SN 823705 was previously listed back in 2014. Pics of the inside below.
"I completely overhauled this machine with the voice card kits from synth chaser, plus the main capacitors and the key bushings. I was really happy with how the calibration turned out. And the keybed is level and clack-free now! All-in-all, in excellent playing shape and should work great for years to come. But it is of course still a vintage machine, so it is what it is! Hear it at the youtube below [previously posted here]. The first melody is from the tuned filter resonance!
Voice tune process sometimes requires a second pass when the unit is warming up, but it has always tuned up since the recap after an autotune or two."
"Here's two cool vintage pieces that were just overhauled by our shop! The Moog Taurus and Vox Ultrasonic Guitar (effects built into unit)
If you have a vintage synthesizer, outboard gear, drum machine, or tape machine that needs fixed, please visit us on our website for repairs and restoration! www.synthtailorelectronics.com
Thanks for watching, please share, like and subscribe to spread the word!"
"I bought a Move. Here's a quick overview of how I used it with my modular to build this track • Endogenous - dark ambient ritual psychedel...
TLDR: The Move is great. Works really well using the Intellijel MIDI 1U via USB to sync the modular to the Move and send a channel of pitch, gate & velocity.
Let me know if you have any questions on the set up.
Ableton Move
Eurorack Modular:
@intellijel Case & MIDI 1U
@knobula_synths Kickain
@Endorphines Ghost
@EricaSynths Perkons Voice
@DivKid DivSkip
1010 Bluebox Eurorack
Pamelas New Workout
Qu-Bit Scanned
Novation LaunchControl XL for MIDI control of 1010 Bluebox
@NoiseEngineering Manis Iteritas & Debel Alia
"The bass is driven by a 1.3x clock from Pamela's New Workout - the envelopes for the filter are 2 mixed envelopes, one triggered by probability gates (from a clock 4x) and one triggered by the 1.3x clock.
"Oradea [ˌɔraˈdɛa] is a quadruple voltage controlled analog resonator. You can use it to enhance external audio or to generate tones. It can mimic the resonant characteristics of physical objects or spaces. Oradea’s frequency response can be tuned over the entire range of audible frequencies with V/oct response. The module offers precise control over the resonance of each band up to extremely high values with long response to pinging. Oradea is additionaly equipped with four individual trigger inputs for exciting its filters with internally generated, uniform, and finely tuned impulses.
Individual outputs allow you to externally process each band separately. Resonant frequency gain compensation prevents uncontrolled distortion (the gain at peak does not increase with resonance). There is a VCA and a polarity switch in each channel, so you can remotely shape the overall amplitude and manually change the phase response.
Arad [ˈarat] is an expander for the Oradea quadruple resonator. It adds three additional features. Arad features direct audio inputs for individual channels, so you can use each channel for a different audio source (the individual channel outputs are already incorporated into the main module). There are buttons and gate inputs for manual and/or remote clickless muting and unmuting of the channels. Another group of four buttons acts in parallel to the EXCITE inputs of Oradea, allowing for manual triggering.
"I can't just tell you what Kharper is. You need to fish it out yourself.
ERROR calls it the best eurorack module ever - which translates to 'this is the best thing we made so far'. In this perspective, I completely agree. This is not an error."
"This is a conversation with synthesizer genius, Jeff Blenkinsopp, from The Analog Lab (www.theanaloglab.com)."
CONTROl with co-founder Daren Ho makes an appearance at the end.
The video above comes in via an article on Jeff Blenkinsopp recently written up on Hell Gate. You can also find in on The Analog Lab's blog on their website here. Jeff is the man behind The Analog Lab which provides various resources for synth repair. The site is well worth a look.
From the intro to the article on Hell Gate, written by Adwait Patil:
Below: "Jeff Blenkinsopp after repairing the Beatles' VOX Continental organ, last used at their 1966 Shea Stadium show (The Analog Lab)"
"Jeff Blenkinsopp toured with Pink Floyd and Vengelis, repaired instruments for the Smiths and the Beastie Boys, but his greatest legacy might be his willingness to share his craft.
As one of New York's most meticulous and beloved vintage gear technicians, Jeff Blenkinsopp's legend precedes him. A North England native, he began repairing synthesizers in the late 1960s, worked his way into London’s disco scene as a live stage technician, and later took his talents on world tours with English rock giants Sweet and Pink Floyd, and Greek composer Vangelis. In 1978, he moved to New York, quickly gaining the trust and fixing synthesizers for bands like the Beastie Boys and the Smiths, and carved out a home for the nerds whose vintage gear obsessions were about to peak at the turn of the millennium with his workshop Expert Audio Repair Services, or EARS. At EARS, he devised hands-on methods to pass on his knowledge to some of the city’s most beloved musicians, all of whom came to learn from the guy who became Pink Floyd's synth technician at the age of 21.
Blenkinsopp’s career first took off in 1974, when he was working in London as an instrument repairman for General Electro Music. There he was introduced to Pink Floyd, who were looking for a technician, and met the criteria to join the band's French tour: he knew how to take care of a Hammond, and he had a passport. Blenkinsopp had never toured with a band, and now was in charge of setting up Richard Wright and Floyd's organs and synthesizers on a nightly basis. From then, he became a constant fixture for British bands who toured with a hefty load of keyboards, and that’s what initially brought him to New York City in 1978, touring with British glam rockers Sweet. A tour that changed his life."
