MATRIXSYNTH

Sunday Night in the Cockpit

YouTube via kipptumor
"I thought I would show you how we have been making patterns and grooves lately for eventual use in our live laptop digital DJ rig. I have been experimenting with MIDI chaining the gadgets up different ways, and in this instance I am using my Electribe RMKII as the master clock device. Using a drum machine as a master tends to send some rather"dirty" sounding patterns to the other devices, but strange things can occur also doing this.
The Future Retro Revolution has a controlled voltage output for pitch and gate functions so I like to send those to my synthesizers.com Studio44 modular cabinet's oscillators. The Alesis Micron will play whatever patterns it has stored independently of the Electribe's "note" information, but it sill is in sync with the MIDI clock signal. Same with the MoPhatt. I record each part separately into the PC,line them up to the time grid, and then load them individually into the laptop and Ableton. That way we can re-mix these elements live in the DJ rig. I should be drawing this portrait job I have been working on for five weeks, but I have pissed away yet another weekend on music. This is why I got a 1.58 GPA at the Kansas City Art Institute - MUSIC! I'll post a video of my pencil drawings soon."

KORG MS-10

via this auction

Access Virus TI

via this auction

LZX Industries MONOLITH analog synth MFOS Soundlab

LZX Monolith Synthesizer Demo

'The LZX Industries Monolith is a performance monosynth based on the MFOS (Music From Outer Space) Soundlab Plus, featuring a 37 key 1V/Oct keyboard, as well as extensive modulation controls.

This video demonstrates control via an external sequencer. Our Midibox SEQ3 controls both oscillators and gates the envelope generator.

More information will be available soon. For now, find out more about the Soundlab at www.musicfromouterspace.com."

via this auction.

Note this is the one in this video as well.
"List of Features:
- 3 Octave Analog Keyboard with Glide Amount control. Switch controls for Glide On/Off, VCO1 Control On/Off, VCO2 Control On/Off and Envelope Gate Control On/Off.
- Low Frequency Oscillator with four selectable waveforms: Square, Saw, Triangle, and Ramp. High/Low Range Switch.
- Envelope Generator with Attack & Release time controls. Gate/Trigger mode switch. Cycle On/Off switch.
- Voltage Controlled Oscillator 1 with Coarse & Fine tune controls. Saw output. VCO2 Sync On/Off switch.
- Voltage Controlled Oscillator 2 with Coarse & Fine tune and Pulse Width controls. Square & Saw outputs
- Audio Source Mixer with level controls for VCO1 Saw, VCO2 Saw, VCO2 Square, White Noise, and the 1/4" Jack Auxiliary Input.
- State Variable Filter with Cutoff & Resonance controls. Lowpass/Bandpass switch.
- Voltage Controlled Amplifier with Gain Control.
- Master Output Level control.
- 11 Total Modulation Level Controls! LFO>VCO1, LFO>VCO2, LFO>VCO2 PWM, LFO>VCF, LFO>VCA, EG>VCO1, EG>VCO2, EG>VCO2 PWM, EG>VCF, EG>VCA, VCO2>VCO1 FM.
- 1/4" CV Outputs for 1V/Octave, 1V/Octave with Glide, Gate, and Trigger.
- 1/4" CV Inputs for VCO1, VCO2, VCF and EG.
- 1/4" Output & Auxillary Input
- 12VAC 300mA Power Adapter Included."

CLICK FOR MORE »

Polaris Sysex

"The Polaris sysex is essentially a command-language, as noted in the MIDI Implementation Manual (see Polaris manuals).

To send program data you need to send a sysex message to 'open' an object, then 'write' to an object.

Ideally, a .syx file to place a patch would perform 3 steps:

1. send a 'create object' message to the Polaris (to create a new, program - if the section is currently empty);
2. send a 'open object in write mode' message; and,
3. send the program data to the object."

More info on the Rhodes Chroma site.

Blindoldfreak Halifax 1.31.2009 Part 1-6

YouTube via blassster
"Shot with an old digital camera. All I can say, heh.
If you find me shaking a lot... there's only so long someone can hold up a pose without getting tired.
Sorry for the darkness. The original video on my camera looks fine compared to this..."

Alessandro Cortini Montreal 30-01-09 Part I

YouTube via bloodofreptile. These are from the show mentioned in this post.
"The sound isn't great, and the picture is moving a lot, but I did what I could with what I had!"

Alessandro Cortini Montreal 30-01-09 Part III

"End of the show. Again the sound isn't as great as it could have been..."

I'm not seeing Part II yet. I'll put up a new post when I see it.

Metasonix Pre-Orders at Analogue Haven

http://www.analoguehaven.com

"the r-51 is unique and never before available in any form. it uses two remote-cutoff pentodes, type 26a6. two cv inputs are available for controlling circuit distortion from less than 2% up to more than 40% (varies with individual tubes). two cv inputs also allow use of the r-51 as a conventional synthesizer vca, with gain variable from less than -75db to +5db (typical). both distortion and vca features can be used simultaneously. this allows true vacuum-tube asymmetrical soft clipping to be applied to any waveform. with suitable cv processing, the r-51 can be configured as a true "variable mu" limiter or expander."

"the r-52 uses two pentodes, type 12au6. the circuit is derived directly from our award-winning tm-2 filter, but with all the features of our tm-6 filter. a pair of bandpass filters is swept with a vactrol(tm) control element, a resonant treble filter and a less-resonant bass filter, giving a 4-pole lowpass response. filter sweep range (approx): bass-only 80-200 hz, bandpass/lowpass low setting 300-1000 hz, high setting 800-1900 hz. filter resonance/q adjustable from less than 1 to oscillation. voltage gain approx. 2 with resonance set to 10 o'clock position and input level set to maximum. both filters, or one at a time, may be selected and mixed in desired amounts using the front-panel response control. this allows for a wide range of equalization and special sound effects. cv inputs are available for sweeping the cutoff frequency and for affecting the treble filter's resonance. circuit distortion is less than 0.5% typical."

"the r-53 is directly derived from our legendary tm-1 device. it uses a 12af6/bd6 remote-cutoff pentode and a 12av7 dual triode. waveshaping is provided by a vacuum-tube "pulser" circuit that spits irregular pulses onto the input waveform. they synchronize erratically with the input pitch (if a waveform with sharp transitions is used). combined with true vacuum-tube circuit distortion, this can provide a vast range of complex, aggressive distortion effects, utterly unique in the world. a basic ring-modulation function is also available in the unit--applying a carrier pitch from an external oscillator to the screen grid of the pentode, this allows making inharmonic sum-and-difference pitch sound effects, with a unique vacuum tube pentode sound."

"the metasonix kv-100 is not called the "assblaster" for nothing. we've taken all of our knowledge of extreme vacuum-tube audio processing and combined it into a single convenient, easy-to-use package. inevitably, the end of the tm series will cause shit-eating, ass-fisting guitar players to whine about how "underappreciated" they are. so, we're feeding them a foot-long fecal sandwich of audio penis. it's complete with disgusting and juvenile cartoon art by dave lovelace, of retarded animal babies fame.

the kv-100 contains the following:
- five goddamn real new-old-stock vacuum tubes.
- the basic preamp stage of our tm-7 scrotum smasher, driving:
- the waveshaping (pulser) and ring modulation functions of our tm-1, minus the ring-modulator carrier oscillator, which then drives;
- a vco derived from our tm-3 (it is not intended for use as a synthesizer pitch source, only as a special effect for signal degradation), leading to;
- an all-new wide-sweeping bandpass filter, with envelope filter function plus wah capability (external pedal);
- plus an envelope follower, which also makes a gate signal;
- and a noise gate on the output, which is always active and is driven by said gate signal.

plus relay-based true bypass for the main circuit, plus relay controlled activation of the vco and pulser. controllable with manual switches or external fender-type amp footswitches.

plus plenty of processing inputs and outputs for control voltages. no midi, dammit.

only 8 knobs allow for vast ranges of distortion and effects, from subtle to flaming-enema. it's for those filthy, nutsack-sucking guitarists. because they deserve, and love, flaming enemas.

yes, you can plug your damn guitar into it, yes, you can plug line-level sources into it. yes you can run the output to a guitar amp or any mixer. yes, all the inputs and outputs are compatible with modular synthesizers.

no, it's not sorta-kinda-like a line 6 anything. no, it's not a tube-man version of a digi-tech or boss any-damn-thing. no, for the ten-millionth time, it won't make you play like steve vai, ass-sucker. i'm getting really sick of feeding sarcasm to the geeks who own 40 bootleg korn albums and read guitar world with their lips moving. (they say things like "dude, i bought them off a guy in the public toilet, he said they wuz real!") there's so many of them, and they are so brainless, i could type anything here and they'd never know or understand. one would think that after our tx-1 agonizer, tx-2 butt probe, and tm-7 scrotum smasher, they would know better than to ask stupid questions. feel free to gnaw the crust off my taint, tiny worm guitar dude. jeff beck is dead, and you're a fairy boy wearing pink satin panties and a matching bra. your mother's penis is bigger than yours. and your father is a duckbill platypus. have a nice day, scroad.

specifications: audio input accepts unbalanced guitar, microphone or line signals. output 600 ohms unbalanced. 1/4" jacks for all i/o. extra inputs: carrier audio input for ring modulator, cv inputs for vco pitch and filter sweep. extra outputs: envelope cv out, vco waveform out, pulser waveform out. frequency response: yes. distortion: yee-haw. filter sweep range: <100hz>12 khz. enclosed in rugged, moisture-resistant abs utility box with hinged lid, carrying handle and latch. size with lid closed 12.25"x7.4"x6.5" (314mmx186mmx168mm), weight (minus ac adapter) approx 2 lbs (1.4 kg). power: 12 volts ac, 50/60 hz, 1.5 amps. uses jameco 167151 ac adapter for power in 120v countries. power inlet: 2.1mm coaxial jack.

demos:
here are some audio demos using the prototype, courtesy of the wretch:
kv-100 mangling sh-101
kv-100 mangling machinedrum
kv-100 mangling guitar

please click here to visit the manufacturer's webpage for more info."
http://www.analoguehaven.com/metasonix/
Note the KV-100 and R-52 are listed on Big City Music as well.

NAMM: Metasonix KV-100 Assblaster beats @ NAMM 2009

YouTube via arrowbang

"Metasonix KV-100 Assblaster filters beats from a Jomox Xbase 999 drum machine. Recorded during NAMM 2009 at the big city music booth. Knob-twiddling by Josh Humphrey. Equipment available at bigcitymusic.com"

Utopia Synth Assblaster @ NAMM 2009

"Metasonix KV-100 Assblaster filters King Capitol Punishment Utopia Synth at the big city music booth."