Milton 16 X 4 VC Sequencer Analog Synth Module

via this auction

"Built in a MOTM sized 8U wide Schaffer panel. This is the version 1.4 board set that has the integrated Asynchronous Clock PIC. Unique PCB mount allows for installation in shallow cabinets. Requires a MOTM style +15v/-15v power supply.

The Milton is the most versatile analog sequencer ever. It's also quite rare. The designer's website claim 45 units in circulation. I built two, so I guess that makes 47. Have you ever seen one that looks as good behind the panel?

Here's the manual: link

and here's lots more information: link"

Lament

YouTube via AaronAndrewHunt

"The forbidden wavy narrow line - whether you spell it Do Re Me Re or La Ti Do Ti, in my experience it's some kind of archetype, and I use it here as a ground bass. There is a little otherwise diatonic melody which features a falling microtonal glissando, and then I'm obviously improvising the rest, for admittedly too long, and it might be boring, so I added some visual effects for interest. The sound is coming from the TPX2s internal synth. Find out more about TPX keyboards at http://www.h-pi.com"

ROLAND JUPITER 8 REPLACEMENT LCD

via these auctions

There are only nine left.

New Waldorf WAVE OS done by a user

via Till "Qwave" Kopper

"this is great Waldorf WAVE user news:


after 10 years of waiting for bug fixes there is a new OS with many bug fixes and some all new features:

*** quoted from the readme PDF ***

• The Wave shows a splash screen at start up.
• LFO 1 & LFO 2 independently can be synched to MIDI in various options.
• The Wave now can analyze .WAV files, which makes it much simpler to analyze
samples now.
• LFO 1 has a phase parameter
• The bug in receiving and sending SysEx files of other is fixed.
• Pedal 1&2 now can be changed in their polarity after boot phase.
• In the Waves Edit mode, in Harmonics Edit, there is a “silence” function, which
sets all Harmonics to zero.
• The Wave now maps velocity tables to externals too. This feature is described in
the manual but was not implemented.
• The velocity table mapping is fixed.
• In Group Edit now instruments and externals can be switched on again after
switching them off.
• The sustain pedal only is sent to externals which are not muted.
• Pedal 1&2 also send only to externals when these are not muted.
• Sending and receiving of the pedals via MIDI now works.
• The Buttons work for external Instruments not only on MIDI channel 1.
• The voice allocation bug of OS 1.700 is fixed.
• MIDI Controller 64 – 117 assigned to the Faders now send values 00…127 (not
only on/off)
• Aftertouch, Volume, Detune, Pan assigned to the Faders now are correctly
displayed
• The MIDI controllers for free wheel up and free wheel down in performance
definition now also control free wheel bidirectional parameters
• Some bug fixes were done in the file access functions

*** quote end ***

It is not a release by Waldorf Music, but it is done with the help of Waldorf (for giving away the original source code) and their OK. It is done by the WAVE enthusiast Werner Schoenenberger (actually with an O-Umlaut: Schönenberger) from the Swiss.

There is a small fee of 75 Euro for it. This is way below the real cost, because programming in assembler is not fun. And he spent many, many hours on it in the last years (!!!).

The price he asked for is only a kind of help to pay the costs he had during the coding.

The ReadMe, the manual and the OS data is located on the http://unofficial.waldorf-wave.de pages I run.

So finally we, the about 300 WAVE users get some bug fixes and some new features for a synth that is more then ten years out off production.

Attached a screenshot of the WAVE LCD showing the new LFO edit page with the new parameters for phase shift and midi clock sync.

keep on turning these knobs

Till Kopper

A long time WAVE enthusiast and live WAVE player from Tübingen near Stuttgart/Germany"

Kyma/Pacarana Expansion

"Infinitely Expandable Sound Computation Engine
Symbolic Sound Releases Software for Chaining Together Two or More Paca(rana) Sound Computers Under Control of Kyma Sound Design Software

CHAMPAIGN IL-August 27, 2009-Symbolic Sound Corporation has expanded the real-time sound-computing power of its Paca(rana) sound engine by making it possible for Kyma sound designers to chain two or more multiprocessor Paca(rana)s together via the built-in A/B Expansion ports. To the Kyma software, a network of Paca(rana)s appears as a single sound computation engine with multiple processors. Kyma automatically detects the number of available processors and schedules the execution of DSP-intensive signal processing and synthesis algorithms across multiple processors.

"One of the most frequently asked questions we were asked when we announced the new Paca and Pacarana sound engines back in January was 'Is it expandable?'" recalls Symbolic Sound president Carla Scaletti. "Now we can answer with an unequivocal, YES!" She adds that, "...while not everyone needs that much sound computing power, it's nice to know it's available should you ever need it, even if only on a temporary basis."

Photos

How it works
Two or more Pacas, Pacaranas, or combinations of both can be connected by plugging the orange cables, provided by Symbolic Sound, into the Expansion A and B ports on the backs of the units. A combination of audio and control signals is transmitted over the orange wires from each Paca(rana) to its neighbor. One of the Paca(rana)s is connected to a Macintosh or Windows computer (running the Kyma sound design software) via FireWire 800 (or 400). A single FireWire audio interface on the same bus handles all of the analog and digital audio inputs and outputs and, depending on the audio interface, MIDI. (A list of compatible converters can be found here). The composite super-Pacarana shows up in Kyma as a single sound computation engine with extra processors. To the sound designer or musician, the expansion is completely transparent; Kyma automatically takes advantage of the additional real-time processing power and memory.

Video
Link to a hand-held video with a Kyma-synthesized sound track showing the connection of 3 Pacas and 3 Pacaranas to create an 18-processor sound computer.

Who can use it
Anyone, from large sound design studios (which may set up a rack of Pacaranas as an audio compute-farm for intensive sound modelling operations) to friends getting together and temporarily hooking their Pacas together for some sound tweaking fun, can enjoy the benefits of the newly enabled expansion ports and orange connector cables. Audio engineers or sound designers managing complex signal processing and sound design requirements for live shows or theatre productions can assemble a rack of Pacaranas, all controlled and sequenced from a single computer. Supercomputing centers can offer scalable real-time sound computation and data sonification as an adjunct to the computer graphics rendering and dynamic simulation modelling already being offered to researchers and artists. Game design studios can set up a sound-design rendering farm for creating special sound effects for cinematics and voice processing for game characters. Anyone who ever finds themselves running out of real-time sound computation power could benefit from this new technology.

Early adopters
Beta testers for the new technology include Hollywood film composer Tobias Enhus (Photos of 3-Pacarana Rack in Tobias Enhus' Studio), who has already been using his rack of three interconnected Pacaranas to generate disturbingly bizarre sound tracks for Alan Rifkin's upcoming Showtime series Look, and organist/composer Franz Danksagmüller who recently used his 2-Pacarana system to accurately simulate the sounds of a cathedral organ on a portable keyboard to accompany a showing of Fritz Lang's silent film masterpiece Metropolis at the Göteborg International Film Festival.

Pricing & Availability
The Paca, Pacarana, and "orange wires" for connecting two or more of them together are now available at the Symbolic Sound Store (www.symbolicsound.com). Current multiple-Paca(rana) owners can request a free set of cables from Symbolic Sound. Every Paca or Pacarana comes with Symbolic Sound's innovative Kyma X environment featuring its unique set of sound synthesis and processing algorithms and a powerful way to easily re-combine these algorithms to create sounds that have never been heard before. For more information:

Symbolic Sound Corporation
+1-217-355-6273
info-kyma@symbolicsound.com
http://www.symbolicsound.com
Summary
Symbolic Sound's Paca(rana), sound engine for the award-winning Kyma sound design environment, can now be expanded by connecting 2 or more Paca(rana)s together via the built-in expansion ports.

Background
Symbolic Sound ignited the software synthesis and effects revolution in the 1990s with the Capybara and reinvented the portable sound computation engine earlier this year with the introduction of the Paca(rana). Symbolic Sound continues to lead the industry in innovation with its award-winning Kyma sound design environment, favored by sound designers for film, games, advertising, music production, and live performances.
Symbolic Sound, the Symbolic Sound logo, Kyma, Pacarana, Paca, and Capybara and their logos are trademarks of Symbolic Sound Corporation. Other company and product names may be trademarks of their respective owners."

Stevie Wonder - Superstition live on Sesame Street

YouTube via RSLweblog

"It doesn't get much better than this.... I can't imagine a better feel good song than this one! Check out the REST OF THE VIDEOS in this collection! Stop by my music webpage (Ryan's Smashing Life) and say hello!"

Some interesting notes via Malcom Cecil on the AH list:
"I engineered and co-produced Superstition and still have the Master Track Sheets, Work Orders and Tape Legends from all of the recordings that I made with Stevie between 1971 and 1975.

The 8 tracks of clavinet are actually 4 stereo pairs, however, there are two very important timed stereo slap back tape tracks that Stevie was listening to while he played the first pass. They bwere created on a two track Ampex with a varispeed.

I recorded them because they are an important intrigal component of the musical line. I timed the slap to be drum track to create the funky feel. I only used the first stereo pair of clavinet tracks that were recorded with those slap back tracks in the final mix. If your tracks are numbered those clavinet tracks are 7 & 8 and the associated stereo slap tracks are on tracks 6 & 9 but if not you can hear which they - you can always listen to the mix!

Stevie recorded the drums (solo) first, then the cavinet/slap echo tracks and then the TONTO bass. Then he put down a reference vocal with "Lal-as" for words (except for "very Superstitious"). The words didn't get written until about two weeks later and the horns were added much later

I am very surprised to hear that that you have copies of the original tracks! I guarded those masters with my life but I gave them all to Stevie when we stopped working together in 1975.

I guess his security system 'aint what it was when I was with him - but then a lot changed when I left.

Peace,
Malcolm Cecil"

Return to Forever - Sorceress 1976

YouTube via mahavishnu018.

Moog Minimoog and ARP Oddyssey. ARP comes in at 2:44.
The note overs are a bit funny.

"Return to Forever performs "Sorceress" for the Old Grey Whistle Test studio audience in 1976.

Return to Forever is:
Chick Corea - Piano, Synthesizer, Clavinet
Stanley Clarke - Double Bass and Bass Guitar
Lenny White - Drums, Percussion
Al Di Meola - Guitar"

1981 Casiotone 202 Demo Record

YouTube via jafafah0ts
"A vintage flexidisc from Casio introducing the Casiotone 202 Electronic keyboard, their second ever."

"Deep Blue" Abend-Impressionen II

YouTube via Korgator
"I have played the FX sound " wind " with the Oberheim (Viscount)OB-12. Otherwise the instruments like in the credits performed."

ADT Morphex - Analog Synth & Effect

via this auction

videos

"This is the latest, custom-made, hand-built, all-analog, hybrid synth and sound effects unit from deep in the laboratories at Abstract Data.
It is an extremely versatile effect unit - unlike any you have heard before.

This crazy device takes any two 'line level' audio inputs and allows you to morph between them in ways that are both beautiful and bizarre.
Transform, distort, mangle and manipulate in true analog style, turning percussion loops into monstrous walls of sound,
tame soft synths into lush, evolving soundscapes and boring vocals into breeds of alien disruptors.

Blend, bend and beyond with this wild, self-oscillating, feedback-inducing, knob twiddling little green monster.

What are the specs?

* True, all-analog circuitry using quality components on a professionally made circuit board - (not proto or perf board).
* High quality Rean knobs.
* Built into a heavy-duty metal case.
* High-gloss powder-coated finish with professionally screen printed graphics.
* Four sturdy rubber feet for added grip.
* Eight independent controls covering a range of possibilities for maximum sonic manipulation.
* Two audio inputs (Main Audio Source and Manipulation Source) via 1/4" Mono Jacks.
* One audio output via a 1/4" Mono Jack.
* Can be used with a single audio input.
* Can be forced into self-oscillation.
* Toggle switch located conveniently on top of the unit for Power On/Off.
* Green Power On/Off indicator LED.
* Runs off a standard 12 Volt DC adapter - Tip = Negative (not included).

Thought you couldn't afford a genuine analog instrument?
Tired of temperamental old gear full of unobtainable parts being sold at inflated prices?
Here's the solution - get some Morphex in your mix!"