Roland Jupiter 8 + Korg EMX1 The Cars Sync Lead R&B Solo Jam

Published on Jan 14, 2013 synthartist69·1,057 videos

"This is one of my favorites on the Jupiter 8, The Cars Sync Lead patch #15."

Benge - Buchla Hybrid

Benge - Buchla Hybrid.mov
Published on Jan 14, 2013 zack dagoba·205 videos

"heres a patch on my hybrid buchla 100 / 200e system - see http://myblogitsfullofstars.blogspot.com/ [this post] for more"

Studiologic Sledge with Jordan Rudess

Published on Jan 14, 2013 JCRUDESS·1,003 videos

"Here is my new YELLOW synth. It has a GREAT sound. The synth engine is by Waldorf"

Studiologic Sledge on eBay

"When You Wish Upon A Star", played by Dana Countryman

Published on Jan 14, 2013 Dana Countryman·38 videos

"Dana Countryman plays the classic 'When You Wish Upon A Star' on his homemade 'Martenot Controller for Modular Synthesizer'. Easier to play than a Theremin! For more information about the Martenot Controller, please visit www.danacountryman.com"

I believe that is a synthesizers.com modular.

Also see:
Isao Tomita - When you wish upon a Star

Polychord

Published on Jan 14, 2013 Ebotronix·559 videos

Roland System 100 & €rack
4 ms Peg RCD VCA Matrix
Analogue Systems RS 100 RS 110 RS 360
Doepfer A 134 pan by Maths & Moog MP 201
Flame Chord Machine 2x
Grendel Formant Filter
Make Noise Brains 2x PP ( CM 2 ) Maths Moddemix Optomix QMMG Wogglebug
Malekko 4x Anti 4x Unkle
Moog 4x Freqbox CP251
Oberheim Sem
Roland System 100 Bass , Lead & Chord Machine (CM1) Sequencer
Toppobrillo Quantimator Sportmodulator TWF
Logic to Kenton Pro 2000 II
Yamaha KX 25
Drums Logic Ultrabeat 6/4
FX Boss VF1 Line6 Echopro TC M3000 Aphex Model 104 Alesis 3630

Roland JX-3P with Original Box & PG-200

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

SN 368196

CLICK FOR MORE »

Doepfer Dark Time Sequencer w/Blue LEDs

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Rare SND SAM-16 Sequential Analogue Memory

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Here is your chance to own of the best analog sequencers. Not in production makes this a rare find.

The SAM-16 is a high-end analogue and MIDI-sequencer with special emphasis on tightness and intuitive handling. It has 16 steps, each with the following controls:

3-position toggle switch for trigger/mute/reset
12-position rotary encoder for semitones/chords
3-position toggle switch for transpositions
control for second parameter (i.e. filter)
control for third parameter (i.e. volume) or gate/step length
3-position toggle switch for audio/CV routing between 2 busses and individual input/output jacks
A fundamental problem of all sequencers using pots and electronic quantisation, is that a control may be (unknowingly) set close to a switching point of the quantizer, such that even a small (and inevitable) drift will cause sudden and unwanted changes in the sequence. The use of rotary encoders for setting the notes eliminates this problem, and - in conjunction with the transpose-switches - it also allows a much more intuitive and predictable control of the sequence.

The second row of knobs controls MIDI-velocity. In addition to the normal mode there are 6 special modes, in which the SAM-16 simultaneously or alternatively transmits on 2 MIDI-channels to allow velocity crossfades and switching.

The third row can be used for various functions. It controls either step or gate length, but can also generate another control voltage and/or MIDI-controller (#1-14). In addition it is possible to feed it 1 or 2 audio/CV signals, that appear at the rows output with a different attenuation/mix for each step.

With the lower row of toggle switches audio and/or CV-signals can be routed from or to 2 busses and 14 individual jacks. This can be used to create ´wave-sequences´ by routing various waveforms of a modular system´s oscillators (or other audio sources) to the filter, or to activate CV-modulations only for certain steps of a sequence. The row can also control the gate length, or generate MIDI-switch-controllers.

All rows have CV-outputs (0-5V, pitch 1V/octave), rows 1 and 2 also have a CV-input that is added to the values produced by the sequencer. These modulations also influence the MIDI-output data. The input attenuator for pitch modulation doubles as a global transpose control with a 2-octave range.

The build-in MIDI-interface synchronizes the SAM-16 to MIDI-clock or MIDI-notes (!) and translates all settings into MIDI-data. Thus it is possible to control classic analogue equipment as well as modern sound generators. Also sequences and their transformations over time can be recorded into a software sequencer for further editing, storage, and recall.

A special feature of the MIDI-section is the possibility to ´re-define´ the 12 positions of the pitch encoders, that is to assign any note or chord (up to 7 notes) to each position. The timing control of the SAM-16 also has some advanced options, such as the possibility to wait until the end of the current measure at any given step. This allows convenient synchronization even when changing the sequence length. An ´alternating´-mode allows the sequence to be split into 2 halves, and to switch between them by hand or automatically after 1 - 15 runs.

Only high-grade controls and components are used in the SAM-16. The internal MIDI-software has been carefully optimized for speed (latency < 0.1 ms) and reliability.

All CV-inputs/outputs through 1/4"-jacks on the front-panel, MIDI-In/Thru/Out on the back

19", 5 rack units, depth (behind frontpanel): 105mm + plugs, external power supply"

See the SND label below for more including video.

“MIDI Creators and Innovators” Panel Coming to NAMM

"MIDI Creators and Innovators Alan Parsons, Tom Oberheim, Dave Smith, Jordan Rudess, George Duke and Craig Anderton to Discuss Past, Present and Future of MIDI at 2013 NAMM Show H.O.T Zone Session

Who:

Alan Parsons is British-born audio engineer, musician, and record producer. Parsons has been involved with some of the biggest recordings of all time, including The Beatles Abbey Road and Let It Be, in addition to Pink Floyd's The Dark Side of the Moon. He has been involved in all aspects of the music business and is well known for his own work, The Alan Parson's Project. When not engineering and producing, Mr. Parson's is a highly sought after guest lecturer, product and technology consultant and is the co-creator of the highly- acclaimed educational DVD series called The Art & Science of Sound Recording.

Tom Oberheim is a synthesizer pioneer having created several legendary synths, effects processors, and drum machines as the founder of Oberheim Electronics, Marion Systems, and SeaSound. Oberheim was a key contributor to the original MIDI specification and was an early evangelist of the technology.

Dave Smith was the co-author of the original MIDI specification with Roland's CEO and founder Ikutaro Kakehashi. Mr. Smith was the founder of Sequential Circuits while developing the MIDI specification, and has since developed dozens of synthesizers, drum machines, and effects processors. His current company, Dave Smith Instruments, continues to develop cutting edge MIDI-based instruments that enjoy a worldwide following.

Jordan Rudess, is an American keyboardist, clinician, composer and software entrepreneur best known as the keyboardist in the band Dream Theater and the progressive rock supergroup Liquid Tension Experiment. Rudess is a graduate of the Julliard School of Music and is an extremely well respected consultant to many music instrument companies, and has his own music software company called Wizdom Music, which designs innovative tablet- based musical instruments.

George Duke is a legendary musician, keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. Duke has composed, produced, and played on dozens of gold and platinum records, received numerous GRAMMY awards, and has toured extensively as a band member, music director, and as a solo artist.

Craig Anderton, is a musician, author and music magazine editor/writer who is well known to anyone who has ever picked up a music technology magazine. As the editor of Electronic Musician and author of hundreds of articles on music technology, Anderton is an esteemed journalist and expert in all aspects of MIDI and MIDI technology.

Tom White, (MC) is the President of the MIDI Manufacturers Association, and a highly- regarded contributor and consultant to several industry trade and technology groups including but not limited to CES, USB, IEEE, AES, IASIG, and as long-standing president of the MMA. White has had a long career in the music industry, including a lengthy period in marketing and business development for Roland Corporation.

What: Panel discussion “MIDI Creators and Innovators” For 30 years, MIDI has been always been at the forefront of music technology even as musical trends changed. Come hear from a star-studded panel of MIDI creators and innovators -- stories and opinions about the past, present, and future of MIDI.

When: Sat. Jan. 26, 2013 11:30 a.m. – 1:00 p.m.

Where: The NAMM Show, Anaheim Convention Center Room 204B (Inside NAMM H.O.T. Zone)

Presented by the MMA

The MIDI Manufacturers Association (MMA) is a non-profit organization formed in 1985 to encourage companies implementing MIDI to make their products interoperable through compliance with MMA Recommended Practices. MMA publishes the official MIDI Specification, provides education about MIDI, licenses MIDI trademarks, and promotes the use of MIDI technology for new applications and in various industries. For more information, please visit www.midi.org"

Early Doepfer Sampler Module & The Start of Eurorack

via Pierre Serné of PatchPierre.Net on The MATRIXSYNTH Lounge

"I found an old Matrixsynth post [here], did a bit of research and contacted Dieter Doepfer for additional info.  Find my post at [link] Most interesting IMHO":

"Dieter: 'To some extend this was also the beginning of the Eurorack standard (instead of Doepfers/DD Systems earlier Formant sized modules) as the front panels already had the same dimensions and mounting positions as the A-100 that started in 1995.'"