"exact same sound as the JUNO 60 (voice board for the Juno 6 and juno 60 are the same.
Juno 60 and juno 6 sound exactly the same except the Juno 60 has patch memory. The juno 106 has patch memory and portamento but lacks the arppegiator!
This item is 100v 50/60hz. you may need a power converter depending on your country.
via this auction "Mutron Bi-Phase with pedal, circa 1977. a/c powered. Two independent phase shifters housed in a large silver box with big knobs. The worlds largest phase shifter! Settings include independent control over 2 phasors, 2 sweep generators with rate and shape (~ wave or square wave), manual or pedal option, Phasor A with depth and feedback plus gen 1 or pedal switch for sweep. Phasor B has more controls. Depth and feedback plus sweep sync option of norm or rev(erse) and sweep option of either gen1, gen2 or ped(al) and Phasor B input consisting of inA, outA or inB! Giant placards that fit over the housing include red marked settings for 3 effects examples: Stereo Phasing, Super Phasing and Two-Speed Phasing! This unit delivers the quintessential phasing sounds used in the 70's from the airplane-type whooshing sounds to the slow wide flanger-type effects. Adds fatness to clean sounds, great for ballad arpeggiating picking styles all the way to thickening an already distorted sound for added effect. Muted picking on power chords with gain to disco era octaves, this one delivers the goods. Plus, two-speed phasing yields some funkitized possibilities. Set one phasor slow and the other fast and the skies the limit. A favorite setting is the leslie cabinet sound from fast rate and moderate setting with little to no feedback. Then there's the classic setting of slower rate with much depth and feedback for reaching spatial territories! A quick way back to 1975 or ahead to 2050!"
YouTube via mikerotondo "When the guitar is too sexy and the piano makes too much sense, it's time to stick a bunch of sensors to your body with electrical tape and plug it all into your computer!
This is the Stompolin, and I made it at a Physical Interaction Design workshop at CCRMA (http://ccrma.stanford.edu) this summer.
How it works:
There's a small electret microphone attached to my foot, and two bend sensors on my arm: one in my elbow, and one on my finger. The signals from each of these are routed through an Arduino microcontroller into a Max/MSP patch.
The microphone output is routed through a percussion follower, and impulses (like stomps) trigger the instrument's tone generation. The sound of the instrument is created by a a plucked string model and some ADSR'd harmonized sine waves. If the impulse picked up by the mic is heavy in high frequencies, the sound is captured and "granulated" around a bit at a random interval.
The bend sensor on my finger controls the pitch of the tones, and the elbow controls the cutoff frequency of a low-pass filter. When the pitch is being actively modulated by finger movement, the tone slides smoothly across frequencies, but when the finger is moved more slowly or stopped, the pitch is quantized to tones of a major scale."
"We are very happy to announce, that Mr. Tom Oberheim has choosen us to become his partner on selling his famous SEM modules in Europe now. Because the number of units that we can get is quite limited, we had to agree that they will be sold from us to the endcustomers only. A first shipment with patchpanel units is on the way to us already, see more on tomoberheim.com."
via this auction
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