"modded sh09... this instrument has been stripped of paint and allowed to develop surface rust, has been relabeled with a label maker, and the slider holes glow with a red backlight. it looks badass on stage. most of the sliders were replaced several years ago, a couple were not and feel stickier than the new ones. the switches all feel old and crusty but still all work.
the stick part of the pitch stick is snapped off but it still works fine. the envelope generator is capable of clangorous fm type sounds because if you have both the sustain and decay set to a low amount it starts to retrigger variably.. its a neat effect. i dont know if its a malfunction or a mod, but i like it."
"With 2 VCOs, basic Filter controls, CG/GATE, and a 2 1/2 octave keyboard, this minimal monosynth still offers plenty of usable and familiar Moog sounds."
via this auction "Moog 1130 Drum/Percussion Controller. This Moog 1130 drum trigger can be used with any drum or synth module to create percussive inspired sounds. The 1130 was released in 1973, and was intended for use with Moog synthesizers like the Mini Moog, the Sonic Six, and Modulars, etc. The unit has scale and sensitivity controls, and a CV and S trigger output. The drum is in exceptional cosmetic condition, and does not exhibit typical shell splitting or peeling. The original side mount enables use with a normal tom stand. Compact size drum measures 9" from lug to lug."
via this auction
"The modules included are as follows
Oscillator (1st gen module)
Filter (1st gen module)
Positive Slew (1st gen module)
Negative Slew (1st gen module)
Reverb (1st gen module)
Ring Modulator (1st gen module)
Keyboard Envelope Generator
Quad VCA
Smooth Function Generator/Step Function Generator x 2
Variable Q VCF x 3
Wave Multipliers
Variable Slope VCF Dual Audio Mixer
Analog Shift Register
Noise Source
New Timbral Oscillator x 2
Precision VCO x 2
VCA
Universal Equal Power Audio Processor
Dual Transient Generator
Resonant Equalizer
Phaser x 2
Dual Universal Slope Generator
Wave Mulitpliers
Dual Audio Mixer
Here's the custom stuff--Schematics will be included
RCA IN (custom)
Scalers (custom)
Summer (custom)
Mic Pre Panel (custom)
Output Mixer (custom)
Adapters (custom)
Matrix Switcher (custom patch memory system) Need an apple IIc to run but I can provide computer interface and documentation
Input (custom)"
"Progress being made on the first Macbeth Eurorack module. Knobs, jacks, switches and LEDs mounted on aluminum front panel. Slotted mounting holes. This is only a prototype, the feature set may change. LINK: www.macbethstudiosystems.com."
YouTube via peglegjoe857 "So upon request, I made a video that is a collection of vintage samplers, all producing pretty much the same beat but ALL sounding VERY different. I will be doing more of these videos pretty soon, I am sure I am one of the only people out there crazy enough to have this group of machines...
So I sampled a Meters break, "Hey ! Last Minute" Then I sampled myself playing a bass riff and two chords on my Musitronic Wurlitzer. Then I sampled just a fat bass synth resonant filter decay sound from my Akai AX-80. So you can go find that break if you want, but you wont find the rest of the stuff in the track because it is all played live.
So the MPC-60 caught a lot more vinyl scratch and pop than any of the rest of the machines. Don't quite know why that is. The MPC definitely rocks really hard and has groove and whatnot, I love that machine!
The Emax obviously came out darker sounding. It somehow cleaned all that scratch and pop vinyl noise out, and it bumps pretty hard because of it. This machine is my favorite of all my samplers, it definitely does warm things to samples! I sampled at 28K, which is the compromise setting between 10K and 40K.
The Mirage KILLED these sounds. KILLED them, for real. Everybody talks about that SP-1200 stardust... well how bout the Mirage! Who has the balls to be doing Hexadecimal these days! I guess I wanted the grittiest of the gritty, and believe this machine offers just that! 8-bits of dirty filth. Nothing I sample into this thing ever sounds quite right?!? I love it. I had to sample with a setting of 40... I don't quite know how that translates in sample rate, but know that it is VERY low. I think the least it can be is 30, and the most is 99... so 40 is pretty close to the bottom! And even setting it that low still didn't provide all the time I needed to cram all those samples in there, so some got cut short. But it sure did make some crazy noise, I actually ended up enjoying what the Mirage sound a whole lot. It definitely does certain sounds really well and would slip into a mix nicely with one of my other samplers taking on other duties. I would say it is perfect for short samples that can be pretty dirty, like one shots, or short bass lines and stabs. It definitely took the longest to program!
The Akai S-1000 was definitely the cleanest... and that's why I got it! It was a breeze to program, but frankly not as quick as the MPC or the Emax (Probably because these two have less things to program!) Not much else to say about the machine, it accurately does it's job!
I have also owned the S-2000, S-900, and Emax Keyboard, and have also spent a lot of time with my friends S-3000. I wound up with my collection of these 4 machines because I feel they cover all bases. Somebody one a forum said "get one sampler that is 12-bit and dirty, and one that is 16-bit and clean... and you will have covered all bases". Well, for me to be satisfied I had to have at least all 4 or these. The MPC-60 and the Emax are VERY different 12-bit samplers with VERY different characteristics. Listen to the god damn video! The MPC sounds more like the S-1000! I had gone dirty with the Emax, but wanted even dirtier, something nobody else would be willing to do. In walks Mirage, an 8-bit sampler that actually has a ton of analog features, can store several (16) samples at a time, and has adequate time do function. From the specs I have read, it has a similar amount of time to the SP-1200. When you sample at a higher sample rate, know this machine DOES actually clean up a bit. The S-1000, though, does NOT get dirty.
So with all these machines, they each have a very specific characteristic that they impose on whatever is sampled into them. As I mentioned, I will be doing some more videos soon so you can hear that characteristic more fully, as well as show off their filter sounds and other features. The Emax and Mirage make GREAT melotron type instruments because of their filters!"
YouTube via bigcitymusic "The A.S. rs360 Vocal/Phase filter is an awesome sounding three-band resonant filter module. Each filter has 1v/oct CV input and there's a master frequency control with an additional CV input and attenuator.
You can use this bank of filters as an equalizer, to get great vocal and formant sounds, or as a resonator (and a lot more actually!). We're running some drum sounds into the filter inputs as well as controlling the "pitches" of each band via a MIDI to CV converter. This module is a lot of fun. We've tuned the filters to different intervals which makes it a bit more interesting. The rs360 can be used as an oscillator to great effect on it's own too! We turn the dry sound of the drums up at the end."
via this auction
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