MATRIXSYNTH

RITM-2 Synthesizer (1982) - 1 OSC Clone Moog Prodigy

video upload by LFOstore

"According to information that is actively circulating and being replicated on the Internet, the RITM-2 synthesizer was created in 1982 by Viktor Anatolyevich Nikulin, an engineer at the Kirov Musical Instruments Factory, at the request of a musician friend.

The device was well-received by the company's management, and in 1984, it was put into mass production, which continued for 10 years. During this time, the instrument's design underwent three further improvements. It was the only Soviet synthesizer where all components and controls were housed on a single printed circuit board.

Functionally, it consists of one tone generator, a noise generator, a sound signal mixer (triangle, saw, rectangle, noise), a low-pass filter, two full-format envelope generators (attack, decay, sustain, aftertouch), and a low-frequency modulation generator. It is a portable keyboard instrument weighing approximately 9 kg, housed in a plywood case with a lid.

The front panel had two versions: black and white. The main feature of the instrument, which determined its character, long life, and fame in the professional environment, was its unique and harsh sound.

The production capabilities of the enterprise were quite modest, and only about three thousand instruments were produced over the course of 10 years. RITM-2 was produced exclusively on orders from the administrations of houses and palaces of culture, as well as from leading communist enterprises that had their own musical groups.

During the Soviet period, it was impossible to purchase a rare instrument on the open market, and the RITM-2 was not widely known among musicians who were not affiliated with amateur groups. It was not until after 1993, when the Soviet government's support for amateur music, along with the cultural palaces and the Soviet government itself, ceased to exist, that the RITM-2 synthesizer began to find its way into the hands of professional musicians both in Russia and abroad.

The electronic musical synthesizer Rhythm-2 is a single-voice
keyboard instrument designed for solo, ensemble, orchestral performance of musical works of various genres, as well as for educational purposes and obtaining new sound effects. It can be used both in pop orchestras and at home in conjunction with an amplifier-acoustic device having an input sensitivity of no worse than 0.775. It is possible to use a low-frequency amplifier of a radio receiver, TV, tape recorder. The sound quality of the synthesizer will depend on the quality of the amplifier-acoustic device used.
On the Rhythm-2 synthesizer, it is possible to imitate the sound of classical musical instruments (keyboard, string, reed, percussion) with a certain degree of authenticity and create original sound effects (wind noise, the sound of a passing train, the sound of a sea wave, a shot and the whistle of a bullet).

The synthesizer can be used to play melodies with randomly changing pitch or timbre."

Aelita Synthesizer (1980) - Cyberpunk Ambient Atmosphere

video upload by LFOstore

"Sometimes referred to as the Murom Aelita, the Aelita is a monophonic analog synthesizer manufactured in the Soviet Union in the 1980s.

Although its design seems inspired from American and Japanese synthesizers of the previous decade, with a dark aluminum body[3] and near vertical control panel, the Aelita's looks are distinctive in the details.

They feature large colored plastic sliders instead of the more common rotary dials, and round or rounded push-buttons instead of flip or rotary switches. The vertical sliders are oriented so that their maximum labelled value is at the bottom, instead of the top as is more common. A sole red LED lights up when the instrument is on.

Its hinge-mounted upper control panel can be shut like a piano keyboard's lid, thus protecting the buttons and sliders and preventing accidental settings changes during transportation, and changing the general shape of the instrument to one that is not playable but more transportable.

The keyboard is 3.5 octaves wide and made of 44 unweighted, full-sized plastic keys ranging from F to C.

All controls are labelled in Russian, using Cyrillic script.

The Aelita has 3 oscillators, each with 3 fixed waveshapes (Saw, Pulse and Square), plus a 4th oscillator only active in unison mode, amplitude cross-modulation, a low-pass filter with resonance, one LFO and two envelope generators, all arranged in a fixed architecture typical of subtractive synthesis. It has a maximum range of 7.5 octaves.

It is monophonic, meaning that it can play only one note at a time (although detuning of each oscillator makes it possible to play fixed intervals or chords instead of notes)

It has two special modes: the unison mode creates an unison-like effect on each oscillator (reducing the range as a tradeoff), and the strings mode creates a vibrato-like effect independent of the LFO.

Although of a sturdier construction, it lacks several features commonly found on American and Japanese brand synthesizers at the time, such as: velocity response, portamento, pitch and modulation wheels or levers, settings memory, and (from late 1982 on) MIDI implementation.

Its output is monaural.

Sonic character

Its sonic qualities have been consistently qualified as 'fat'. Other reviewers also call them 'impressive',and sometimes 'aggressive'.There is audible background noise at the output, resembling oscillator bleed."

Essai sur Fender Rhodes Mark II, Philips Philicorda GM754 & Yamaha DX7 - Franck Lhermet

video upload by Franck Lhermet

This appears to be the first video on the site featuring the Philicorda GM754. You can find pics of the GM754 in previous posts here.

Franck Lhermet improvise sur son Kurzweil 250 - Vidéo du ‎jeudi ‎17 ‎janvier ‎2013, ‏‎17:37:44

video upload by Franck Lhermet

The Wave Warden SPLINE

video upload by DATABROTH

"read my full review here: https://www.databroth.com/blog/spline...

check out my wavetables and presets at https://gumroad.com/databroth
join my Patreon https://www.patreon.com/databroth

Affiliate links:
Plugin Boutique: https://bit.ly/3gMg99X

if you're already planning on purchasing any software and want help support me,
purchasing any software via the above link helps me out with a %15 commission

Thank you"

Open Studio Sale Saturday August 16th 11:00am - 4:00 pm Duluth MN

video upload by Tim Kaiser

No video description for this one. If you know, you know, I guess. I don't know. You can reach out to Tim Kaiser on YT if interested.

See the Tim Kaiser label below for additional posts featuring his creations.

Ambient ghosts - Vhikk X, 4ms Ensemble and SMR, Elta TSC 12

video upload by Jay Hosking

"Two ambient songs performed live with a eurorack case.

Buy these songs on an album here: https://jayhosking.bandcamp.com/album...

This is why eurorack exists to me. I would never come to these sorts of results through any other workflow or gear, would never stumble on these harmonies or gently cascading notes, would never feel out the song progression on a computer or even with a more traditional hardware setup. There are many things eurorack doesn't do as well, but moments like this make me realize why it's so special.

Please go give the album a spin.

Three voices: Forge TME Vhikk X, 4ms Ensemble, 4ms SMR
Control surface: Elta TSC 12
Effects: Intellijel FX 1U, Strymon Magneto, Noise Engineering Versio, Happy Nerding FX Aid XL
Modulation: ALM Pamela's Pro Workout
Mixing: Intellijel Mixer 1U, Befaco STMix

Thanks for listening.

jayhosking.bandcamp.com"

On counterpoint, cross-FM, and analog+digital timbres | Studio no. 5 performance & patch breakdown

video upload by Frap Tools

Today Francesco explores one of the harshest timbres ever created by mankind: the cross-FM. And if that wasn't enough, he will use both digital AND analog FM at the same time, blending Brenso and Hertz Donut mk. 1. How can we tame such wild beasts? Through a careful composition in the spirit of the great counterpoint masters.

Original track 'Studio No.5' composed by ‪@francescogennarimusic‬"

Time stamps:
00:00 Introduction
00:22 Modular performance
03:14 On counterpoint
03:55 Track structure overview
04:24 First voice: Brenso + Doepfer LPG + QSC
05:39 Layering the first voice
07:16 Second voice: Hertz Donut MKI + Optomix + QSC
09:33 Third voice: Falistri + SEM VCF + QSC
10:24 Usta clocking Sapel, Bagai, and Empress Zoia Delay
10:52 Disting EX: Ping Pong Delay and Reverb
11:33 Desmodus Versio: Final Reverb
11:51 Mute Hack with Usta and 411 VCA