VAKO ORCHESTRON Videos

YouTube Uploaded by dietervanmarcke on Jun 13, 2011

Playlist:
01 vocal choir 2
02 piano 2
03 violin 2
04 solo French horns 2
05 saxophone 2
06 marimba 2
07 pipe organ 2
08 tremelo elek guitar 2
09 solo female voice 2
10 organ 2
11 string ensemble 2
12 celo 2
13 flute 2
15 radiovox 2

Teisco S-110F Analog Synthesizer

via this auction

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1974 Experimenting with Electronic Music, 1st ed.

via this auction

"Published the very same year electro-industrial pioneers Kraftwerk released their breakthrough album "Autobahn," here's a wonderful, rare book covering virtually everything you ever wanted to know about music synthesis and reproduction. Within its pages is an overview of the history of electronic music, from RCA's tube-based Mark I to modern solid-state synthesizers, with photos of the Minimoog and the Moog Sonic Six, as well as the Tonus ARP 2500, 2600, and Soloist consoles. For you tinkerers out there, the book also contains numerous construction projects, including two (2) separate transistorized theremins complete with detailed alignment instructions. All projects come ready-to-build with full schematics and parts lists.

Contents include:

Musical Electronics

History - Mechanical Tone Generation - Electronic Tone Generation - The Music Synthesizer

Sound and the Electronic Signal

Sound - Harmonic Motion - The Sine Wave - Additive Synthesis - Square Wave - Sawtooth Wave - Beat Notes - The Envelope - White Sound - Using the Complex Wave

The Instruments

Mechanical Tone Generators (string, wind, and percussive) - Experimenting

Microphone and Pickup Applications

Principles - Ceramic and Crystal Applications - Homemade Ceramic - Homemade Percussion - Dynamic Microphones - Magnetic Pickups - Homemade Magnetic Pickup - Condenser - Impedance

Building a Small Electric Organ

Tone Generation - General Construction - Tremolo Modulator - Mixer - Homemade Keyboards - Combining the Stages

The Electronic Modifiers

Tremolo Circuit - Envelope Control Circuit - Trigger Circuit - Attack Envelope Generator Circuit - Photoelectric Modulator - Reverberation - Chime Device - "Fuzz" Circuit - Sustain Circuit

Electronic Tone Generators

Multi-waveform Generator - Pink Noise Circuit - Two Theremin Projects - Automatic Percussion Circuit - The Almost Nightingale - Mini-Organ

Odds and Ends

Two-Channel Mixer - Three-Channel Mixer - Voice Selector - Variable Bandpass Amplifier - Active High-Pass Filter - Resonant Filter - Tube Filter - Tape and Echo"

Black sun serenity (Plogue Bidule + Elektrostudio Model Pro VSTi)

Uploaded by GruithuisenCityMan on Jun 13, 2011

"Hello ! My name is Frederic Gerchambeau. I have made this movie and this music. The music has been made in one take using Plogue Bidule and the Elektrostudio Model Pro VSTi (x3). Enjoy !"

For Frank [Bratigel Videos]

YouTube Uploaded by heidibeerbel on Jun 13, 2011

"a little Demo with Bratigel Sequencer and Bratigel SSM Filterbank"

Phil Collins "Sussudio" Minimoog with MIDI for Auction?

YouTube Uploaded by ricel1992 on Jun 13, 2011

"Little Video Demo for my minimoog D with Studio electronics midi added"

via this auction

"I bought this from the keyboardist for Phil Collins, he told me that he used it to record the live track minimoog bassline for the song Sussudio, it has been the same live track ever since!"

Update: via davidfrank in the comments: "Hi David Frank here. I programmed the sussudio bass line on a oberheim obxa/Dsx/Dmx connected to a minimoog. could have been this "midied"minimoog. It was at townhouse studiosLondon in a programming room by myself while Phil and Hugh Padgham were doing other parts for the album.
Phil had sent me a demo of the song that had an 1/8 note repeating on the root note as the bass line. I changed it to the 16th note riff to make the song more exciting and the track more original sounding. In the process of putting a slide TO the downbeat of the Chorus I tried a slide ON the downbeat instead. Thus the Sussudio bassline. The horn arrangement was done later and used the bass line as it's main motif."

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Sunsyn Demo

YouTube Uploaded by ricel1992 on Jun 13, 2011

The KORG microANTLAR!

via Shiv-r
"What do you do with an AWFUL digital synth you bought 10 years ago that you will never use for any godly purpose again? I present you with the first incarnation of....the microANTLAR!

The antler theme is continued on from the concept in our upcoming album This World Erase, which you can catch a glimpse of in the teaser below"

See Shiv-r for the video and the how-to for attaching antlers to your MicroKORG.

This one in via Garrick.



BTW, if you have a MicroKORG check out this editor.

John Paul Jones Yamaha GX-1 with Programmer Up for Auction?

via this auction

"Here's your once-in-a-lifetime chance to own one of the most famous keyboards in rock-'n'-roll history: the storied Yamaha GX-1 synthesizer owned by John Paul Jones (Led Zeppelin), then Keith Emerson (Emerson, Lake & Palmer/Powell [ELP]), then Hans Zimmer (film composer). Seller acquired it directly from Hans Zimmer in 2003 (authenticated). Yamaha's original retail/list price for the GX-1 was US$60,000.

Provenance: John Paul Jones acquired it circa 1977/78 and used it on Led Zeppelin's album "In Through The Out Door." It was featured on tracks "In The Evening," "All My Love," "Carouselambra" and "I'm Gonna Crawl." On "All My Love," Jones performs a nice string arrangement, and the horn solo demonstrates the GX-1's expressive vibrato capabilities. On the final Led Zeppelin tours, Jones used the GX-1 as his primary keyboard, performing string, organ, clavinet and bass/synth. parts (see photo #3: Jones performing on GX-1 at the Knebworth, UK shows in '79 [top pic in this post]; the last time the original foursome performed together before John Bonham's death). Jones called the GX-1 "a joy," which replaced his repair-prone Mellotron.

Keith Emerson acquired the GX-1 from Jones in the mid-'80s as a spare for Emerson's original GX-1 (used with ELP in the late '70s). Emerson cannibalized some of his original GX-1 for the benefit of this unit. He used this GX-1 most prominently on the "Emerson, Lake & Powell" album & tour in the late '80s, and in the music video of the title track of ELP's "Black Moon" reunion album in the early '90s (see photos #4 & #5 [2nd pic in this post]; keyboard on top of GX-1 not included). "Emerson, Lake & Powell" tracks featuring this GX-1 include "Touch & Go" and his synth. rendition of Holst's "Mars: Bringer Of War." Emerson sold the GX-1 to renowned film composer Hans Zimmer in the mid-'90s, who sampled various sounds on it (see photo #6 [3rd pic in this post]: GX-1 in Zimmer's studio; Moog modular not included). The GX-1 was also used for recording sessions by musicians including Erik Norlander on his "Threshold" album. (Note: Keith Emerson's Wikipedia entry is incorrect: his original GX-1 [painted black] was sold to a European collector, and this unit was sold to Zimmer, then to the Seller)

This auction is for the: keyboard/console (including programmable cartridges; see photo #9), separate ultra-rare Programmer Module (see photo #11), and original Anvil-style case (used by Jones, Emerson, Zimmer and the Seller). Sale does NOT include: the GX-1's bench/pedal section, two TX-II speakers, and the programmable cartridges for the Pedal section only (which were not included when Seller acquired it).

It works, but after playing it for a while, it sometimes makes a noise and must be turned off and then turned back on. Being sold "as is." Seller can refer Buyer to several qualified GX-1 technicians. [Minor] tuning/calibrating will probably be required after shipment. Copies of any manuals (User/Technical/Service/etc.), brochures and other GX-1 information Seller has will be included. Has balanced outputs (see labeled photo #12), which may be custom. John Paul Jones had the switches/LED panel added (over the Electone logo area), which may be disconnected (appear to have no effect anymore)...

Here's some miscellaneous information:
- only about 27-30 GX-1's were ever manufactured and/or sold (unit's Serial Number is 0076)
- the most powerful polyphonic synthesizer in history at the time
- 3 keyboards (2 standard manuals; 1 solo manual); volume pedal; retractable knee vibrato controller
- unheard of levels of touch control (touch/velocity-sensitive, polyphonic aftertouch, etc.)
- approx. outer dimensions of keyboard console 63"(L) x 31"(W) x 46"(H)
- top area (where other keyboards can be placed) is about 60"(L) x 10"(W)
- weight in Anvil-style road case is about/over 1,000 pounds
- was the basis for Yamaha's popular CS-80/etc. synthesizers"
SN 5076

via John

See this post for a close-up of the programmer.

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Synthwerks FSR-1N

Some pics of my newly acquired Synthwerks FSR-1N. This one was an early birthday present from George Mattson of Mattson Mini Modular during my last visit checking out his monster EML modular. Thank you George!

Click on each pic for the super size shot. I also found a new use for my OTO Biscuit - mood lighting for synth pics! :) No disrespect to the Biscuit, I absolutely love mine. You can also see a Division 6 Filtare SEIII, Tiptop Audio Z8000 Sequencer, and the bottom of an Elby Designs - Ken Stone CGS735 Synthacon Filter, all in a snake skin Monorocket case.

The focus of course is on the Synthwerks FSR-1N. The FSR-1N is a single channel "Force Sensing Resistor." In short, it's a touch sensor module with two outputs, one that transmits pressure (aftertouch) and one Gate. Each output has a knob to set the amount of CV output. You can plug either into whatever CV input in your modular or hardware synths. Route it to a filter's cutoff, resonance, VCO pitch, or use it to trigger envelopes that modulate different things. Anything you can modulate can be patched with this, and you can hook it up to a mixer or mult and patch multiple things at the same time. If you have a switched mixer, you can drop things in and out. Just one FSR-1 can be surprisingly versatile.

One thing that stands out with Synthwerks' FSR modules is that they are actually pressure sensitive and not capacitive, meaning you don't have to make skin contact with them to work. You can use drum sticks on these - you can even cut out a piece of a mouse pad to make a nice pad for them. It's not needed though, the sensor feels fine and is very responsive. It doesn't act like a simple on/off switch. The harder you press or hit the sensor, the more the modulation is applied. You don't have to over press either. It is extremely sensitive and you can adjust the amount of the effect with the knobs. Of course you can press quickly to get max output instantly.

The FSR-1N takes up little space as you can see and is a great way to fill out any gap in your modular system. You can of course get one module with four sensors with the FSR-4 or large size pads with the FSR-4C. See http://synthwerks.com for more including other controller and utility modules.

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