MATRIXSYNTH

GR-55 Guitar Synthesizer Steve Stevens Interview - Flesh for Fantasy

YouTube via RolandChannel | January 18, 2011 |

"http://www.rolandconnect.com/product....
Steve Stevens talks to Roland about the GR-55 Guitar Synthesizer."

Billy Idol - Flesh For Fantasy

emimusic | March 09, 2009 |

"Music video by Billy Idol performing Flesh For Fantasy."

Jumbo Gem

via this auction

Vibrato
Chords
Horns
Strings
Reeds
Flutes

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CME VX7 Midi Controller with ASX Plugiator Synthesizer

via this auction

"CME VX7 Controller with UseAudio ASX Plugiator analog modeling hardware with the latest 8 plug-ins. The Plugiator plugin licenses are transferable.

The CME VX7 has the latest 2.1 firmware update and will come with earlier ROM images."

stg soundlabs moog format mixers now shipping

"The Mixer is a 5-input mixer with a transistor-based make-up gain stage and topology based on the model CP3 mixers from the modular electronic music systems built in Trumansburg NY by the RA Moog company. Its features are low noise, minimal slew, and massive asymmetric distortion on demand.

Each input has an input amount level, and there are three outputs. Two outputs are unattenuated positive and negative outputs, and the third is an attenuated output controlled by the sixth knob on the panel. Its normal operation is bipolar from negative to positive, but when the "negative kill" switch is engaged the attenuator works from null to full positive. In addition, channels four and five are normalised to positive five volts and negative six for CV offset or distortion "pulse width" effects.

As calibrated to factory standard, 2 o'clock on the dial is approximately unity gain, at 3 o'clock it begins to clip and then distortion presents itself above that input level (from 10V p-p input signals.) This is adjustable to the taste of the customer and if your application needs a predictable unity gain position for clean mixing applications it can be provided for you on request. (obviously if you want to live dangerously it can be calibrated in a more extreme fashion.)

The positive and negative outputs are not only necessary for control signals and other phase-sensitive applications. Because of the circuit topology of the gain amp the positive and negative outputs actually have different distortion characteristics. The negative output is more of a straight clipping, but the positive output has some interesting waveshaping to it which also means that when the output attenuator is in bipolar operation it is actually possible to isolate only the difference component between the two different types of distortion. This is a feature which was not available on the CP3 (or any other mixer that I'm aware of based on it, which until now have only been privately built for the most demanding of enthusiasts.)

You may ask "why on earth would you want such an old circuit? why go so far as to model the power rails of that old stuff for what anyone else would just throw a cheap dual opamp chip in there? are you nuts? the cheap dual opamp would give you another 10 volts of headroom and would bring your circuit cost to a tenth of what it is now!!"

The answer is of course, the sound. The sound of those old modular systems (the ones on albums like Tarkus, Rubycon, Mirage, Halo, Switched-On Rock ... those albums that make us want these sounds) wasn't just a matter of a certain lowpass filter which everyone and their brother has made a copy of. The sound started with simple animal-like unijunction-core featureless oscillators, was mixed in distortion-heavy mixers, filtered with the aforementioned filter (and other filters people never bother to copy), and then level-managed by a transistor-based VCA. one of those four stages is the mixer, and in my opinion it's more than a quarter of the sound.

Here is a meandering sound example with 2 Synthesizers.com Q106 VCOs into the Mixer, then the MOTM-490 LPF, and an STG Soundlabs VCA"

CP333 by suitandtieguy

More info and price at stg/soundlabs

Curve Theory Studio

flickr By curvetheory
(click for more)

ARP2500_10s_Ep01.wmv

YouTube via psprojectbrazil | January 18, 2011 |

"ARP 2500 - 10 seconds video series - Episode 01"

Sugar Bytes Newsletter: Thesys Consequence and Effectrix Updates

"Thesys and Consequence are now available in brandnew versions, with incredible new features. The new Midi Drag and Drop feature allows to drag the pattern directly into a midi track or to your desktop! That makes work a lot easier and invites to new experiments. In Consequence you can even create a multitrack midi file, to trigger different sound generators with the individual Consequence instruments. It has never been so easy to create driving chords, rich string ensembles or intelligent, polyrhythmical harmony structures. Thesys will amaze you with the new Gate Time Multiplier and a overhaulted modulation section and the Standalone turns your computer into a Step Sequencing Monster with lots of Midi related features, Audiorecorder and the "Check for Updates" function that will keep all your Sugar Bytes products fresh.

Effectrix 1.4.2 is now available. All known bugs are fixed and a standalone version was added."

http://www.sugar-bytes.de/index.php?lang=en
via brian comnes: "Sugarbytes just upgraded Thesys - for the life of me if you get this VST multi-track sequencer and drive a MIDI/CV engine (or use Silent Way) - it puts an end to any desire for a hardware sequencer of any stripe for CV patterns - unless of course you just want to bow down to the gear lust genie"

I'd love something like this for the iPad.

Novamusik.com - Korg Kaoss Pad Quad

YouTube via Novamusik | January 18, 2011 |
http://novamusik.com/
"We take a peak at the Korg Kaoss Pad Quad with the help of Korg Product Manager James Sajeva!"