Korg Emx Nightly session

YouTube via StudioF
"Just a session with the Korg EMX what a wonderfull little machine."

Plan B Model 23 Analog Shift Register

PotD - The Organ Grinder by navs

"In this patch the M23 was used to shift a quantized sequence to a pair of detuned VCOs, the 'both' input of a Bananalogue/ Serge VCS and the CV input of a VC-LFO. The sequence was transposed by the stepped output of a Wogglebug. A sequential switch was used to alternate between a 'regular' and voltage controlled clock. The switch was triggered by a comparator reading the output of a second random source."

via navs.modular.lab where you'll find more.

Synthesizer Magazin #17

via sequencer.de
"Maschinen
* Challenger Analog-Synthesizer
* Roland Jupiter 4 & Promars MSR2

Maschinen II
* Broken
* Xils-Lab – Xils III – Wo gehts hier nach Bad EMS?
* Sidsonic Library
* FXpansion D-Cam Synthesizer
* NI Komplete 6, Kontakt 4

Maschinen III
* Apples Rechner, Snow Leopard und die Musik

Menschen
* Zoot Woman
* Klaus Nomi
* Air
* Bassface Sascha über Drum and Bass
* Mate Galic für Native Instruments

Final Report
* • Berlin Museen mit Synthesizer-Content besucht und dokumentiert
* • Auf Abo-DVD: Jede Menge Gearporn und A8 Demo vom Bluesynths Meeting 2009, Kufstein & MIDI Cube “An-Schlag”-Special Video Footage"

Synergy

Synergy from emergencyofstate on Vimeo.

"My first experiments with Max for Live.

The rundown

Synth - An instance of the Volta plugin is being fed by a Step Sequencer Max Instrument. (All synth sounds are produced by my eurorack modular synthesizer.) 2 additional LFOs are coming out of Volta controlling the cutoff and resonance.

Drums - My monome 128 is running Soyuz (scrolling step sequencer written in Max/MSP) This is running stand alone but it's clock is slaved to Ableton Live. This sends MIDI to a channel in Live that has a Max Instruments-Analog Drums. There is another channel in Live listening to the drums and being processed with Max audio objects.

The first minute or so of the video is not that interesting because i'm laying a beat out on the monome. Things get a little more interesting around 50 seconds."

1st Paint Job 002

flickr by Jeff-Frost

"My 1st attempt at painting a keyboard for a circuit bending project."

Phoenix

YouTube via justin3am

"this is a demo for a Reaktor ens. I created for using a Korg Kaoss Pad KP3 to trigger midi notes. The X axis of the KP3 controls the note value and the Y axis controls the rate at which are notes are triggered. In this demonstration, Reaktor is sending the note data as midi to a plug-in called Silent Way (http://www.expert-sleepers.co.uk/silent way.html) which controls my modular synth via a MOTU audio interface. Modules by Make Noise, The Harvestman, f(H) and Doepfer. Software based glitchery provided by Uhe's MFM2."

Kawai K5000S additive synthesizer

via this auction

"The K5000S provides 32 sound sources, which is an upper bound on polyphony, and can be quite a bit less, depending on patch complexity. A patch on this synth can combine up to six individual sounds, each of which may be either a PCM (sample) waveform, or an additive waveform. There is also a "multi" or "combo" mode, wherein each combination allows up to four patches to be placed across the keyboard. The "morph mode" you may have heard about is really not a mode, but a way of constructing new additive patches from existing ones (and as with any simple interpolation, the results are usually less interesting than the starting extremes). The provided PCM waveforms would be pretty standard fare, like any other sampled keyboard, except that the modest bank of roughly 123 synth (plus 225 drum) sounds seems to have been chosen carefully to complement the additive sounds. Using these in moderation often seems to balance the additive sounds in just the right way. Additive patches are composed of 64 harmonics, which may be comprised of either low harmonics (1-63) or high harmonics (64-127) of the note fundamental pitch. Additive sounds have low-velocity harmonic amplitude profiles (specifying volume for each harmonic), and high-velocity harmonic amplitude profiles, which are smoothly interpolated between, using various curves, depending on key strike velocity which makes for very smooth velocity-controller changes in timbre. Each harmonic of an additive waveform has its own ADSR envelope (with two attack segments) that can be looped. The K5000S also has a global narrow-band format filter (which I assume really just scales harmonic volumes), that can be used to impart overall coloration to additive sounds, and which can be modulated a variety of ways. Modulation options are pretty good, and include the usual sources (2 x LFO, amplitude envelope, mod wheel, pitch wheel, velocity, mono pressure), and destinations (pitch, volume, filter parameters). You can adjust certain parameters as a function of keyboard position ("key scaling"), though not as well as on some other synths (ex., Kurzweils). The K5000S also has an arpeggiator (and several dedicated knobs), which is reasonably capable, interesting, and useful (I reject the mythology about it being exceptional). There is also a set of 16 knobs, most with assigned synth modulation functionality, but four of which can be set to control various synth parameters (potentially more than one). Finally, there is a global effects section, with offers multiple buses and flexible routing, a complete effects repertoire, and generally very good effect quality. The knob feel is great; the switch feel is mediocre. Switch layout is a bit odd, but you can get used to it. Wandering around the cryptic UI is not fun, but it's not too hard, either. Editing sounds is doable, but quite tedious."

Yamaha AN1X

via this auction

VINTAGE 70S PAIA OZ MINI ORGAN ANALOG SYNTHESIZER

via this auction

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Sequential Circuits Prophet 5 Analog Synth Rev 3.2

via this auction