Oberheim OB-X (8-voice) with MIDI fitted, manual & pro flightcase SN 793407

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via this auction

"'Sweet dreams are made of this' - well, thats what The Eurythmics thought in 1983....and just about everybody else thought so too eg Chaka Khan, ELO, Queen, Prince & Earth, Wind & Fire... Only 800 were ever made twixt 1979-1981, by Oberheim (Santa Monica, Los Angeles, USA)<> the first of the series OB-X>OB-SX>OB-Xa>OB-8. The legend evolved from that day on, and 40 years later, all these models still see of all competition. Why? Uncomplicated operation, tuning stability, supply of spare parts (no silly superchips) and (mostly) THAT fat (phat?) Oberheim sound. There is nothing like it......raw subtractive analogue synthesis....they look so cool, so studio cred is top drawer, you what? Any muso will faint when he sees an OB-X, especially one that works properly....... This particular synth has been recently serviced by a top US workshop. The hand-crafted wooden end-cheeks give it more class. It has had MIDI fitted. The keys are "unclunky", and all trigger every time. It tunes up & stabilises if simply let be for 10 minutes on fire-up. There is a Z80 microprocessor that automatically maintains tuning henceforth. It has (the max) eight voices with mono or stereo outputs. It has polyphonic glide, 8-voice mono unison, noise, sample & hold, p/bend & mod levers, saw, or square waveforms (which can be synced), independent tuning for both VCOs (with de-tune) & lots of modulation possibilities, 32 patch memories ....just find any patch, hit EDIT, and make your own. The memory protect on/off switch is safely tucked away inside. Sustain pedal actually works as it should (they usually do not!). ...one included in package. Copy of original manual is supplied....vital for operation. Voltage can be switched twixt 120V o<>230Vac, in 5 seconds."

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1975 Oberheim TVS-1 Two Voice SN 0377

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"Fantastic Two Voice - fully working and excellent shape. Warm, thick, lush and inspired - there are sounds and patterns that had eluded me until i really got the sem coupled w/ the sequencer - it's really intuitive and guides certain sounds straight away. This has the later sequencer (1977) w/ the pitch quantize option that snaps to pitch, which can changed to free run w/ an internal jumper. It's been professionally serviced and calibrated and is fully operational. I had the i/o panel on the back updated to be a mirror of the cv/gate in/out for module one as well for full control of either voice, in or out. there is a little wear on the case and some pitting/oxidation on the chrome - see photos."

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YAMAHA CS01, analog synthesizer from 1982

video by elfferich

"Some solo sounds from the YAMAHA CS01."

The Time Freek in fast mode with added LFO and hold function switched in and out.

video by Space Cat Audio Technologies

"Testing the first production unit."

Polyend Tracker Subtractive Synthesis Tutorial

video by Polyend

"Check out this short Tracker tutorial to learn how to create synthesis sound. Experiment and have fun!"

Love Will Bring Us Back Together - (Friday Funk Jam)

video by Luke Million

"Today i'm jamming on one of my favourite Roy Ayers tracks - Love Will Bring Us Back Together. There's something about this track that instantly puts you in a good mood. ❤️🎹🕺

Electric Piano - Rhodes Stage 73 Mk 1
Bass - Moog Multimoog
Clavinet - Hohner D6
Solo - Arp Odyssey Mk1"

Korg DDD-1 | Outstandingly fun drum machine!

video by Espen Kraft

"The Korg DDD-1 drum machine from '86-87 is one of the better drum machines you can get from the 80s. It has a Kick and Snare that can rival the Linndrum and it has awesome specs throughout.
High quality&24 Hours Build Time: https://www.pcbway.com/​

Support this channel on Patreon: https://www.patreon.com/espenkraft​

The demo song is made up from drums of the DDD-1. I programmed two patterns that just alternates in Song mode, on repeat.
Then I programmed the chord pattern on the Korg SDQ-1 sequencer and set that to drive/sync the DDD-1 through MIDI sync. The SQD-1 has two MIDI outs so the other played those chords on a Korg EX-800, the module version of the Poly-800.
I played the synth solo with the same sound off the EX-800 and I played the bass from the Korg DW-8000. Since this required three hands, I multitracked it all. The SQD-1 was clocked/synced directly from the DAW and put in external MIDI sync. That way the multi tracking was always on the beat.

In the demo I have processed each of the drum sounds individually to sound the best, so these are not the dry sounds out of the DDD-1. What's the fun of that?

The demo song is shot on VHS tape, with a Panasonic M7 VHS camera from 1987 and the footage is edited down in Adobe Premiere Pro on a 720p timeline."

BladerVerb II: Sequential OB-6, Alesis MDIVerb II, Source Audio Ventris, CME XKey (poly aftertouch)

video by thesrabbit

"Inspired by feedback received from my last video [posted here], I wanted to do some more Blade Runnery things with the same foundation as last time: Sequential OB-6 GeoSynths 016 preset with internal FX turned off, Alesis MIDIVerb II preset 29 "XLarge Warm 15 sec.", and the CME XKey 37 for poly aftertouch. Someone brought up the vintage knob and of course I totally forgot about that until after I recorded the last vid. This time I dialed it up to somewhere between 10 and 11 o'clock. Another person suggested maybe using an Alesis Quadraverb or Wedge to get that modulated swirl reverb going, a characteristic of the Lexicon 224 sound used in the original Blade Runner soundtrack. I don't have either of those, but I do have another unit that's capable of modulated reverb for days, the Source Audio Ventris Dual Reverb. I thought it would be fun to put that at the end of the chain, after the MIDIVerb II. I set it to E-Dome, mod depth pretty high, and the mod speed very slow. In the video, you can see the light on the Ventris glowing, that indicates its internal LFO speed used for modulation. In order to have any sort of clarity, I had to dial the mix on the MIDIVerb II back to about 50/50 dry/wet, which is less than I would like for this type of sound.

After the main tune, I play a small rendition with varying degrees of effects so you can get a better idea of what each "layer" sounds like: OB-6 completely dry, OB-6 with MIDIVerb II only, OB-6 with Ventris only, and just for fun, the OB-6 with its own internal FX (closer to the sound of the original 016 GeoSynths preset)

Something happened when I patched this up and I might have a bad cable running to the MIDIVerb II from my patchbay. The signal coming into the MVII is a bit weak on one of the channels. The unit still emits a stereo signal filled with spacious reverb, but it's as if there's an extended pre-delay happening on one side. After a while there's so much reverb built up that you don't really notice. I didn't notice it when playing, but I definitely did when setting up the little demo of each FX layer afterwards. Unfortunately, I did not capture the dry output of the synth, so there was no way to go back and fix it.

Once again there is no post processing. You're only hearing the synth running through the two reverb units. That's it."

Follow-up to this post.

Noise Cues: World of Versio

video by Noise Engineering

"In this episode of Noise Cues we discuss everything Versio. We have released five firmwares on the Versio platform so far, and have a lot more in store. In this episode we talk about what the heck a platform is, what is in the World of Versio page, and give a listen to what all of the firmwares do best.

Timecode
0:00​ Intro Skit
1:01​ What is a platform?
1:21​ Customer Portal
1:30​ World of Versio
1:56​ Ruina Versio
2:16​ Imitor Versio
2:35​ Desmodus Versio
2:53​ Electus Versio
3:12​ Ampla Versio
3:32​ Outro
3:44​ Jam"

https://www.noiseengineering.us

Make Noise Strega / Game Boy LSDj / WMD Geiger Counter / Strymon Big Sky Day1

video by Akihiko Matsumoto

Music by Akihiko Matsumoto - https://akihikomatsumoto.com​
Mixer: Ableton Live
Synth1: Make Noise Strega
Synth2: Game Boy LSDj
Distortion FX: WMD Geiger Counter
Reverb: Strymon Big Sky
Comp/Limitter: iZotope Ozone9
Camera: Sony a7RII (Zeiss 24-70mm F4)