"Global Settings parameters (starting at 03:30 in the video above) are now bidirectional (read / write from / to synth).
Script: - Press Request to load the synth current Global Settings in the editor - Start editing (in the editor) - Press Write to save the Global Settings to the synth - Re-edit the Global Settings (in the editor) - Press Request to re-load the synth Global Settings in the editor, to demonstrate that it's the exact same Global Settings as edited a minute ago
Also as requested by some of you folks, I'm providing a free trial version of the editor: https://www.dropbox.com/scl/fi/1y9ss...bm8o9ykp9&dl=0 - Choose MIDI Channel - Send Bank and Program Change - Request any patch from the synth, but only Oscillator A Volume is read - Write a default patch to the synth (any location), with user chosen Oscillator A Volume NB: - Requires a TouchOSC license (https://hexler.net/touchosc) - Make sure to select "PRO 800" in the TouchOSC application menu / Connections... / MIDI / Connection 1 / Send Port and Receive Port sub menu to enable bidirectional communication
Have fun! PS: In v3.0, SYSEX strings parsing / encoding procedure has been 'industrialized' which should enable future synth support with minimal effort"
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video upload by ohm_studi_ohm
"Here is a demo of this italian 6 voice analog polysynth i'm selling (via this auction)
Unit was upgraded with the great Tauntek firmware and can now be controlled remotely over midi by Control Change with any controller.
In the demo I basically flip through the unit presets and edit some of them on the fly just to show how easy it is now to program this otherwise austere synth.
I didn't demo the bi-timbral feature of the rack. You can have 2 different presets, lower and upper, either layered ("double") or split. Lower and Upper parts can have their own audio output.
Preset from 76 to 99 are allocated for the performance presets and need to be dialed in (you can't use the + and - value switch to select those like I did on the video)."
"Italian 6 voice analog polysynth. This is the CEM 3328 version, not the SSM 2044 one, in the rare white colour.
This unit was serviced and upgraded and is in perfect working condition, see video. What was done: - power supply capacitors were replaced - new battery was installed - Tauntek new firmware eproms were installed. You can now control the unit directly over MIDI with CC with any hardware or software controller - Midi thru socket was modified so that you can export your preset by sysex dump over midi (original could only export presets through the "tape" function)
It also comes with some goodies (well especially for french speaking person) - original owner's manual + preset lists (in french) - original schematics diagram - original Crumar Bit range advertissement (in french) - original inspection card from factory (this unit came out from factory in November 1985)
Condition is very good with only minor scuffs to the nice white metal paint."
"That’s the stuff I love the most. Whenever i get a new prototype on my desk, I’ll set it up and connect it to my speakers.
I can’t tell you how much fun it is to bring one of those new babies to life and listen to them for the first time. This SDS-3 looks and sounds so amazing.
That’s what I love about my job:-)"
"In this video, Anthony tells the story surrounding the musical score from (1986) hit film Stand by Me which features an All-Star cast that incudes River Phoenix, Wil Wheaton, Corey Feldman, Jerry O'Connell, Kiefer Sutherland, Casey Siemaszko, John Cusack and Richard Dreyfuss.
We learn that the first version of the film was titled The Body, named after the novel by Stephen King. The film's director, Rob Reiner intuitively changed the film's name to Stand by Me after licensing the rights to the song with the same name written by Ben E. King along with Jerry Leiber and Mike Stoller. The name change was made only one week before the film's delivery date. With little time to spare, the musical score was re-created using the sounds and melody from the song and performed on the Synclavier Digital Music System using it's on board sequencer/recorder and employing a sound modeling technique unique to the Synclavier called "Resynthesis".
Anthony describes "Resynthesis"as creating synthesizer sounds based on samples analyzed by the computer that use cross fades of back-to-back wave tables. "Resynthesis" gives you the tonal character of the original sampled sound with all the benefits of a synth (e.g less memory, same length across the keyboard, more editing capabilities...) Along with Brian Banks, Anthony programmed all the sounds and replayed the entire score in this way after the original score by Oscar Winning composer Jack M. Nietzsche was abandoned. The film's director Rob Reiner was present throughout the scoring process. The duo had just completed work programming and performing Jack's score for the John Carpenter Oscar Nominated film Starman.
In this video you'll hear the actual sounds used in the film that Anthony loads from the original 5.25" floppy disks (that still work perfectly after being in storage for close to 40 years). The final score used a core instrumentation of resynthesized versions of a flute, stand up bass, bowed wine glasses and piano. There was no DAW in existence so all the tracks were input into the Synclavier's internal sequencer/recorder and locked to picture using the latest feature SMPTE time code. With this set up, everyone could watch the film while the music was being recorded.
Anthony also states the importance of a good film or a good song. It's all the difference in the potential of your work as a programmer, arranger or performer. He advises to step back and really listen to what you are creating to find the emotion in the sounds.
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.
