MATRIXSYNTH

YouTube Uploaded by davidryle on Aug 14, 2011

"A live performance. A 137 space modular synthesizer, Waldorf MicroWaveXT, Dave Smith Prophet 08, Nord Lead 2X, Yamaha TX816, DX7II, and Oberheim Matrix 6.
All synthesizers are controlled either with Numerology 3 Pro or from the modular synth on-board sequencers. Recorded in Cubase 4 from Steinberg.
I played a single line at various times on the DX7II. Everything else is fully automated including a pseudo-random sequence generated by a Catgirl Synth Suboscillator/Harmonic Sequencer module by Ken Stone.
The baseline is the Prophet 08 controlled by a midi output from the synthesizers.com Q172 midi output of a Q960 8 step sequencer pattern."

20110814160807

YouTube Uploaded by panote09 on Aug 14, 2011

panote09 on Ebay (RSS)

Oberheim OB-XA Jump

Oberheim OB-XA Jump patch by Jebeq
"Oberheim OB-XA Jump demo cover"

More pics here. And the patch with filter envelop attack set to 0:

MIDIfying a Monotribe

Originally posted on August 03, MIDI out was revealed. On August 5th two hidden methods for MIDI in were posted. On August 12, MIDI controllable items on the Monotribe were mapped. On August 15, Gameboy Genius has documented a how-to on Monotribe, MIDI and me.

Wolfgang Palm - The ppg Story

15 part series here.

via Thomas on The MATRIXSYNTH Lounge

How it all began:

"I already played in a band back in my school days, and because I couldn’t afford a real guitar, I built one myself. It was built from a finger-board which I got from a broken travelling guitar found in the garbage, a body from flake board, with self-wired pickups.

We played songs from the Beatles, Stones, Spencer Davis Group and what else was heard on the radio in the 60s.
Later, during my studies (physical technology, from atomics through acoustics to electronics), I played the organ. (a Farfisa) Synthesizers were still unknown. At some point in ’70 I heard a song from Emerson Lake & Palmer on the radio and it totally struck me. I believe it was the song “Lucky Man” with that synth solo near the end. One must keep in mind that my ears had never before come to hear such a sound. From that day on I was a complete Emerson fan.
I immediately asked myself what kind of musical instrument this could be and also how such an instrument could function. Particularly the Portamento Effect pointed to the fact that it was an Oscillator which doesn’t have a fixed pitch (like with an organ), but is freely controllable.
Because I knew quite a lot already about transistors and the other components, I built a VCO, like I had in my mind. To control it, I built a Pitch-to-Voltage converter which generated a control voltage from the sounds of the organ and triggered the VCO..."