MATRIXSYNTH

Ensoniq ESQ1 | demo (2 of 2) by syntezatory.prv.pl

YouTube via Jexus. part 1 here.

"1986 Ensoniq ESQ-1. 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."

The Deathlehem Machine befriends 2 x MFOS Sequencers

YouTube via dolphinicus
"This is the 1st video of my noise machine that I've been building since late February. The audio and video quality aren't the best, but it gives you an earlier idea of what my Deathlehem Machine is so far capable of! :)"

Circuit Bent Laser Sound Module Effect Synth Bent By SkinSink

YouTube via BentElectronics

"Circuit Bent Laser Gun Sound Module in a large medicine Bottle, Switch to engage the circuit bend (pitch)..1/4" inch output with Tone knob...Large scale Off / On Toggle Switch"

Circuit Bent Laser Gun Sound Effect module BLACK LIGHT

"Blacklight reactive paint.."

OSCar SYNTHESIZER

via this auction
"This is a most astounding, fully programmable, monophonic/ duophonic analogue synth with digital control, made by the Oxford Synthesizer Company between 1983 and 1985. It is brilliant for lead lines, bass and crazy, off the wall sounds and effects or anything in between.

This is a 1985 model and comes with factory equipped MIDI and has the last firmware revision, Version M2."

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Moog Taurus 1 Bass Synth Pedals - Inspection Card

via this auction

1975 Inspection and Assembly card

Roland SH-1000

via this auction

Elvis

Yamaha SK15

via this auction
"Features include:
String Section
- 16’ Fader
- 8’ Fader
Poly-Synth Section
- Volume
- Feet
- Cut Off Frequency
- Resonance
- Eg Depth

- Attack Time
- Decay Time
- Sustain Level
- Release Time
Organ Section
- Percussive
- Brilliance
- Sustain Fader thank links to other function buttons
- 16' Fader
- 8' Fader
- 5 1/3' Fader
- 4' Fader
- 2' Fader
Voice
- Organ

- Poly-Synth
- String
Tremolo/Ensemble
- Speed
- Tremolo
- Organ
- Poly Synth
Vibrato
- Delay
- Speed
- Depth
Output Nob
Pitch Nob"

Yamaha SK15 stringmachine. previously posted here
YouTube via knarrbacken
"A demosound from SK15. No external FX, ensemble effect is switched on after the first tones and the internal filter is sounding like some kind of phaser."

Yamaha SK15 Symphonic Ensemble Vintage Analog Polyphonic Synth 1980

YouTube via abertronic. previously posted here

Update via Adrien in the comments: "by mixing synth and strings section, it's possible to make a funny effect
you can cancel some frequencies, and, by adding an enveloppe on synth filter, you get something that reminds a bit prophet VS (no, it does not sound as good, but you can go from 16' to 8' and back to 16' just playing keyboard, and not touching any slider )"

Roland MC-202 Modded

via this auction

"There is something very unique about this MC 202. For one, as you can hear from the recordings, it has a little bit of a harder, edgier sound than other 202's. I don't know if it's due to the modifications or just the fact that no two analog synths are alike, but this particular 202 sounds good! It can go from a total acid box to a bass monster that transcends musical genres.
The sound of the 202 is generated by a Curtis CEM3340 analog Voltage Controlled Oscillator IC. This VCO is the same that is found in the Sequential Circuits Pro One. On offer are a Saw, a Square (with Pulse Width Modulation), and Sub Oscillator wave shapes. What's great about the 202 is that it let's you mix in waveforms so that complex wave shapes are possible without much fuss. Also, since the sliders in the VCO section attenuate the LEVEL of each waveform, the control one has with the 202 is different from other synths (like the Pro One) that only allow you to switch waveforms on and off. This is ideal in a live or recording setting when an individual wishes to seamlessly transform a saw wave into a massive Pulse-Width modulated square or feed in the deep sub-oscillator.

The filter is a genuine Roland IC. This filter has SQUELCH! Many claim that the 202 sounds similar to the 303. I would have to agree but with an amendment: while the 202 will do TB 303 type sounds with little trouble, the filter is much better and more versatile than a 303 filter could ever be. Basically you can go into self resonating sine waves or deep and rumbly sub-bass that rival any other monosynth of this era. If you are looking for a synth that can be as much Roland SH 101 as a Roland TB 303, then this is the box for you. The fact is that since the filter is so versatile, a myriad of sounds are possible. The filter is extremely tweakable and the sweet spots are not hard to dial in as on other filters (meaning that the filter has been calibrated to provide the best response when attenuating from completely open to completely closed and vice versa). Also, the filter takes on a whole different characteristic when combined with the modification for the LFO.

This particular Roland MC 202 has been modified so that a switch on the front panel permits the LFO's frequency to double. What that means is that with this switch, the user is able to set the LFO to oscillate at audible frequency ranges. What's great is that the user is still able to attenuate the LFO speed when the frequency is doubled and when put back into the original position, the stock frequency range is still present. This modification is mental. If you set the filter to self oscillate and then feed some LFO modulation via the MOD slider in the VCF section, the user is able to generate some serious clangs. I have an Arp 2600 and some of the sounds you can get with this mod border on the 2600's territory. Also very cool is that this frequency doubled LFO will go anywhere that the LFO goes to so you can do FM Pulse Width Modulation or modulate the pitch of the Oscillators to get FM sounds that are out of this world. And since the switch is mounted right on the front panel, the user can flip back and forth between the LFO rates on the fly while the synth is being played. With the sequencer running and tweaking some knobs and the mod switch, the sound palette is HUGE!

The envelopes on the 202 are extremely fast. Anything from percussive and tiny clicks to in your face basses are possible. On board is a complete ADSR that can be used to tweak the amp, the filter, and the pulse width of the square oscillator wave-shape. Also great about the amp section of the 202 is the fact that the envelope can be switched off and a gate can be used to open and close the amp instead of the ADSR. This frees up the envelope for filter duties and the sounds are great. Imagine resonant bass sequences that hit hard but still sound even after the filter closes. Because the envelopes are so fast, the 202 is able to produce some very heavy sounds. When combined with the sequencer, the gated VCA response yields the much sought after 303 sound.

The 'brain' of the MC 202 is the onboard sequencer. First of all this sequencer will clock to Din Sync (so use something like a Kenton or Doepfer MIDI to Din Sync Converter) so integrating it into a modern set-up is easy. Second, the sequencer is a two track sequencer meaning that in addition to sequencing the internal synth, the 202 can send a DIFFERENT sequence to another analog synthesizer. This is really a big advantage if you have other synthesizers that have cv and gate inputs. The sequence will also transmit PORTAMENTO (slide) over the cv output so you can get THAT signature Roland slide integrated onto another synth! The sequencer itself is very straightforward to program and once the basics are learned, it becomes second nature. The fact is that this sequencer is much better than the TB 303's sequencer because crazy rhythms are possible. Triplets are a breeze. The user decides whatever subdivisions for each step and also regulates what kind of note a step is (meaning if it's played legato, staccato, or tied to the next note) and if it has accent and slide. Since the accent can be routed to accent the AMP and the FILTER, the infamous 303 sound is possible. Seriously, this sequencer is amazing and is able to replicate the intricacies of a TB 303 without a problem. However, it can do SO MUCH MORE than the humble silver box could ever dream of doing! In any case, enough of my blabbing! Search around on the web and take a look at some youtube videos of this box in action and you will see just how amazing and versatile this box is.

The modification has not hampered on the performance of this synth and electronically the beast in excellent (just listen!). There were other mods performed for this particular MC 202 and mostly they were done for the previous users integration preferences. The CV and Gate inputs have been disabled. This really doesn't matter as the MC 202 would route external CV and Gate data through its ancient microprocessor and there was no real way to play it accurately over these inputs. The user (and I can provide A LOT of resources for this and additional MODS) can open the box up and modify the unit to have PROPER CV and Gate inputs if they so desire. For me, this box was best used with the internal sequencer. Also, the buzzer that clicks when edits are made was bypassed and the Din Sync OUTPUT sends Clock but no start stops. This is INTENTIONAL because when we needed to send DIN from the 202, we used a button switch to start and stop other Din Sync units so that we could, on the fly, start and stop a Roland TR 808 independently of the 202 or anything else. The unit slaves to external Din Sync without a single problem whatsoever. This is a great synth that sounds absolutely mental. Bid with confidence and take this chance to own a totally CUSTOM 202!"

Update via pac in the comments: "The 202 is soundwise a slightly stripped down version of the SH-101 (no noise generator) - it should not be compared to the 303 which has a different architecture. That said many "acid classics" in the 1990s were actually done with 101/202 rather than 303. For all the mod instructions check cykongs mod page http://www.cykong.com/Synths/Roland%20MC-202/RolandMC-202.htm and do a search on the "novamod" for the 101 (similar circuit - similar mods)"

ELECTRO HARMONIX MINI SYNTHESIZER EH-0400

via this auction

"The Mini-Synthesizer has a membrane keyboard (almost 0 key travel, but not completely touch-sensitive like the Buchla or Serge machines). It also has a single VCO with only one waveform -pulse- and an octave divider (dividers almost always produce square waves, as is the case here). The pulse wave has a dedicated LFO for PWM, controlled by the Phasing switch and the Phase Rate slider. (PWM is electronically easy to do and many manufacturers pretend that their PWM circuit is really a phase shifter). This is run through a filter that can be made to be a real phase shifter! The envelope controls on this filter are deceptively simple: you set the frequency at key down and the frequency at key up and the amount of time it takes to change from one to the other as a key is pressed/released. The filter has a resonance (Q) switch and a 2x switch that raises one (but not both) of the frequencies being emphasized by an octave or so. The result sounds like (and probably is, although I don't have a schematic) a real phase shifter. Finally, there is a VCA and an effects processor. The effects processor is an analog delay line, with the usual echo controls, and I believe it is only available on the later units. Early ones don't have either the delay line or the strip above the keyboard that works like a ribbon to produce performer-controlled glide. Between the bizarre filter and the fact that it likes to play notes below middle C - way below - I think this makes an excellent bass machine for serious analog junkies, although the lack of ability to do a percussion envelope will probably rule it out for Techno use. She weighs about 2 1/2 lbs. with the adapter."