"1970's ARP Odyssey II (Model 2810) - Serial Number: 061
Odyssey Mark II's were produced between 1975 and 1978. They are largely similar to Mark I's; the main differences are the use of the black and gold color scheme and the inclusion of CV/gate in all models. This particular model features the infamous ARP 4035 "Moog Lawsuit" filter and sounds absolutely incredible.
Has to be one of the cleaner units we've seen, a few keys are slightly discolored and one trim pot cap is missing (does not affect functionality, see last photo).
This Odyssey was just gone through by our in-house technician:
-Disassembled and cleaned all sliders -Cleaned all control panel controls -Removed buss bar and cleaned bars and contact fingers -Replaced all electrolytic capacitors -Replaced (4) bipolar junction transistors in power supply voltage regulator circuit -tuned and calibrated"
"Synth 1: ( with the Washburn sticker on the front) I built this myself from the kit and gigged and recorded with it extensively hence it shows plenty of signs of wear on the woodwork in particular. The only problem it ever had was that the bucket brigade noise chip would fail and need replacing from time to time. This seems to be a design weakness with the original chip, there may be a better chip nowadays that could be used instead. The whole synth was working perfectly when I put it away into storage a few years ago.
Synth 2: Was built by my good friend Paul Phippin, a sound engineer for the BBC at the time. He was more engineer than musician so stripped all the 741 chips from it for other projects he worked on over the years, these are very cheap to replace ( about 31p each from RS components ) but consequently this synth definitely does not work but on the up side it has been stored in its original shipping box so the case and wood work is in much better condition.
It is possible to trigger one synth from the other ( or via a 1v / octave sequencer ) which opens up a world of possibilties to make some really phat sounds."
"Here is a Dinsync Gilbert professionally built and calibrated. It has some useful mods too.
Switch to select faster or slower lfo rate. Allows Lfo to get into audio frequencies
Switch to set lfo shape to modulate pwm independent of lfo setting
3 pots to control level of waveform and noise so you can easily mix all waveforms simultaneously (like the sh101)
VCF keyboard tracking amount.
Gilbert is a small format analog monosynth inspired by what we consider to be some of the best era of Roland™ machines from the late 70s/early 80s. It has a nice “rubbery” tone that will be familiar to all acid aficionados and makes a great supporting voice for your RE-303. Gilbert can be thought of in a couple of ways. On one hand you have a fully fledged analog monosynth and on the other hand due to its I/O connections you could think of Gilbert as a eurorack module in a synthesizer format. Of course combinations of both also work, anything is possible. It's pretty much a modular sh101."
"This is an electronic music composition which was created in 2018 using a vintage Polyfusion analog modular synthesizer. It is the first piece I’ve created using this particular instrument and I chose to restrict myself to using it exclusively as my only sound source for the piece. The title is in reference to the fact that I am choosing to use “antiquated” technology in this piece, (and all of my other recent electronic music compositions for that matter). I guess you could say that at this time in my life, I feel like I myself am something of an anachronism, in as much as I have spent years developing a set of skills that are no longer needed or valued, (except by special people who have an appreciation for them). Likewise, this Polyfusion synthesizer would be considered anachronistic by the vast majority of sensible electronic music composers. Perhaps that is part of what makes it attractive to me.
Aesthetically, this piece is a little on the dark side, (though not particularly lugubrious). It exhibits characteristics that could fall under such headings as “experimental drone” and “pattern-based minimalism”, over which sometimes ecstatic gestural outbursts emerge. Like much of my recent work, I am striving for a sense of restraint, which I am only partially successful in achieving. This ties in with the idea of limitations, which I am also very interested in. I begin every new composition by establishing meaningful limitations to work within. For this piece my limitations were that the piece must be all electronic and use only the Polyfusion as it’s sound source. This has resulted in a finished piece which unabashedly celebrates the sound of electronics and the sound of the Polyfusion modular synthesizer in particular. There is nothing in this piece which is trying to sound like an acoustic instrument of any kind. It is electronic and it sounds electronic. The only acoustic sound is the sound of the switch at the very beginning of the piece. This is literally the power switch for the Polyfusion being thrown. The hum which follows is the actual hum of the Polyfusion’s power supply. I mic-ed it and recorded the sound of that hum. Though this is not an audio signal being produced by the instrument, it is an audible hum which is in fact being generated by it. So it could be said that the piece starts with the physical sounds of the electronics, and then transforms into a sonic world that those electronic components produce as audio signals.
As is evident in the previous paragraph, the aesthetics of this piece tend to get tied up with the technology employed. So, let’s get into it. Without getting into the specifics of the modular synthesizer patching, the audio signal flow goes as follows: audio out from a VCA (voltage-controlled amplifier) on the Polyfusion, to a rehoused Big Muff distortion box, then to a standalone Moog ring modulator, then to a Vox wah pedal, and then finally on to a mixing console, through which the audio is recorded to a computer. Additional signal processing was freely added in the computer as the piece was being constructed. The Polyfusion was triggered (or played) through the use of a Future Retro pressure plate keyboard for the human performance gestures and a Dot Com Q960 sequencer and Doepfer A-155 sequencer for the quick-tempo patterns.
In addition to the keyboard and sequencers, there is another notable performance interface that is heavily featured in this piece: Knobs. As I listen to the piece, I can really hear the sounds being shaped in real time by the physical manipulation of knobs. These are of course, actual hardware knobs on the various devices, not automated software knobs. I didn’t really set out to make this a significant feature of the piece, but now that it’s done, I can clearly hear the knob-centricity of it. I find this interesting and very much in keeping with the hardware-based electronic character of the piece.
I feel I must now confess that there is also one audio signal sound in this piece that is not being generated by the Polyfusion, but which I chose to allow, even though I was breaking my limitation rule. This would be the ground hum sound of the Big Muff when it’s sustain knob is turned all the way up and no audio signal is coming into the device. I recorded a nice big chunk of this sound while very gradually adjusting the tone knob on the device. It is one layer in the complex of drones used in the first section of the piece. I see this sound as a kind of bridging sound between the acoustical buzzing sound of the Polyfusion power supply and buzzy analog synthesizer sounds that exist as audio signals within the wires."
"In this Eurorack Modular Sequencer Comparison Tutorial I will help you to choose the best sequencer for your needs. I will give you an overview over the most important functions of these 6 Eurorack sequencers:
The Sequencers are mostly routed to the MFB Bass,the WMD Fracture Claps Module, the mutable Elements and the MFB Triple Oscillator. As filters I use the Analogue Systems EMS Filter."
"In the first livestream of ‘21 -CALC- introduces the brand new Novation Circuit Tracks. This will be a deep dive session and will explore all the new features in the brand new, powerful groovebox from Novation. He’ll share some of the new workflows alongside tips and tricks for both new-comers and experienced Circuit users.
"A relaxing synth jam with an arpeggio on the Arturia OB-Xa V VST emulation with some dissonant monophonic modular synthesizer sounds layered on top. For good measure, the sound is put through the Chorus JUN-6 emulation sitting in the send slot.
If you'd like to support this channel with a one-off purchase, please check out our affordably priced music: https://synthandsundry.bandcamp.com"
