MATRIXSYNTH

SND SAM-16

via this Noisebug auction
"high-end MIDI / analogue sequencer

- The SAM-16 is a high-end analogue and MIDI-sequencer with special emphasis on tightness and intuitive handling. It has 16 steps, each with the following controls:

* 3-position toggle switch for trigger/mute/reset
* 12-position rotary encoder for semitones/chords
* 3-position toggle switch for transpositions
* control for second parameter (i.e. filter)
* control for third parameter (i.e. volume) or gate/step length
* 3-position toggle switch for audio/CV routing between 2 busses and individual input/ouput jacks

- A fundamental problem of all sequencers using pots and electronic quantisation, is that a control may be (unknowingly) set close to a switching point of the quantizer, such that even a small (and inevitable) drift will cause sudden and unwanted changes in the sequence. The use of rotary encoders for setting the notes eliminates this problem, and - in conjunction with the transpose-switches - it also allows a much more intuitive and predictable control of the sequence.
- The second row of knobs controls MIDI-velocity. In addition to the normal mode there are 6 special modes, in which the SAM-16 simultaniously or alternatingly transmits on 2 MIDI-channels to allow velocity -crossfades and -switching.
- The third row can be used for various functions. It controls either step or gate length, but can also generate another control voltage and/or MIDI-controller (#1-14). In addition it is possible to feed it 1 or 2 audio/CV signals, that appear at the rows output with a different attenuation/mix for each step.
- With the lower row of toggle switches audio and/or CV-signals can be routed from or to 2 busses and 14 individual jacks. This can be used to create ´wave-sequences´ by routing various waveforms of a modular system´s oscillators (or other audio sources) to the filter, or to activate CV-modulations only for certain steps of a sequence. The row can also control the gate length, or generate MIDI-switch-controllers (#64-74).
- All rows have CV-outputs (0-5V, pitch 1V/octave), rows 1 and 2 also have a CV-input that is added to the values produced by the sequencer. These modulations also influence the MIDI-output data. The input attenuator for pitch modulation doubles as a global tranpose control with a 2-octave range.
- The build-in MIDI-interface syncronises the SAM-16 to MIDI-clock or MIDI-notes (!) and translates all settings into MIDI-data. Thus it is possible to control classic analogue equipment as well as modern sound generators. Also sequences and their transformations over time can be recorded into a software sequencer for further editing, storage, and recall. A special feature of the MIDI-section is the possibility to ´re-define´ the 12 positions of the pitch encoders, that is to assign any note or chord (up to 7 notes) to each position. The timing control of the SAM-16 also has some advanced options, such as the possibility to wait untill the end of the current measure at any given step. This allows convenient syncronisation even when changing the sequence length. An ´alternating´-mode allows the sequence to be split into 2 halfes, and to switch between them by hand or automatically after 1 - 15 runs.
- Only high-grade controls and components are used in the SAM-16. The internal MIDI-software has been carefully optimized for speed (latency < 0.1 mS) and reliability.
- All CV-inputs/outpus through 1/4"-jacks on the frontpanel, MIDI-In/Thru/Out on the back
- 19", 5 rack units, depth (behind frontpanel): 105mm + plugs, external power supply"

Hohner Bass analoger Bass Synthesizer

via this auction

Oberheim SEM Analog Vintage Synthesizer

via this auction

Roland Juno-106

via this auction
"Roland Juno 106 Specifications
* Keyboard - 61 keys (5 octaves)
* Polyphony - 6 voices
* Oscillators - one DCO per voice: pulse, saw, and square
* DCO - Waveforms, Range (16'/8'/4') PWM, PWM Mode, Sub-OSC level, Noise level
* HPF - Cutoff frequency (0/1/2/3)
* VCF - Cutoff frequency, Resonance, Key follow (0 ~ 100%)
* ENV - Attack time (1.5 ms ~ 3 s), Decay time (1.5 ms ~12 s), sustain level (0 ~ 100%), Release time (1.5 ms ~ 12 s)

* LFO - Rate (0.1 ~ 30 Hz), Delay (0 ~ 3 s)
* Filter - non-resonant high pass and resonant low pass (24 dB/oct)
* VCA - ADSR, Control signal, VCA level and gate
* Chorus - Off, I, II
* Memory - 128 patches
* Control - MIDI (In/Out/Thru)
* Additonal features - Portamento, Bender Lever (Bender DCO, VCF, LFO), Key Transpose, Assign Mode, Master Volume, more..."

Blue Man Group Keyboard Synthesizer MP3

via this auction

"Blue Man group keyboard also has MP3 input"

Korg Poly-61 Programmable Polyphonic

via this auction
"Oscillators: The Poly-61 uses DCOs and has two per voice. DCO1 provides sawtooth, pulse, and PWM waveforms. DCO2 has only sawtooth and square.

Filter: The filter has the usual controls for cutoff, resonance, keyboard tracking and envelope amount. Some of these are rather limited by the poor parameter resolution. Keyboard tracking is simply "on" or "off" for example, and resonance and envelope level (here labelled "EG Intensity") have only 8 settings.

Output: The final component in the audio path is a VCA. It can be driven by the envelope generator or a CV/Gate pulse.

Modulation: Envelope generator The envelope is an ADSR type. All parameters can be set to any of 16 levels.

LFO: The LFO (known as a 'modulation generator' on the Poly-61) is a simple triangle wave that can be routed to the DCOs or VCF. It has a variable delay before it is triggered."

NNN on iTunes:

Wiard / Malekko Anti Oscillator Sounds

YouTube via bigcitymusic http://bigcitymusic.com
"Okay. Finally! Not a very musical sequence but we're just trying to show off all of the incredible sounds the AO does. For a second we had it sounding like a violin! You can also hear a short envelope with some serious FM'ing by the Cwejman sine. We're using just the AO, the Borg as a VCA and an Analogue Systems rs200 sequencer and rs130 PSG as a quantizer and a Cwejman sine wave for modulation. At times it sounds like there's a filter but there's not! The AO has a 1volt/octave input as well as exponential, linear and wave envelope inputs which reveals some super awesome FM sounds. For the money and high-quality build the AO is a no brainer. And it sounds fantastic!"