"Overall, the synth is in excellent working condition. The front panel is very clean, with only minor blemishes. The side panels are nice and tidy with minor marks. The rear panel is also clean with only minor marks and blemishes.
All knobs, buttons and switches are present, original and function correctly.
All keys are clean and aligned and contact correctly.
The unit was tested today and the synth is working as it should be: 100% functional."
"This is my first attempt at syncing audio and video together; nothing too complex or fancy. Gear used: Octatrack, Monomachine, Analog Rytm, Korg Minilogue, Eventide Space"
"This is the first PCB version of my Emic 2-based Next-Generation Speech Synthesizer for the Amstrad / Schneider CPC 464. If you would like to purchase one of these, please contact [Michael Wessel on YouTube here]."
"I squeezed everything out of the Circuit for this one. Can't really add a proper bassline because there is no room unfortunately. The only thing I can think of to make it sound better would be to sequence two external synths to beef it up."
"Great sounds can be had with this beast, if you know how to program it. Matrix modulation is pretty advanced synthesis for beginners! These are the best strings and brass I've ever gotten out of a synthesizer.... certainly the most authentic."
"Jamming with the Tanzbar drum machine & a Mother 32 synthesiser synced together.
Tanzbar MIDI Out to Mother 32 MIDI In. The Big Sky has been placed on an aux send.
A small amount of reverb has been used, no further processing except for normalisation."
"I call this one 'demented drummer'. Clouds and Maths means you know this is going to be intricate and unpredictable. I love how the results can shift wildly by the slightest adjustment of the controls here, and how tweaking one knob on Maths can affect multiple parts of the patch in different ways.
Patch notes:
The sound source is Peaks’ secondary drum mode, the digital drum synth, which has four controls (from top to bottom): pitch, FM/pitch sweep, decay time and tone color (from tonal to noise). I’m manually changing these parameters to tweak the sound. Peaks’ channels are triggered by Maths’ EOR and EOC gate outputs respectively.
Maths is also modulating itself, to create some interesting "drum patterns". The EOR/EOC gates each trigger cycle mode for the opposite channel, and the sum and inverted sum outputs modulate the cycle rate for channel 1 and 4 respectively. This means that as the rate of one increases, the other decreases.
Peaks’ outputs are mixed together in the Quadratt, and the mix is sent to Clouds, which is in "looping delay" mode. Delay time (position) and loop size (size) are modulated by Maths’ unity function outputs from ch. 1 and 4 respectively. Freeze, which loops the delay buffer, is engaged by the OR output from Maths. I’m manually tweaking Clouds’ dry/wet mix, feedback and reverb amounts, as well as the input filter (texture) and pitch shift to create changes in the patch.
