel the Lync LN-1000 is, compared to other keytars...)

The original manual and cables are included. It feeds directly from the MIDI port by means of an ad-hoc little box which is connnected both to the electrical plug and the MIDI cable (as I'm not the original owner of the keytar, I'm not sure if this was the default configuration, but I suspect that it was modified in order to allow this MIDI-feeding)."

Update via Richard Lainhart of O-Town Media:
"One comment about this - the LN-4 is actually the superior controller. The LN-1000 was designed to be a lower-cost, less fully-featured version of the LN-4.

For example, the LN-4 had a separate rackmount interface/power supply that provided 4 MIDI outputs; each MIDI output was separately programmable and controllable from the LN-4. The LN-1000 had a single built-in MIDI output, and was battery-powered.

That's not to say that the LN-1000 is a dog; far from it. But it isn't superior to the LN-4. (I owned an LN-4, used to work for Lync, and wrote the manuals for both controllers.)"

machinedrum RAM machines

YouTube via vcovcfvca
"Sampling from the audio inputs on the machinedrum in order to layer loops and tweak samples. Once recorded and looping you can easily tweak the samples just like any other track on the md. I do minimal (safe) tweaks here to (try to) keep the groove going but you can easily mess with start and end points for stutter effect, etc.

A simple 1 bar pattern, 3 RAM machines filled w/ keyboard parts live, nord electro2, dsi mono evolver keyboard (MEK), mackie 802-vlz3, ehx holy stain, ehx stereo memory man with hazarai"