"This has 60 keys and has fully Polyphonic String Voices for Violin , Viola , Cello , Clavichord and Piano with a nice Monophonic Synth section on the right hand of the Keyboard that you can blend with the Strings .
The Back has Main Output , Bass Out , Strings Out , Piano / Clav / Solo (Synth ) Out , with Sustain , Swell Pedal and 18V Power Inputs . Measures 47 Inches Wide , 5 Inches Tall , 12 Inches deep and weighs 47 pounds .
Cosmetically in Good Condition with some wear to the covering and missing one original Stand Mounting Bolt. Works fine and Sounds Great . The Upper and Lower section of the Keyboard have Faders for each voice so you can create a ton of texture's. Has that classic String Synth / Soundtrack music vibe that we all love ."
"Real analog with digital control. This thing has an lfo for basically every function, it also parameter locks like electron gear. A blast to play with, super creative synth."
"The Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit."
"Core Techniques:
• Harmonic chord progression using Harmonàig/Saïch
• Cascaded pitch shifting delay
• Sub-harmonic waveshaping with through-zero frequency modulation
• Rhythmic textural "bird noise" by oscillator cross-modulation
This is quite a dense patch with a lot of subtle modulation and some interesting waveshaping techniques involved.
Fundamentally it is a patch using 3 parallel voices as audio sources which are mixed via multiple crossfaders.
The primary voice is the harmonic aspect which utilises a Saïch controlled by a Harmonàig to define the chord progression basis of the composition.
The Harmonàig can either be controlled via CV for preprogrammed/randomly self generated progressions, or can be manually played in Performance Mode.
When a new Root note is defined, the GATE output controls the Cèis ADSR which triggers a cascade of events that influence the patch.
The Cèis envelope output (acting as an AR) sounds the chords through a VCA which routs to the Lúbadh, which is configured as a tape delay.
Various gate and trigger signals from the Cèis clock two S&H modules as well as toggling signal routing for variations in parameters such as interval offsets on the Saïch (which introduces tension tones to the chords), input mix of the Saïch voice between the Lúbadh's decks and varies the index ratio of the Cš-L's complex voice.
There is a parallel bass voice which follows the root of the Harmonàig chord progression and is triggered by the primary voice's ADSR envelope (Cèis).
The tone is produced by the trigger output striking/pinging the I-ō47 filter which is tuned to match the Root of the Harmonàig voice. The percussive tone from the Band Pass output is waveshaped via a tanh[3] channel to restrict its amplitude and add a bit of saturation to the timbre. This signal then modulates a neóni configured in TZFM configuration to act as a waveshaper over the tone.
The High Pass output is converted to an aggressive unipolar positive square wave signal via the AND gate of the eãs. This signal is used in parallel to the TZFM waveshaping to soft sync the neóni at the audio rate of the Root note frequency.
This clock signal patched to the soft sync input is toggled on and off via a latching switch (tàin) controlled by the release stage gate output of the Cèis.
The result when the soft sync is engaged is a sub-harmonic introduced to the voice.
As the voice is triggered at each segment change of the ADSR this gives a longer rhymic meter that nicely matches the harmonic rhythm of the composition.
Finally, there is a generative textural voice which sits in the higher frequency bandwidth to serve as a chaotic percussive element somewhere between hi-hats and bird noises. This comes from a self modulated Cš-L.
The sine wave of oscillator B is used as the sound source. The resulting tone is gated through a VCA by the OR logic result of oscillator A's PWM voice (inverted at the eãs ~ gate) and the clock pulse of the Lúbadh's left deck.
The Lùbadh clock is the stable element in this gating signal as the Cš-L is fundamentally unstable due to extreme cross-modulation.
The cross-modulation is exponential on both oscillators and the wavefolder of oscillator B is used to modulate oscillator A which is in LFO range.
The wavefold depth of oscillator B is modulated in addition to the FM depth via the INDEX control.
For final seasoning, an øchd is used to add additional movement to the patch keeping things more dynamic. Vibrato is added to the Saïch voice using the first LFO from the øchd tunes to ~4-5Hz. This vibrato naturally softens the the voice as it is reverberated and echoed in the Lúbadh."
"Often when I start designing a sound it doesn't sound good at all, compared to the end result that is. I guess it's the same in many art forms, like painting, illustration or even photography, poetry or writing a novel. It needs refinement, experimentation, patience and most importantly confidence in your own vision 💞✨ The vibe of this one reminds me a bit of the newer Radiohead records, big fan here 🙌"
"Messing around with the XL7 (yes, this is my third Command Station). Testing out new things and seeing what I think of it - and well, I still don't know.
EMU XL7: Drums and koto
Prophet 12: Bell-like sound
Eventide Blackhole VST for reverb"
"Here I'm using the Rev2 to control itself as well as a midi controller for the other two synths. In this way the notes are triggered for all 3 instruments at once. You are hearing chords from the Rev2 and 2 different arps by the Peak and Blofeld. By my count there are 17 voices in this particular video, but these three synths together are capable of sounding up to 41 voices simultaneously! (8 for the Rev2, 8 for the Peak, and 25 for the Blofeld).
There are no external effects, just the ones that come on each individual synth. I am using 3 presets here so I'm not 100% sure exactly how each patch was made."
