"Excellent condition considering the age and rarity of these units. Sounds awesome and is highly playable and tweakable, making it easy to dial in the perfect clap sound.
The Simmons Digital Clap Trap was used on many hit-records of the 1980s and is becoming an increasingly rare collector’s item. Perfect for interesting clap sounds and noise hits, this hard to find Simmons piece does the trick. This version of the Simmons uses a sampled clap plus noise that is controlled/manipulated by an analogue circuit. Can sound pretty realistic, or not if you push the settings.
The Clap Trap allows you to balance between a clap and noise sound. Pitch and decay adjust for each sound. Very nice sound and surprisingly useful for such a straight-forward device. You can trigger it from an external trigger or audio input, manual trigger button or use the auto-trigger mode (with adjustable speed). The humanizer feature alters the pitch of successive claps. To hear the humanizer effect in action, use the manual trigger and play it very quickly."
"Here is a quick demo of a recently serviced Vermona ET-3 combo organ. This one is the early model that is 100% transistor (silicon). Later revisions used chipsets.
Very simple and yet quite versatile organ. You can mix 16 / 8 / 4 footages in both formants and flutes voices, with an added low pass filter ("brillant" fader) and a nice vibrato with speed and depth control.
Very clean sounding, much better than most italian ones IMO.
Recorded straight with no eq, fx or treatment."
"After 25 years I figured out how to get a DrumTraks to sound like a LM-1 Drum Computer. I program binary files. And I realized you have to take the LM-1 Snare/Rim Eprom and put it inside the Clap Slot.
a lot of people been asking me to do this to there machines. you can email me at going.up.up.up.up@gmail.com for further info.
"Using the S/T&H module as a bit crusher to modulate a VCO’s frequency. Resulting in atari arcade machine sounds.
Dual Negative Slopes both in cycle mode. One providing a variable voltage source of which to be sampled. The second is simply clocking the S/T&H. Output of the S/T&H is being fed to the VCO Freq Modulation input. Audio is just direct from VCO’s output.
"This sound is inspired by lead sounds of the 70's/80's from Isao Tomita and Tangerine Dream (Remote Viewing), but will also be reminiscent of Kate Bush's 'All we ever wanted', and even Jeff Wayne's 'War of The Worlds' musical. It uses a filter/VCF in self-oscillation as a VCO, controlling it melodically, with envelopes and noise to help recreate the sounds. No VCO/oscillator is needed in the patch, and white or pink noise is optional, but necessary to get a Tomita-like whistle sound. Tomita originally used a Moog modular system for these sounds, so given that the AJH Synth MiniMod system and it's Transistor Ladder Filter are directly based on the early R.A.Moog version of the Minimoog, it's possible to get very close to such sounds. However, I've not tried to emulate it exactly, but you can see that the basis for this patch is very easily customisable, so it's a very useful synth patch to understand for a variety of musical applications. Patch sheet PDF can be downloaded here: https://kvisit.com/8AE/rv4G
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end, with notes below, to show you how to construct it for yourself.
Index: 00:00 Intro 00:29 Performance Example & Overview 02:22 Assembling the patch 03:14 Importance of envelope 03:42 Delayed LFO/Vibrato 05:25 Adding Glide 06:12 Adding Noise 06:56 Mod wheel control of LFO 07:36 Noise as Filter Mod source 08:16 Patch Diagram
Patch Notes: Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. This is based on the version in the video with noise mixed in as audio, and glide applied to the keyboard CV. For variations without noise or glide, and usage with a mod controller, see the appropriate part of the video (check Index). Only a couple of connections need to be changed for these purposes. V-Scale: Used here as a simple multiple, but since it's handling Gate signals any passive multiple could be used. DH-ADSR: Another Contour Generators could be used instead, but the advantage with the DH-ADSR is independent control of both Decay and Release, meaning greater control. It serves as a great companion to the Contour Generators for this reason. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Ladder Filter: The Gemini 2412 would also work well here, it's tracking in self-oscillation is actually better overall. It would just need to have high resonance/self-oscillation enabled by the rear jumpers (see online manual or video user guide). The Ladder Filter struggles to track at lower frequencies, this is an authentic characteristic of the original Minimoog filter, but it's fine for the pitch/note ranges used in this video. The Sonic XV will also self-oscillate, but it's ability to track 1V/Oct is not as tight as the Gemini. Modules used from left to right: Glide + Noise (Mk I or Mk II), V-Scale, DH-ADSR Envelope, Dual LFO + VCA, Contour Generators, Transistor Ladder Filter, Discrete Cascaded VCA."
"Donald Jordan explores the Arturia MiniFreak to see if it's a good synth for more classic style synth sounds.
All synth sounds and music in this video were created using the MiniFreak. The synth audio was recorded direct and zero post processing or external effects were used."
"SOLTON ARRANGER PLUS, fabolous Italo Disco Arranger from 1987 with all the 4 eproms bank!
It’s the little brother of the Solton Programmer 24: fully analog with the same PCM of the Programmer 24. We have also a rare copy of instruction manual and schematic diagram in PDF!
The Solton Arranger Plus is very similar to the Solton Programmer 24. Analog sound generation and digital PCM samples for drums! It was produced in Italy by SOLTON Ketron in 1987.
It has single outputs for bass and drums. You could also play all sounds via MIDI, MIDI-sync to other drum machines possible as well."
"Excellent condition considering the age and rarity of these units. Sounds awesome and is highly playable and tweakable, making it easy to dial in the perfect clap sound.
