MATRIXSYNTH

Line 6 Mobile POD

Mobile POD - Line 6
"IMPORTANT: To use this free app with a guitar, you'll need a Mobile In [not seeing any on eBay yet at the time of this post], the premium digital audio interface accessory made by Line 6. If you don't have a Mobile In yet, you can still explore the app and learn about the available guitar amp and effect device models, and the many other app features. For more information about Mobile In, please visit http://line6.com/mobilein.

64 MODELS OF CLASSIC GUITAR AMPS AND EFFECTS

The free Mobile POD® app puts the tones of legendary guitar amps and effects into your Apple® iPhone® and iPad®. Connect your guitar with the Mobile In digital audio interface and play 64 models of celebrated guitar amps, classic stompbox effects, sought-after speaker cabinets and more. Each model is fully tweakable so you can dial in the tones you need.

32 Guitar Amplifiers based on*
• 1964 Fender® Deluxe Reverb®
• 1959 Fender® Bassman®
• 1960 Tweed Fender® Champ®

• 1965 Blackface Fender® Twin Reverb®
• 1968 Marshall® Plexi (100 watt)
• Marshall® JTM-45 meets Budda® Twinmaster
• Budda® Twinmaster head
• 1960 Vox® AC15
• 1960 Vox® AC30 (non-Top Boost)
• 1985 Mesa/Boogie® Mark IIc+ (Clean Channel)
• 1985 Mesa/Boogie® Mark IIc+ (Drive Channel)
• 1995 Mesa/Boogie® Dual Rectifier® Head

• Dumble® Overdrive Special (Clean Channel)
• Dumble® Overdrive Special (Drive Channel)
• 1989 Soldano SLO Super Lead Overdrive
• 1987 Roland® JC-120 Jazz Chorus
• Line 6 Insane
…and more!

16 Guitar Amp Speaker Cabinets based on*
• 1960 Fender® Tweed Champ®
• 1952 Fender® Tweed Deluxe Reverb®
• 1964 Fender® Deluxe Reverb®
• 1965 Fender® Blackface Twin Reverb®
• 1959 Fender® Bassman®
• 1960 Vox® AC15
• 1967 Vox® AC30
• 1995 Matchless Chieftain
• 1996 Marshall® (Celestion® Vintage 30s)
• 1978 Marshall® (stock 70s)
• 1968 Marshall® Basketweave (Celestion® Greenbacks)
• Line 6 4x12
…and more!

16 Stompbox and Rack Effects
• Compressor
• Tremolo
• Chorus 1
• Chorus 2
• Flanger 1
• Flanger 2
• Rotary
• Delay
• Auto Swell
• Room Reverb
• Spring Reverb
• 4-Band EQ
• Wah
• Volume Pedal
…and more!

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Gotharman Demoon 24 bit Synthesizer

via this auction

"This is a very unique and fun synthesizer with a few features not found on any other synths, such as a note randomizer, granular effect, and 4 multimode filters which may be individually panned. In addition, they are no longer produced. I am only selling it because I am moving and need the cash. Please note that although the case says "Anamono," Flemming has sent me the correct decals. I have never bothered to put them on, but they will be included... http://www.gotharman.dk/deMOON_Details.htm"

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seiko ds-310 and ds-202 synthesizer

via this auction

Not the best shots but you don't see these too often. You can make out the ribbon connector in the bottom pic.

DKI Synergy

YouTube Uploaded by jbfairlight on Nov 12, 2011

"The Digital Keyboards, Inc Synergy synthesizer was manufactured from 1982 to 1985.

It is estimated that probably less than 100 (of the 700-800 serie I, II and II+ originally made) are still in operation.

A lot of exposure to the Synergy has taken place, perhaps before you even heard about it. As you know, the Synergy comes from a "mother" system called the GDS (General Development System).

It is a pretty rare instrument and I've found it to be a very expressive instrument for having only very limited control over the individual tones.

The sounds played here are the ones stored in the internal memory (preset 20).

The Synergy has 32 digital oscillators that are allocated to notes as they are played; voices which use more oscillators per note have less polyphony. Each oscillator can play a sine or a triangle wave. The Synergy is primarily known as an additive synthesizer, but you can also do FM on it (although to avoid ticking off Yamaha, Digital Keyboards didn't make a big deal about that feature at the time.) It seems underpowered compared to later additive synths, such as the brilliant Kurzweil K150, which has a bank of 240 oscillators. Yet, the Synergy often sounds just as impressive, if not more. I think that's primarily for four reasons:

- On the Synergy, you actually specify two complete sets of rates and breakpoints for the envelopes, and the Synergy can smoothly interpolate between the two based on, for instance, velocity information. On something like the K150, the velocity has much more limited control. This is much more complex than a simple crossfade.

- On the K150, each partial can be set to non-harmonic frequencies, but each partial is then locked to that frequency. On the Synergy, each partial can have its own independent frequency envelope.

- The envelopes are quite flexible, with up to 16 stages, for both amplitude and frequency. (The Kawai K5000 had only give 5 stage envelopes.)

- Wendy Carlos went nuts on the Synergy, and spent years refining its voice library. Most of her voices only use two or three oscillators, yet they sound incredible. The fact that she tuned them all by ear - i.e. no FFTs or phase vocoders used! - is remarkable.

For more information look :
https://secure.wikimedia.org/wikipedia/en/wiki/Bell_Labs_Digital_Synthesizer
http://users.ece.gatech.edu/lanterma/synergy/"