Wednesday, October 06, 2021
Which drum modules are the right for you
video upload by Omri Cohen
00:00 - Introduction
00:45 - General info about the collections
03:27 - Sound comparison
20:35 - Patch example no.1
26:08 - Patch example no.2
31:46 - Patch example no.3
35:45 - Pros and cons
38:14 - Free alternatives
Omri's Links:
If you just want to buy me a coffee :) - https://www.buymeacoffee.com/omricohen
Consider joining me on Patreon - https://www.patreon.com/omricohen
Patching techniques and ideas document - https://bit.ly/3o1Q3Sg
MadeOnEarth MOE Analog Chorus 60 - Pedal Clone of the Roland Juno-60 Chorus
videos uploaded by Isak Eliyahu
Playlist: 1. MOE - Analog Chorus vs Roland SH - 101
the MOE - Analog Chorus 60 is my latest pedal effect based on the Juno - 60 chorus with some add-ones.2. MOE - analog chorus 60 VS Yamaha DX7 and minimoog model D clone
1. Volume input.
2. Stereo width.
3. Modulation depth.
4. Modulation rate.
5. EXT CV in (LFO, ENV etc).
3. MadeOnEarth Analog Chorus 60 VS Dinsync Gilbert
The Dinsync Gilbert is one of the fattest diy synths ive heard. combine the Gilbert with MOE's Analog Chorus 60 and you get a crazy bass monster!
via MadeOnEarth
The Analog Chorus 60 is a perfect clone of the original juno-60 chorus circuit.
It uses 2x "xvive mn3009" and the original Panasonic "2x mn3101" chips (rare parts!), original transistors 2SC1815, 2SA1015 and 2SK30A-GR with the exact same circuit.
Instead of the two buttons with only three rate modes, we added a knob to smoothly control the rate of the chorus, depth of the modulation and the stereo width. (the rate of the original modes is clearly printed around the rate knob for easy recreation of the original rates)
We also added ext lfo/cv input to apply other modulation sources and input gain to accommodate any type of instruments (guitars or synthesizers).
Housing in a high quality aluminum case with durable UV printing and high quality “Alpha” potentiometers.
Korg DRM-1, Rare 80's Drum Module w/ TV Style Remote Control
Roland Jupiter 4 SN 861392
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"As you can see on the serial number this synth is from september 1979, which means that it is one of those with the much sought after BA662 filter."
via this auction
"As you can see on the serial number this synth is from september 1979, which means that it is one of those with the much sought after BA662 filter."
ARP AXXE Vintage Analog Synthesizer 2323 SN 0090
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Great playing arp axxe. Early 2323 green badge model. Has what may be original wood sides. Cosmetically not perfect, see pictures. Most noticeably has some old tape residue.
Lots of service. Original controls broken down and cleaned. Keyboard rebushed. Capacitors and some electronic components replaced to ensure operation within factory spec for years to come."
via this auction
"Great playing arp axxe. Early 2323 green badge model. Has what may be original wood sides. Cosmetically not perfect, see pictures. Most noticeably has some old tape residue.
Lots of service. Original controls broken down and cleaned. Keyboard rebushed. Capacitors and some electronic components replaced to ensure operation within factory spec for years to come."
Ensoniq VFX-SD Polyphonic Synthesizer + 24-Track Sequencer
Korg Mono/Poly Analog Synth SN 373292
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Original 1980s unmodified classic,
"Four voltage-controlled oscillators (VCOs) and a noise source are routed through a voltage-controlled filter (VCF) and voltage-controlled amplifier (VCA). It can be used as 1) a four-oscillator mono synth; 2) a four-voice paraphonic synth, with voices cycling through oscillators but sharing a VCF and VCA; 3) a shared mode using mono mode for single notes, dual oscillators per note for double notes, otherwise paraphonic mode; 4) a chord memory which results in a mono synth albeit with four oscillators playing notes of up to a four-note chord.
The four VCOs have controls for independent tuning, footage (16, 8, 4, 2), waveshape (triangle, saw, pulse-width, and pulse-width modulated), and amplitude. These are implemented with SSM2033 chips. Portamento may be used for VCO frequency. The noise source has a level control. [1]
The single VCF is a 24/dB octave low-pass filter, with controls for cutoff, resonance, scaling, and invertible envelope control. It can self-oscillate, and be scaled 1:1 with frequency, and thus used as a fifth oscillator. It is implemented with the SSM2044 chip.
There are two envelopes. One is dedicated solely to the VCA. The second in nominally the "VCF envelope" but can additionally control VCO pulse-width, all VCO's pitch, pitch only of VCO's 2 and 4, and frequency modulation amount. The envelopes share controls for single or multiple trigger, and damping.
There are two low-frequency oscillators (LFOs), called "Modulation Generators" (MGs) by Korg. The first has control over waveform and speed, and can be routed to VCO pitch or pulse-width, VCF cutoff, and frequency modulation amount. When controlling VCO pitch, it can control all VCOs; VCO 1; VCO 2, 3, and 4; or VCO 2 and 4. The second only has a control for speed, and can control the arpeggiator or VCO pulse-width.
There is an arpeggiator with on/off/latch control, up/down/up-down pitch control, and 1/2/full keyboard control.
The Mono/Poly includes extensive and significant modulation capabilities between the oscillators, grouped in a section captioned "Effects." These include the abilities to: 1) sync VCO's 2, 3, and 4 to VCO 1; 2) sync VCO 2 to 1, and 4 to 3; 3) to frequency-modulate VCOs 2, 3, and 4 with VCO 1; 4) frequency-modulate VCO 2 with 1 and 4 with 3. Oscillator sync and frequency modulation can be used together. This ability to have 1 master with 3 slave oscillators, or 2 each, is leveraged by the bewildering variety of oscillator subsets that can be controlled with modulation sources and wheel controls.
External inputs and outputs are provided for CV/Trigger, VCF and VCO mod inputs, arpeggiator, and portamento. The pitch bend and mod wheel can be assigned to control pitch of all VCOs; VCO 1 only; VCO 2, 3, and 4; or VCO 2 and 4. The pitch bend range extends to 2.5 octaves for VCO pitch, and the audio range for VCF cutoff."
via this auction
"Original 1980s unmodified classic,
"Four voltage-controlled oscillators (VCOs) and a noise source are routed through a voltage-controlled filter (VCF) and voltage-controlled amplifier (VCA). It can be used as 1) a four-oscillator mono synth; 2) a four-voice paraphonic synth, with voices cycling through oscillators but sharing a VCF and VCA; 3) a shared mode using mono mode for single notes, dual oscillators per note for double notes, otherwise paraphonic mode; 4) a chord memory which results in a mono synth albeit with four oscillators playing notes of up to a four-note chord.The four VCOs have controls for independent tuning, footage (16, 8, 4, 2), waveshape (triangle, saw, pulse-width, and pulse-width modulated), and amplitude. These are implemented with SSM2033 chips. Portamento may be used for VCO frequency. The noise source has a level control. [1]
The single VCF is a 24/dB octave low-pass filter, with controls for cutoff, resonance, scaling, and invertible envelope control. It can self-oscillate, and be scaled 1:1 with frequency, and thus used as a fifth oscillator. It is implemented with the SSM2044 chip.
There are two envelopes. One is dedicated solely to the VCA. The second in nominally the "VCF envelope" but can additionally control VCO pulse-width, all VCO's pitch, pitch only of VCO's 2 and 4, and frequency modulation amount. The envelopes share controls for single or multiple trigger, and damping.
There are two low-frequency oscillators (LFOs), called "Modulation Generators" (MGs) by Korg. The first has control over waveform and speed, and can be routed to VCO pitch or pulse-width, VCF cutoff, and frequency modulation amount. When controlling VCO pitch, it can control all VCOs; VCO 1; VCO 2, 3, and 4; or VCO 2 and 4. The second only has a control for speed, and can control the arpeggiator or VCO pulse-width.
There is an arpeggiator with on/off/latch control, up/down/up-down pitch control, and 1/2/full keyboard control.
The Mono/Poly includes extensive and significant modulation capabilities between the oscillators, grouped in a section captioned "Effects." These include the abilities to: 1) sync VCO's 2, 3, and 4 to VCO 1; 2) sync VCO 2 to 1, and 4 to 3; 3) to frequency-modulate VCOs 2, 3, and 4 with VCO 1; 4) frequency-modulate VCO 2 with 1 and 4 with 3. Oscillator sync and frequency modulation can be used together. This ability to have 1 master with 3 slave oscillators, or 2 each, is leveraged by the bewildering variety of oscillator subsets that can be controlled with modulation sources and wheel controls.
External inputs and outputs are provided for CV/Trigger, VCF and VCO mod inputs, arpeggiator, and portamento. The pitch bend and mod wheel can be assigned to control pitch of all VCOs; VCO 1 only; VCO 2, 3, and 4; or VCO 2 and 4. The pitch bend range extends to 2.5 octaves for VCO pitch, and the audio range for VCF cutoff."
Roland SH-1000 with Flight Case
MOOG Rogue Synth SN 6775 w/ Original Box & Docs
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Includes Rogue Model 342A, Box, Foam, Power Supply, and Papers."
via this auction
"Includes Rogue Model 342A, Box, Foam, Power Supply, and Papers."
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
