Saturday, July 15, 2023
Sequential Circuits Prophet 5 Revision 2 | Roland RE-301 | Roland SBF-325 | Expressive E Osmose
video upload by fishjaco
"Here's noodling on fancy gear for 45 min. It's a Prophet 5 rev. 2 through an RE-301 tape delay, SBF-325 stereo flanger/chorus, Louder Than Liftoff Silver Bullet and Audioscape Buss Compressor. The Osmose is MIDI controlling the P5. No Osmose audio here. The 325, when engaged, was only used for subtle stereo imaging so no focus on flanging or chorus in this video.
Just got the Rev. 2 back from Greg M. in Oakland. It has been a privilege to have him work on it as he is (AFAK) the foremost P5 Rev. 2 expert in the world. He did some amazing work, especially on the power supply and MIDI kit install. Thank you Greg, you make the synth world a better place.
Now that I have my hands on this board I can honestly say that, in my opinion, the Prophet 5 Rev. 2 is not overrated. The hype is real. It may not be evident in this video but if you've played synths for a while and sit down to one of these, you will know.
Ok, the gear is admittedly too good for my poor playing skills. Oh well. It just seemed like there should be more Rev. 2 footage out there considering its reputation. Also, the camera turned off and it took me about 5 min to notice so there no video towards the middle. Sorry."
MYSTIC FREQUENCIES - VINTAGE SYNTH JAM - SCI PROPHET 10 and LINN DRUM
video upload by Mystic Frequencies
"Here is a list of what gear is setup and doing:
SEQUENTIAL PROPHET 10 - All melodies, lead lines and solos.
LINN DRUM - All percussion and Drums.
EFFECTS: Vintage Lexicon PCM80 - Just a little reverb, nothing else.
Audio recorded on a Tascam Model 24 Multitrack Mixer/Recorder.
Video recorded on iPhone 13 Pro Max and a GoPro Hero 8."
7/15/23 Wojciech Kilar’s “Requiem Father Kolbe” poorly programmed on Roland/RYK/Lana System 100m
video upload by Cfpp0
"Long! I should have just linked two of RYK’s 185 sequencers to get 16 consecutive stages, but instead I tried to time things out, using the FXD feature on the 185. It didn’t work for actually reproducing Kilar’s composition, but still sounded interesting enough that I added it here to this archive. CV from two 185s was mixed in a 132 and sent to the 112. Over time I lowered the level of one of the 185s in the 132 and that warped the already mangled sequence further. The drone towards the end is an RYK 175 self oscillating and being lightly modulated by a 140. Each 100m voice goes yo a different Effectron II. Copious amounts of CXM 1978."
The wonderful Yamaha SY-2
video upload by Paul Curreri
"A few sounds from the Yamaha SY-2 (1975 or so), the upgraded version 2 of Yamaha’s earliest standalone. Such a lovely filter, and remarkably expressive aftertouch to the VCO, VCA or VCF. Start with any of the adjustable presets and meander from there. Pitch bend, portamento, pulse width, two ADSRs, resonant high- and low-pass filters, super-fast vibrato. Plus it's never had a problem in the 6 years I've owned it & has classic CS vibes? Not too shabby."
Patch Notes: Stone Hall (Babel/Triphase/HSO/Inertia)
video upload by New Systems Instruments
"This is mostly a video about Babel, and techniques to use it at audio rate. But IMO when Eurorack modules are done right, they show us universal things about music. Hopefully this generates some useful ideas for whatever modules you have.
For more information on these modules, check out https://nsinstruments.com"
Elka OMB 5 | Automatic Italo Disco (2023 segment reupload)
video upload by Espen Kraft
See ELKA OMB 5 Review - Italo Disco from hell! Or heaven? for the longer video.
"Elka OMB 5 - Auto-Erotica Compartment for the Italo Generation.
Support this channel on Patreon:
https://www.patreon.com/espenkraft"
Overpriced Pair of 1970s Urei 565T "Little Dipper" Filter Set
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"This listing is for a pair of gold-trimmed Urei 565T Filter Sets in a black Tolex case (or without). These look incredible. The seller we bought them from wrote:
The 565T offers precise notching and peaking of very narrow frequency bands. The major application is to remove unwanted noises from recordings. Used extensively by the movie industry. It can also be used to create flanging, phasing and other unusual effects.
The 565T has an output transformer that can send a balanced signal to a 600 ohm load. The input level can be switched up 20db and the input impedence can be set between 600 and 10K ohms. This item came out of temperature controled editing suite. The suite had preventative maintenance done quarterly.
Having these will make you feel better in your studio, and feel better about your studio.
You don’t need to worry about the rear connections. You don’t need to make pigtails. You have an in and an out right on the front of the unit, and it takes balanced TRS or unbalanced TS.
What will you use it for? A notch filter, feedback murderer? Lowpass filtration on the 2bus for performative transitions? Nasal peaks? Dub stuff? Purist period-correct cinematic effects? Reductive sonic biopsies, additive implants?
MOJO MOJO."
via this auction
"This listing is for a pair of gold-trimmed Urei 565T Filter Sets in a black Tolex case (or without). These look incredible. The seller we bought them from wrote:
The 565T offers precise notching and peaking of very narrow frequency bands. The major application is to remove unwanted noises from recordings. Used extensively by the movie industry. It can also be used to create flanging, phasing and other unusual effects.
The 565T has an output transformer that can send a balanced signal to a 600 ohm load. The input level can be switched up 20db and the input impedence can be set between 600 and 10K ohms. This item came out of temperature controled editing suite. The suite had preventative maintenance done quarterly.
Having these will make you feel better in your studio, and feel better about your studio.
You don’t need to worry about the rear connections. You don’t need to make pigtails. You have an in and an out right on the front of the unit, and it takes balanced TRS or unbalanced TS.
What will you use it for? A notch filter, feedback murderer? Lowpass filtration on the 2bus for performative transitions? Nasal peaks? Dub stuff? Purist period-correct cinematic effects? Reductive sonic biopsies, additive implants?
MOJO MOJO."
1970s Moog MKG Ten Band Graphic Equalizer
Note: Auction links are affiliate links for which the site may be compensated.
videos uploaded by Cfpp0
Update: quick demos of the unit added.
"I got carried away and forgot to gain stage throughout, but you get the idea."
via this auction
You can find one featured in this video.
"This is a 1970s Moog MKG 10 band graphic equalizer. Sometimes people disparage graphic equalizers in favor of parametric equalizers. Some people say graphic equalizers are for killing microphone feedback in live rooms, or cutting an unruly resonance in that live room. True, graphic equalizers focus on specific bands, but the shape makes a difference, and Moog knew what they were doing back in 1970s.
We’ve had this for a while and have used it mostly on things like our Roland TR 606 or our Korg MS-20. For the 606, raising the 2k band way up and the 4k up a bit, while dipping the 8k band can make those famous hi hats pop with more presence and less shrill. 63 makes the kick thump. For other things, like synths, I’d just boost the 31 or 63 Hz band to pump it up, warm it up, round it off.
The ears are ingenious. This whole line—the phase shifter, the parametric, this graphic—have reversible ears. Orient them one way and you can rackmount it in any 19” rack. Orient them the other way and you have handles that are cleaner to look at when used desktop-style.
The sliders have an indentation at 0, so you can always feel and find your way back to null.
It sounds great and there is no scratchiness. The only issue is the 1k band, which sometimes glitches at the very top or very bottom of the slider. When we got this it was filthy. I cleaned the grooves within the ears, as there was crud in them. I cleaned grime out of the slider tracts. And dusted the inside. I sprayed the 1k band with deo it, which improved the 1k band’s performance a bit, but if you are buying this to do fancy live wiggling of sliders, maybe get another one—or buy a Synthesizers.com fixed filter bank. I’d recommend this more for someone who needs it for seeking a sound, accentuating certain frequencies, or doing weird bandpass-ish comb-ish stuff. That said, they’re all perfect except the 1k. The 250 is the stiffest, the rest are smooth."
Pic of the inside.
videos uploaded by Cfpp0
Update: quick demos of the unit added.
"I got carried away and forgot to gain stage throughout, but you get the idea."
via this auction
You can find one featured in this video.
"This is a 1970s Moog MKG 10 band graphic equalizer. Sometimes people disparage graphic equalizers in favor of parametric equalizers. Some people say graphic equalizers are for killing microphone feedback in live rooms, or cutting an unruly resonance in that live room. True, graphic equalizers focus on specific bands, but the shape makes a difference, and Moog knew what they were doing back in 1970s.We’ve had this for a while and have used it mostly on things like our Roland TR 606 or our Korg MS-20. For the 606, raising the 2k band way up and the 4k up a bit, while dipping the 8k band can make those famous hi hats pop with more presence and less shrill. 63 makes the kick thump. For other things, like synths, I’d just boost the 31 or 63 Hz band to pump it up, warm it up, round it off.
The ears are ingenious. This whole line—the phase shifter, the parametric, this graphic—have reversible ears. Orient them one way and you can rackmount it in any 19” rack. Orient them the other way and you have handles that are cleaner to look at when used desktop-style.
The sliders have an indentation at 0, so you can always feel and find your way back to null.
It sounds great and there is no scratchiness. The only issue is the 1k band, which sometimes glitches at the very top or very bottom of the slider. When we got this it was filthy. I cleaned the grooves within the ears, as there was crud in them. I cleaned grime out of the slider tracts. And dusted the inside. I sprayed the 1k band with deo it, which improved the 1k band’s performance a bit, but if you are buying this to do fancy live wiggling of sliders, maybe get another one—or buy a Synthesizers.com fixed filter bank. I’d recommend this more for someone who needs it for seeking a sound, accentuating certain frequencies, or doing weird bandpass-ish comb-ish stuff. That said, they’re all perfect except the 1k. The 250 is the stiffest, the rest are smooth."
Pic of the inside.
Shin-Ei “Four-in-the-floor” drum synthesizer foot pedal
video upload by Cfpp0
"Shin-Ei drum machine. Runs on two 9v batteries. Works perfectly, just some occasional scratch on the volume sliders. Distort it and it becomes another thing altogether. Compress it and you can get some 808-ish. Sticker on bottom says from 1974."
Playlist:
7/14/23 Shin-Ei “Four-in-the-floor” drum synthesizer foot pedal + Deltalab Effectron II + CXM 1978
7/14/23 DEMO: Shin-Ei “Four-in-the-Floor” drum synthesizer pedal [bone dry]
7/14/23 Pam’s + Synare 3 and a Shin-Ei Four-in-the-Floor into Effectron II (x2) + PCM 70 + CXM 1978
7/14/23 Shin-Ei “Four-in-the-Floor” drum synthesizer pedal and Metasonix TM-5
7/14/23 Chuck Johnson’s “Caldera Wires” poorly programmed into Firstman SQ-01 + Metasonix TM-5
Some pics with the original box via this auction
"This is a vintage Shin-Ei 4 IN THE FLOOR PERCUSSION COMBO foot operated drum machine. Yes, the same Shin-Ei that brought you the Univibe pedal!
Powered by 9v batteries, and operated via four pedals to trigger four drum sounds, with four sliders to control the volume of each drum sound.
The snare rooooolllllllllllllllllls. And you can set the rate of the roll, which they call REPEAT, with a flathead screw driver! Mono 1/4” out.
Great skeuomorphic wood grain laminate with chrome and aluminum. Rainbow on the back, and a cool wedge shape all around. The drum sounds are beefy, robust, healthy, and sound very analog.
I played the pedals by hand, though they are meant to be played by foot, probably while playing guitar, keys, woodwinds, brass, drums, turntables, or possibly the harp if you wanna get all Zeena Parkins and Ikue Mori with it.
Rare as a leprechaun, ride this rainbow into the night."
You can find additional info and pics of another one here.
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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
