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"Introduced by Connecticut based Electronic Music Laboratories in 1972, the ElectroComp 101 is a portable and patchable duophonic synthesizer which rivals other 1970s synths from Moog and Arp.
Notable for it's relative tuning stability and distinctive audio signature, the EML 101 is a synth that has a character all of its own, with a distinctive sample and hold circuit and ring/amplitude modulation. The rich sound of this synth is rounded out by a 12/db octave multimode filter.
This instrument, SN 262, arrived in solid physical condition, serviced and calibrated. Installed 1v/oct cv input mod and calibrated modification. Ready for studio time!"
"Cordovox Freeman String Symphonizer For Sale. Professionally serviced. This magical string synth sounds like heaven. Built in spring reverb. A rare gorgeous alternative to the popular and overused ARP String Ensemble / Solina. If you're into string synths, this one's a must have. We aren’t normally into string synths here but this one sounds so good that, if it doesn’t sell soon, we’ll probably keep it and use it in our studio."
"This is my first video featuring the Korg ARP 2600 M, one of my dream synth! (might surely be because of the heavy use of this synth by artists from the Mute label 😄)
For this first jam, I used the ARP in paraphonic mode: Track 3 of the Keystep Pro is sequencing the main riff played by the ARP, and Track 4 is sending CV to the ARP's oscillator 3, thus playing a melody other the main riff. At the beginning you hear the ARP nearly dry, and I quickly fade in its beautiful integrated spring reverb and the Eventide's H9 Vintage Delay. I also found a cool trick to temporarily mimic a reverse effect on the sequence played by the ARP, by switching from the ADSR envelope to the AR envelope (where I added more Attack). I used this a couple of times to make some real time breaks 😉
The drums are being played by my mighty analog drum machine: the MFB Tanzbar, however sequenced by the Keystep Pro's Track 1 (Drum track) for this time. The Tanzbar's kick is triggering the Pill Pedal, which is ducking the ARP!
The bass is from the Moog Minitaur (sequenced by the KSP's Track 2).
I also updated my KSP to v2.5 which adds some handy new features, like the "Transpose Latch", which I've been waiting for a long time 🥰 Hence, I can use my left hand to transpose the sequences and my right hand to move faders etc. 🤘
* Hardware used *
// SYNTH: - Korg ARP 2600 M (semi modular analog synth) + Eventide H9 (Vintage delay) + Pill (ducking pedal, triggered by the kick from the Tanzbar)
//BASS - Moog Minitaur (analog bass synth)
// DRUMS: - MFB Tanzbär (analog drum machine)
// SEQUENCER: - Arturia Keystep Pro, with the latest 2.5 update (introducing "transpose latch", program change etc.)
"This is the first song with the Hydrasynth. It is an 8 voice digital wave morphing synthesizer. It has an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutants, and 2 filters that can be configured in series or parallel.
I used for the recording the following FX pedals:
Pigtronix Echolution 2 Deluxe, Tasty Chips Electronics Integral, Meris Polymoon and Beetronics Seabee. Depending on the recorded track some FX are deactivated. On the bass track is also a Fairfield Circuitry Roger That, to give it some slight extra brittle.
The signal went through a Presonus StudioLive 16.0.2 into the PC via USB for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and some limiting on the master track.
Well, I decided to go back to the basics, but at the same time make something useful for the synth community and do a kind of competition (I like competitions;-). What's my best synth for ambient music :-)
Check out my Best Ambient Synth Shootout Playlist:"
"There's something very satisfying about the DB-01 and dark, deep drones. Maybe it's the Polivoks filter and that big knob.
In this setup the DB-01 is going into the Gamechanger Audio Light pedal in Feedback mode with everything cranked. From there into the JPTR FX Add Violence pedal and then into the Nemesis delay. This order seemed to work better than the Light pedal after the distortion. There's no audio processing in the DAW. Quotes come from a 1940s movie through the Valhalla delay.
The original noodle - which I was trying hard to keep short and sweet - was eight minutes, but how much grinding feedback drone is too much? So here we are at about four. In hindsight it would have been good to have something after the Light pedal that could more severely mess with the feedback tone. Next time :D
"Standard MFB Synth Pro sawtooth oscillator demonstration with variable filters (hipass 12 db/oct and lowpass 24 db/oct) in parallel mode. Plus a Waza Craft Dimension C stereo chorus pedal."
"Here is a demo of the EXTREMELY RARE PPG 1002 for Tom. Plus a bonus first ever tour of the Foleytronics shop!!
For those that want to attempt to tune this synth, here is what worked for me:
The trimmer by the regulators is the CV offset; trim for 0v for the lowest key. This interacts with the CV v/oct, which is right above where the two shielded cables connect from the 20-pin keyboard connector. Trim this for 1v/oct, which can be measured at the switched oscillator CV input jack on the back of the instrument. Once these are set, you can move on.
The oscillators are tricky. They each have an initial frequency trim pot and a volt/octave trim pot. However, the initial frequency trimmer cannot be set willy nilly to A440 because their initial tuning frequency greatly affects the octave selection switches on the top panel. What I found to be most effective is to set the MASTER TUNE front panel pot to 0, the OCTAVE SLIDER to the left of the keyboard to the middle and then begin tuning. Note, every trim pot for each oscillator will affect the others for that oscillator so this is an exercise in extreme patience.
First, turn off keyboard control for OSC B and roughly center its front panel tuning pot; set its octave to +3 and put a folded piece of paper on middle C. You are now going to tune the octave selector for OSC A; this part is confusing as there is a trimmer to adjust the octave selection offset for BOTH oscillators, but only OSC B has an adjustment to “match” its octave selection with that of A. Thus, you have to use that trimmer to get OSC A perfect and then match B to A - the method that worked for me was to switch between octaves for OSC A and adjust the octave offset trimmer along with the initial frequency trim pot for A to get a perfect octave selection for OSC A over the OSC B drone.
After the OSC A octave adjustment, it’s time to adjust B’s octave adjustment. Set A to +3, and switch OSC B to +1; adjust for zero beating at the trimmer in the upper left corner of the board right at the edge of the PCB. Then, switch OSC B back to +3 and adjust its initial frequency for zero beating; repeat this until the octave selection is perfect for B.
Now, it’s time to adjust for V/octave for each oscillator. Sadly, this adjustment affects the octave center calibration we just did, so you’ll have to keep backtracking until it’s good. Adjust the V/octave trim pot for OSC A, which is directly to the left of the CV v/octave we did in the first step. You’ll now have to mess with the init. frequency for A along with the V/oct to get the oscillator to track correctly on the keyboard, but like I said earlier, you have now probably slightly messed up the octave selection so you will have to go back and do that again. Then, adjust the tuning of OSC A again and repeat this process until OSC A tracks perfectly and has good octave selection. I couldn’t really get the +4 octave to be perfect, but hey, it’s a prototype and is probably 50+ years old.
Now for OSC B; it’s very similar to A. Use the V/octave adjustment trimmer which is the lower left trim pot on the PCB along with the initial frequency trim pot to get B to track along the keyboard. Again, you’ll have to go back and adjust the octave selection, but that’s not as bad for B because its octave adjustment doesn’t mess up OSC A’s octave selection. At this point, you should be able to get OSC A and OSC B to track the keyboard and the octave selections should be there"
Nascido em Paris, ele é mais conhecido por sua invenção do Ondes (Waves) Martenot, um instrumento que ele percebeu pela primeira vez em 1928 e passou décadas aprimorando. Ele revelou um modelo microtonal em 1938.ESte é MONOFÔNICO (não produz acordes,mas pode ser arpejado com teclados)
Ele também foi responsável por ensinar a primeira geração de artistas Martenot, incluindo Karel Goeyvaerts, Jeanne Loriod, Georges Savaria, Gilles Tremblay e sua irmã Ginette Martenot.O próprio Martenot atuou como um 'ondista' com a Orquestra da Filadélfia sob o comando de Leopold Stokowski em 1930. A Feira Mundial de 1937 em Paris concedeu-lhe o "Le Grand Prix de l'Exposition Mondiale". Ele deu aulas no Conservatório de Paris durante os anos 1940."
