"The Original, and still champion, Vocoder from Korg. [It's not the original vocoder, but it IS the original Korg vocoder] I feel it's far superior to the vocoder features in the newer units. [I own an MS2000R and the vocoder in it does not hold a candle to this] This is probably due to it being made EXCLUSIVELY to be a vocoder. This has both Microphone and carrier signal inputs to allow use as a processor. It's a gas to run a drum machine through it to create VERY unique timbres. The built-in carrier signal features an "ensemble" effect which is somewhat like a chorus effect - not unlike the chorus effect on some older roland gear. You can mix the carrier signal with a built-in noise generator for more varied effect as this enhances any sibilance present on the mic input.
The top panel mic input is for a proprietary Korg mic which I never owned. I have heard that they were kind of crap anyway and the only advantage is that they attach directly to the top panel. Any mic with a 1/4 plug can be input to the front panel mic jack, and this is how I have always used it. If you are using a more exotic mic, or something that requires phantom power you will have to figure out how to do so. I always used a simple Beyer dynamic.
NOTE: The interface standard is the old and somewhat odd Korg Hz/V system, wherein the frequency is proportional to the control voltage [not the more common 1V/octave as on MOST older synthesizers and virtually all new modulars]. It is possible to adapt a "standard" 1v/Oct to communicate with this, but it's not perfect and prone to inaccuracy at the extreme ends of the range. This WILL interface with other old Korg gear [MS-10/MS-20/MS-50/SQ-10/etc] with no trouble at all [I have connected my MS-10 and it works perfectly].
"NOTE: The interface standard is the old and somewhat odd Korg Hz/V system, wherein the frequency is proportional to the control voltage [not the more common 1V/octave as on MOST older synthesizers and virtually all new modulars]. It is possible to adapt a "standard" 1v/Oct to communicate with this, but it's not perfect and prone to inaccuracy at the extreme ends of the range. This WILL interface with other old Korg gear [VC-10/MS-20/MS-50/SQ-10/etc] with no trouble at all [I have connected my VC-10 and it works perfectly]."
"The Moog Satellite is one of the not well known Moog Synthesizers. Its a monophonic (=single voiced) preset synth dating from the mid seventies (1974-1979)."
via this auction "circuit bent by spunky toofers. here are the modifications 1. 11 switches- controls freeze/holds, pitch related effects, bizarre filters, odd synthesis, self composing random melodies, rhythmic drum varations and much more. use alone or in combination. 2. 5 switches located on the far right which cuts out all 4 voices the instrument can play at once and the drum sound kill switch 3. one reset button 4. one vintage pilot glass lens with a bright white led underneath 5. master pitch switch enable indicated in black (with this switch you can activate a extremely stable precision oscillator circuit which replaces the original clock signal for extremely stable pitch control) 6. one overall pitch knob (approximately 3 plus octave pitch range with knob) 7. lfo rate knob (lfo activated by pulling up on this knob. activates a lfo to modulate sounds from subtle to extreme) 8. lfo depth knob 9. lfo indicator light- indicates depth and rate activity. vintage new stock soft glow dialco red LED 10. light theremin switch 11. light theremin photo cell (light sensitive wafer that responds to light, shadow, and movements from hand, body, etc) 12. 2 chrome dome body contacts (super expressive control of pitch via body contact 13. 16 point patch bay to make various connections in the patch bay via rca cables for experimenting new bends 14. 1/8" trs input for expression pedal or spunkytoofers mm1 midi module. 15. master power switch on/off indicated in red 16. intuitive and through interface with as much spacing as possible for all controls 17. manual and bend diagram emailed to winning bidder
finished in white/black paint job with plenty of clear coat to seal
a few things i'd like to address that have been asked previously. regardless of who bent your instrument every bend on an sk-1 will most likely respond differently in different settings.. for example you will get different results in sample mode then in a preset.. and from one preset to another.. i have bent the instrument to be as stable as possible in all modes of the instruments.
the pitch and lfo is fine tuned. if a pitch is allowed to go too high it will glitch and will otherwise interrupt a good sound, loop, or bent function of the instrument. where this glitch occurs is different between sk-1's..the range therfore of the pitch control will sweep approximately up to 3 octaves down and approximately an octave or so above normal pitch of the note.
the right side of the instrument is the functional side of the instrument featuring mixing, reset and power indication... the casio is capable of 4 notes/sounds at a time along with drums.. the switches on this side allow you to mix on the fly or isolate certain sounds. this is especially useful when the instrument is locked in a particular bent function or loop and doesn't respond to key information. this way you can isolate a particular sound in the lock or loop and sample that particular sound or have only that sound running.
the patch bay is setup to be as stable as possible. these are not ins or outs to other devices.. they are meant to be patched within the patchbay only and will allow you to create new bends on your own.. since it's experimental it's not as stable for live use but great for studio work. with a little planning the patch bay can also be used in live use with good stability.. they will offer new bends not available on switches along with variations to bends that are located on the switches. for example if there is a filter on a switch it is most likely you will get a variation of the filter on the patch bay.. a vocoder like sound can shift in harmonics with a little experimentation on the patch bay.
and the sk-1 will function as normal provided that all bends are not activated.. it is highly recommended that you understand how the instrument works and experiment with bends in all modes to make the best and widest use of your instrument. there are plenty of good resources on the web with manuals to download.
outputs to external amplifying, mixing or recording devices via 1/8" on back"
via this auction "Roland's professional tape delay system featuring advanced low noise circuitry and balanced in/outputs as well as stereo output. It combines four effects ; Chorus (analog circuitry similar to the roland dc 20/30) Echo (tape delay / 6 six modes ) Sound on sound (tape layering effect unique to the 501) Reverb (spring reverb tank) All effects can be used alone on mixed in any combination. In my opinion the sound is clean though the delay is still very much tape like in character. Where this equipment shines is in the ability to create and mix together very beautiful chorus/ delays/ reverbs so easily."
The top panel mic input is for a proprietary Korg mic which I never owned. I have heard that they were kind of crap anyway and the only advantage is that they attach directly to the top panel. Any mic with a 1/4 plug can be input to the front panel mic jack, and this is how I have always used it. If you are using a more exotic mic, or something that requires phantom power you will have to figure out how to do so. I always used a simple Beyer dynamic.
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