Serial # S040 Keytar
Serial # 1020 Supply / Interface
"WORKING CONDITION: Very Good - All keys are working great. The Mod Amt wheel spins continuously and has no effect on the sound. The attack slider in the Contour Generator section must be gripped firmly or it gets stuck halfway through its range. All other controls are in fine working order. Overall working condition is very good."
"Studio use only. Beautiful Cherry wood sides. GliGli mod. All works as it should. No scratches, with photocopied manuals, power cord and original OS chip."
Serviced ( see list below), a little agewear : mostly on the metal front panel , and wooden bits around keyboards ( check pics !)
Beside that, very good cosmetical condition, and 100% working !
Service work :
-Complete change of electrolytics / tantalum capacitors
- Cleaning of the keyboards conacts, individual cleaning of the keys
- Dissasembly & cleaning of faulty switches , faders & potentiometers
- One new key ( 3D printed ) have been installed
- 8 new plastics knobs ( 3D printed) for filters faders & vca section have been installed to replace the missing ones
-Complete calibration
- 1 missing rubber foot have been added
The synth is located in my repair workshop ( Paris), local pickup is advised, but a shipping would be possible ( contact me first to discuss shipping rate & packing material costs)"
Playlist:
Mother-32 | How to Achieve Variable Waveforms
Mother-32 | Approaches to Complex Filter Modulation
Mother-32 | How to Create Variable Accents for Acid Bass Lines
"A live track performed entirely on hardware. I've got something pretty big coming up (an actual workflow video!) but I wanted to capture this musical ice sculpture before it melted.
At its heart is the Moog Subharmonicon and its polymeter melody; I love how the Electroharmonix Oceans 12 adds some weirdness to it, via two reverb algorithms (one in reverse), plus its "tide" parameter which adds a gentle LFO to the panning.
As before, two DFAMs do the job of drums, with one running on its standard clock (kick and snare) and the other following the Subharmonicon's lead (hi-hats). At this point, I think it's impossible for me to enjoy the DFAM fully without the Empress Multidrive on it; the Multidrive brings out the highs and lows and adds some beautiful saturation, all at the same time.
And then doing most of the heavy lifting is the ASM Hydrasynth. No matter how good the Hydra sounds (and it does sound great), the experience of playing the Hydra is its best feature. It's hard to describe how responsive and expressive its polyaftertouch keybed is; suffice it to say that it shaped the chords, arrangement, and dynamics of the song. And with the Empress Reverb on it, it really steals the show.
Oh, and I added my voice again. Almost didn't. And some acoustic guitar? I don't know. It felt right.
Ashun Sound Machines Hydrasynth + Empress Reverb — Bass, pads
Moog Subharmonicon + Electroharmonix Oceans 12 — Polymeter melody
Moog DFAM + Empress Multidrive — Kick and snare
Moog DFAM + Empress Echosystem — Hats and bells
(Meris Polymoon does nothing in this one; it was just still set up from last time.)
Larrivee D-03 — Acoustic guitar
Performed and recorded live. Compression, delay, and reverb added to vocals and acoustic guitar during recording, and compression/limiting on the master.
"Dreadbox have released another collaborative instrument with Typhon - it's an analogue monophonic desktop synthesizer with two oscillators and 3 digital effects engines with algorithms supplied by Sinevibes - these are operating at 32bit 96kHz. It also has 256 memory locations and an external audio input."
"Here is a music-only introduction to the Dreadbox Typhon in the form of a music performance featuring the Typhon. All tonal instruments are live or sequenced performances on the Typhon multitracked into a song. All effects are from the Typhon."
