"This was and to a certain extent, (though they are now being discovered) still is a hugely underrated synth, and for good reason; without the pg200, the jx3p is a child's toy with silly presets and impossible to edit, pain in the ass parameters. With the pg200 however, it is a world destroying analog monster that quite simply dwarfs the more popular and expensive analogs of the day (and today) with sheer, unadulterated, soul crushing analog power. The unison mode and x mod are reminiscent of the korg mono/poly and prophet 600, but there is oh so much more under he hood. It also slays the Juno 60/ 106 tones and has the famous roland chorus to boot. Oh yeah, and the portamento still acts on the individual OSCs for huge poly-to-mono stereo klusterfukz."
"Twiddling knobs on this great American vintage analog synthesizer half way through restoration and repairs. Very well built hard wired to tag strips like an amp inside and sealed AB pots like minimoog ( a pain to open and clean) some of the caps have died and oxidation on all metal parts... The lack of connectors inside is a blessing as in my opinion most Moog synthesizers for example suffered from far too many unreliable connectors which constantly oxidised and caused random faults.
Some info from vintagesynthcom:
The ElectroComp 101 was the successor to the rare ElectroComp 100 from Electronic Music Laboratories (EML), a small synthesizer company based out of Connecticut in the USA. Like the ARP 2600, the 101 was a patchable (1/4'' patch cords) semi-modular synth with a pre-wired voice path that could be over-ridden via patching. But unlike the ARP (or Minimoog for that matter), the 101 had as many as four oscillators (two of which could go sub-sonic, for use as LFOs) with multiple waveforms that you could sweep between using its rotary knobs. The 101 was also Duophonic so you could play up to two notes at once. Another major distinction was that unlike Moog and ARP, who used transistors that would tend to drift out of tune under various operating temperatures, EML used op amps which proved to be far more stable and reliable.
Other onboard features included a voltage controlled 12 dB/oct multi-mode filter with resonance, two envelope generators, ring/amplitude modulator, noise, and sample-and-hold (they call this the "Sampler"). In addition, the 101 makes no distinction between control voltage and audio paths allowing just about any source to be patched to any control or audio input in any order. The 101 could easily be closed, secured and carried inside its wood casing.
In its day, the 101, as most of EMLs instruments, were marketed and sold to universities and other educational markets. But with the 4-oscillator architecture, multi-mode filter, and elaborate patch control, the EML-101 was undoubtedly one of the most flexible of all of the portable patch-synthesizers available at its time of manufacture. So it did not take long for it to find its way into mainstream music. It has been used by Skinny Puppy, Tommy Mars, Download, Weezer, Foreigner, and Ohm."
"Another note within the cordillera, back to the oceans it seems.
- "ocean's breeze" - from the full album "cordillera" check it out on bandcamp! ... Patch notes below
"The little Volca Bass needed some fresh air again.
This time I took it to the Valserine River.
A picnic table was long abandoned from summer and invited to a little sequence jam.
Recorded the session to the Korg Beatboy.
Back Home I added a pinch of reverb.
Thanks for checking this out."
"Trying to be Jarre 😝
How hard could it be to play Champs Magnetiques II (Magnetic Fields II) by Jean Michel Jarre on synth?
Well, it is hard. At least for me and if you want to do it perfect like he does. But, I gave it try......
Well, it turned out not too bad, for me who usually pushes buttons and turns knobs on this channel.
I just programmed three tracks on Korg Gadget and played the melodies live on Waldorf Streichfett.
Hope you like it!"
"Selling one of the prototype boxes i made with the Voice of Saturn Synth MK II circuit. It features 3 audio rate oscillators, 3 LFOs and a VCF. The LFOs can be patched to either the VCF cutoff control or to the CV inputs of any oscillator to provide a gating type effect. The filter is a really gnarly low pass that will distort wonderfully when you crank the resonance. There is a 1/4" input to the filter (experimental) for processing external sources. This is a great drone box or you can ping the filter with an external gate or one of the LFOs for some interesting percussion sounds. Ships with 3 banana cables and power adapter."
You can find the video in the listing posted here.
"Finally took delivery of the Circadian Rhythms. To get to know it, here's a short jam using only the lower half of my system. 7U 84HP of goodness. I'm sure with practice this'll be less repetitive. :)
Sequencing:
- Tiptop Circadian Rhythms
Modulation:
- Malekko Voltage Block
- Noise Engineering Zularic Repetitor
- SSF Ultra-Random Analog
"Behringer D - Let's Talk Synths - With Mr CowFood
Now that the Behringer D is available and I have had a chance to play around with it I wanted to invite back Mr CowFood to discuss this new release from Behringer. The Behringer D, or "Boog" as it's being referred to by many online is a clone of the famous Moog MiniMoog Model D. Mr CowFood and I chat about some of the differences between this clone and the MiniMoog Reissue of which the Boog is based on. There was some discussion also about the High-Pass Filter, apparently there have been some complaints about it so I setup a quick test and all is well with the unit I own. We also chat briefly about the teaser photo from the Midas Team in the UK, possibly getting ready t teardown a Roland Jupiter 8."
Behringer D Vs MiniMoog Model D - THE REMATCH - Technical Video
"Behringer D Vs MiniMoog Model D - THE REMATCH - Technical Video
Following the first “Shootout” video I made between a MiniMoog Model D and a Behringer D or “Boog” as it's being called online I have taken some feedback from the community and with the suggestions made I have spent an entire evening doing a much more technical comparison of these synthesizers. NOTE this video will probably be very boring for some viewers, my apologies, I do not know how to spice up a video like this, but if you are curious how these 2 synths stack up on a deeper level and have about an hour to burn then give it a spin! In this video I will be covering the following
1- Comparing individual oscillator wave forms one by one (1, 2 and 3).
2- Comparing oscillators with stacked wave forms
3- Some low-pass filter sweeps with varying amounts of resonance
4- Tested the Overdrive circuit
5- Tested the high-pass filer on the Behringer D – (is not a feature on the MiniMoog, but I had questions about it)"
