Friday, June 03, 2016
Future Retro 512 touch keyboard plays the EMS Putney, Minimoog Model D, EML 101, & Eurorack
Published on Jun 3, 2016 FutureRetroSynths
"Just a quick video to show the Future Retro 512 can play the EMS Putney, Synthi, VCS3 just fine with their .32V/Oct CV standard. All you need to do to make this happen is route the 1/8" gate output of the 512 to the Gate In of the Putney's Keyboard-In cinch-jones connector, and the 1V/Oct CV out of the 512 to the Control In 1. You can then adjust the Control 1 level to scale this CV so the oscillators in the EMS track properly. Start with Control 1 level at "4" then play octaves to dial in the oscillator tracking.
Notice I could have routed the 512's mod wheel, velocity, or aftertouch to Control 2's input to add even more control over the EMS"
Future Retro 512 touch keyboard plays the Minimoog Model D
Published on Jun 3, 2016
"Quick test to show that the Future Retro 512 can play the older Moog synthesizers with their S-trig type gate inputs. For the 512 to control the S-trig synthesizers, you simply need a 1/8" to cinch-jones connector with a transistor and resistor wired into the cable. Simple to do, schematics can be found online."
Future Retro 512 touch keyboard plays the EML 101
Published on Jun 3, 2016
"Quick demo of the Future Retro 512 playing the EML 101 synthesizer. Although the EML does not follow the 1V/Oct CV standard you can trim the 512's CV output to conform to the EML CV standard, and have your oscillators track pitches correctly."
Future Retro 512 touch keyboard plays a Eurorack modular
Published on Jun 3, 2016
"Here's a quick video to show the Future Retro 512 keyboard can play all the various Eurorack modular gear as well.
Special thanks to Switched-On music store here in Austin for setting up this Doepfer system for us, and their time and space while we shot this video in their store."
Follow up to New Future Retro 512 Touch Keyboard Playing the Arp 2600 & Buchla Music Easel
ARP 2600 and Roland Vocoder Plus VP-330 Live Jam 03
Published on Jun 3, 2016 Ralph Baumgartl VLog
"This is a Live Jam experiment using the Sample & Hold Module of the ARP 2600 to create some kind of sequencer line, which is used as a the modulation signal on the Roland Vocoder Plus VP-330 which is providing the carrier signal. The audio of the session was recorded with a Zoom Handy Recorder H4N (no computers were used). Additional gear: Zoom MS-70CDR, Strymon BigSky, Boss BX-600 6 Channel Stereo Mixer"
Thursday, June 02, 2016
Ace Tone (Roland) Rhythm Ace FR-6 + Roland RE-201 Space Echo test
Published on Jun 2, 2016 SubTokyoShop
"Ace Tone (Roland) Rhythm Ace FR-6
+ Roland RE-201 Space Echo test
recorded with Drawmer LX20 compressor"
subtokyoshop on eBay | subtokyoshop on Reverb
Note: eBay and Reverblinks are affiliate links for which the site may be compensated.
Oberheim OB-X Vintage Analog Synthesizer (1979) "Erstmal Wind..."
Published on Jun 2, 2016 RetroSound
"(c) 2016 vintage synthesizer demo track by RetroSound
all synthesizer sounds: Oberheim OB-X Analog Synthesizer from the year 1979
drums: Roland TR-808 (1982)
recording: multi-tracking without midi
fx: reverb and delay
The OB-X also called the Oberfett (engl. Oberphat) is the fattest polyphonic analog synthesizer ever. The sound is very different to the later OB synths."
Lost in Space Again (Modular Synthesizer and Korg Volca Sample)
Published on Jun 2, 2016 TheKraist
"This is Braids in CSAW mode, filtered by a Doepfer A-105 SSM. The reverb and delay is from Mutable Instruments Clouds."
Korg Synthe-Bass SB-100 Analog Synthesizer SN 780343
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Update via Steven Cain in the comments:
"It is actually based off of the MaxiKorg K3 (800DV) from the era. From the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since."
Original auction description:
"The Sound.
This thing is unbelievably fat. It's a one-oscillator monosynth, but they really do not make them like they used to. It has a smooth but slightly gritty sound all of its own. It does not sound like the syruppy-sweet Roland synths of the same era, and it also does not sound like the MS-20 and other MS-series synths that KORG released starting in 1978. The filter is most likely based either on the MiniKorg 700 or the 770 from the same era. There are five selectable waveforms: Triangle, Square, Saw, Pulse and "Phaser". All of them sound organic, alive and FAT. The Triangle wave seems to have some kind of attack transient at the beginning that gives it a girthy bass kick kind of sound. I suspect the "Phaser" form is either PWM or something similar. How it is achieved is beyond me. I have gigged with it live and it sits very nicely at the bottom of a mix. This thing just oozes power. Additionally, even though the keyboard is only 25 keys (two octaves), the user can select three different octave ranges, extending the full range to five octaves. In the higher range, even though it is a "bass" synth, it gives you a great seventies style prog lead--instant Keith Emerson, should you need it. It can everything from singing lead lines to fat bass plucks to duck farts.
Features.
This is an idiotically simple synth to use (I mean that in the best way possible). There are no modulation routings, no LFO, minimal envelope control. However, the simplicity is actually a strength. There is no setting that sounds bad. The designers really tuned it right--it's one big sweet spot. There is a "Brightness" switch (Resonance) which is either on or off. There is a full "Traveler" (filter cutoff) slider that is usable enough. No mod wheel here, but a couple pitch up and down buttons. It fits in a suitcase style tolex case and it just looks hip. I loved bringing this thing to performances and opening it up and sticking it on a stand. Though envelope controls are few, there is enough control to shape healthy bass sounds.
Additionally, if you are interested in a MIDI retrofit, there is already a place for a 5-pin MIDI socket. As this was created years before MIDI, you might wonder why. It seems that there may have been a plan for a DIN socket for some type of control, so they punched the hole in the housing of these models but then never used it. It is located right beside the power switch.
Condition.
As should be evident from the pictures, the whole tolex case is intact. It features the letters "TGHS" on the front in white. This is most likely from a high school band, and I do not know the origin. Functionally, it is in 100% working order, which still amazes me sometimes as it is 40 years old."
via this auction
Update via Steven Cain in the comments:
"It is actually based off of the MaxiKorg K3 (800DV) from the era. From the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since."
Original auction description:"The Sound.
This thing is unbelievably fat. It's a one-oscillator monosynth, but they really do not make them like they used to. It has a smooth but slightly gritty sound all of its own. It does not sound like the syruppy-sweet Roland synths of the same era, and it also does not sound like the MS-20 and other MS-series synths that KORG released starting in 1978. The filter is most likely based either on the MiniKorg 700 or the 770 from the same era. There are five selectable waveforms: Triangle, Square, Saw, Pulse and "Phaser". All of them sound organic, alive and FAT. The Triangle wave seems to have some kind of attack transient at the beginning that gives it a girthy bass kick kind of sound. I suspect the "Phaser" form is either PWM or something similar. How it is achieved is beyond me. I have gigged with it live and it sits very nicely at the bottom of a mix. This thing just oozes power. Additionally, even though the keyboard is only 25 keys (two octaves), the user can select three different octave ranges, extending the full range to five octaves. In the higher range, even though it is a "bass" synth, it gives you a great seventies style prog lead--instant Keith Emerson, should you need it. It can everything from singing lead lines to fat bass plucks to duck farts.
Features.This is an idiotically simple synth to use (I mean that in the best way possible). There are no modulation routings, no LFO, minimal envelope control. However, the simplicity is actually a strength. There is no setting that sounds bad. The designers really tuned it right--it's one big sweet spot. There is a "Brightness" switch (Resonance) which is either on or off. There is a full "Traveler" (filter cutoff) slider that is usable enough. No mod wheel here, but a couple pitch up and down buttons. It fits in a suitcase style tolex case and it just looks hip. I loved bringing this thing to performances and opening it up and sticking it on a stand. Though envelope controls are few, there is enough control to shape healthy bass sounds.
Additionally, if you are interested in a MIDI retrofit, there is already a place for a 5-pin MIDI socket. As this was created years before MIDI, you might wonder why. It seems that there may have been a plan for a DIN socket for some type of control, so they punched the hole in the housing of these models but then never used it. It is located right beside the power switch.
Condition.
As should be evident from the pictures, the whole tolex case is intact. It features the letters "TGHS" on the front in white. This is most likely from a high school band, and I do not know the origin. Functionally, it is in 100% working order, which still amazes me sometimes as it is 40 years old."
Roland SH-101 SN 320382
ROLAND SUPER JUPITER MKS-80 REV 5 SN 522198
Roland SH-101 Analog Synthesizer + RE-150 Space Echo test
Published on Jun 2, 2016 SubTokyoShop
"Roland SH-101 Analog Synthesizer + RE-150 Space Echo test
SH-101 controlled by Arturia Beatstep with CV/Gate"
subtokyoshop on eBay | subtokyoshop on Reverb
Note: eBay and Reverblinks are affiliate links for which the site may be compensated.
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
