MATRIXSYNTH

at 9/27/2006 07:34:00 PM

A little A-ha for you. Title link takes you to the post on Shepitology.

at 9/27/2006 09:34:00 AM

Title link takes you to the set with supersized shots.

via Dennis Verschoor.

Update: Some background info came in via Peter Grenader on AH:

"We have finally completed one hell of a large custom job done for a gentleman in the Netherlands, who will remain nameless here as a courtesy...unless he wishes to contribute that info himself.

Over a year ago he sent us a four panel Serge system which had two incomplete panels. One with only two NTOs, and one with only a Wilson Delay and Quad Mixer. Both were kits made in the eighties, but in very very good condition internally with metal faceplates.

We redesigned both of these incomplete panels so that Panel 1 included four Serge-fitted Model 15's along with the NTOs, and Panel 2 included a Quad Lowpass Gate, a Dual Processor, a Doepfer ADSR retrofit and two of Ken Stone's ASRs along with the Wilson Delay and Quad Mixer.

The project had many design challenges, most of which involved how to fit all the electronics into the shallow Serge Chassis box. It took much longer than we originally expected and I thank him for remaining calm through many many tests to his patience.

Go here for photos, scroll to Dennis' panels. There is also a second page of pics that gives you a lot more details:

Before you ask...unfortunately we are no longer taking on custom job like this. This one was a monster, enough fun for a lifetime!

Now onto completion of Larry's Milton and Bryan's Milton Expander...finally!

- P"

at 9/27/2006 09:00:00 AM

Title link takes you to a new digital synthesizer resource site. This is a hobby site by OriginalJambo, so don't expect too much. Currently there are some ESQ-1 samples and info up. The following appear to be coming next: Alesis Ion, Ensoniq ESQ-1, Kawai K1, Roland D50, Roland Juno6, and Yamaha DX7. Nice cat.

at 9/27/2006 08:29:00 AM

"Bitstream3X, "3X" stands for "3 Axis" because the Bitstream 3X features full control over three different Axis- X, Y and Z. A joystick allows control over two (X and Y), while an ribbon controller is used for the Z axis. With 35 knobs, 8 Sliders and 16 buttons, the Bitstream gives you total hands on control of any DAW software and comes with an astounding 13,000 presets including Reason, Live, Reaktor, Traktor, Absynth, Cakewalk and of course Cubase. Digital DJ’s will love the MIDI Cross fader and the 8 track motion sampler allows automated recording of the movements of the knobs, joystick, crossfader and ribbon controller."

Title link takes you there.

at 9/27/2006 12:25:00 AM

Editor for the Alesis ION and Micron from the makers of this DSI Evolver editor. I found this one in the comments of this VSE thread. Make sure to read the thread if you are considering it. If anyone has experience with thier Evolver editor, please feel free to comment on the quality and overall experience.

at 9/27/2006 12:20:00 AM

Just in case you were wondering...

Title link takes you to a video with it pronounced by the man himself.

via Rock oN.

at 9/27/2006 12:10:00 AM

No title link. Just a shot via this auction

"This module is a "tribute" module from Ken Stone, based on the awesome Steiner-Parker Synthacon VCF.

Unlike the original, this version allows signals to be fed into all inputs simultaneously. If the same signal is used in all inputs, the result is reminiscent of a phaser.

The real fun starts when you feed different signals into each input, then you get a frequency based "interpolating scanner", where panning between different sound sources is possible, though also subject to the frequency at which they are running. I have never heard an effect like it before.

This is a great filter, by the way, with lots of character. It sounds very Moog ladderish with the low pass input, and mixing VCOs into the LP, HP and BP inputs gives some great effects."

I love the knobs on the module.

at 9/27/2006 12:05:00 AM

Via Peter Grenader of Plan B

"The boards and faceplates have arriived for the M24. I will be building Nos. 1 this week, doing tests - if all goes well, they will be in stores by the end of next week along withthe first production run of MOdel 10 Polyphonic EGs. You can see a photo of the finished unit on the Model 24 page of the EAR site at: link. Goto 'click here for picture'

The final price for the Model 24 is $250"

at 9/26/2006 10:14:00 AM

flickr by JSRockit.

Cool case.

at 9/26/2006 06:54:00 AM

via Loscha: "Some people who own Tx81z units might not know that many of the ROM sounds are custom designed for Wind/Breath controller use, which is why some of the sounds are rather quiet." Title link takes you to shots pulled from this auction. Some details also pulled pulled from the auction: "Lots of fun for the Sax player. The Sax can be used with the battery pack on the waist or with a power lead through the cable.The TX81Z synth is still sought after for the rack for it's ability to blend into a mix, and may be the most generally useful of the two.The Sax can also be used with any midi sound generator that can receive breath control." "The sax can be set as a Bb,Eb or C instrument.(see close up photo). It is not a toy and has been used by International Artists.Plenty of stuff on the Internet about this instrument.Very similar to the WX11 and preferred by some." "The following is an edited version of an article by Rex Djere.. In the mid 1970s, Nyle Steiner invented a wind controller based on the trumpet. He called it the Electronic Valve Instrument. All of these events predated Yamaha's entrance into the wind synthesizer market by more than a decade. During this time, Yamaha was focused on its core markets: brass and woodwind instruments; and keyboards, both pianos and synthesizers. In the 1970s and early 1980s, there was not really that great a demand for wind sythesizers. The demand for the electronic wind instruments began to increase in the early 1980s due to the adoption of EWIs by two very famous saxophonists, Michael Brecker and Tom Scott. Tom Scott's performance on his EWI on Saturday Night Live in 1982 caused quite a stir in the saxophone community. Yamaha saw the writing on the wall, and began developing its own wind synthesizer. When the WX7 was finally released, it was completely revolutionary. The WX7 had adjustable keys, something that had been unheard of in wind synthesizers up until that point. This made it very easy for saxophonists to customize it in exactly the way that they wished. The mouthpiece had a pressure sensor connected to an analog-to-digital converter, but it also contained a metal lever which vibrated and allowed the pitch of the wind controller to be bent much more expressively and radically than other wind controllers on the market. The mouthpiece was fully adjustable. One one the most innovative features of the WX7 was its ability to transmit data on more than one midi channel. This made it possible to play chords and even entire orchestras using the WX7. The WX7 also had a battery pack, making it much more portable than other wind controllers. Sal Gallina became the first WX7 virtuoso. You can here incredible recordings of him playing everything from rock guitar solos to complete orchestral recordings on the WX7 here. In 1988, Yamaha released the WX11. The WX11's main advancement over the WX7 is that it was somewhat simplified, and therefore easier to use. The WX7 had a very steep learning curve and the WX11 proved to be easier for the beginner to learn. However, the WX11 lost some very powerful features of the WX7 such as a thumb pitch bend wheel. The WX11 was widely believed to be easier to play without glitches than the WX7, but the WX7 was considered by many to be more flexible and more expressive. The WX11 was designed to be coupled with the WT11 wind synthesizer. The WT11 was a digital FM synthesizer that had various effects. It had four FM outputs, eight note polyphony, 10 digital effect (reverb, delay, echo, etc.), and it had internal memory. Both the WX7 and WX11 developed cult followings, with each camp very loyal to its own instrument. These two instruments dominated Yamaha's wind synthesizer landscape for the next decade. Yamaha did release another wind synthesizer called the EW30/Windjammer. This instrument was severely limited. It did not have an advanced pitch bend system as did the WX7 and WX11, and was not taken very seriously. The next major evolution in Yamaha wind synthesis was the arrival of the Yamaha WX5 in 1998, which is still in production and is listed by Yamaha for $1400.THe total package would be over $2000."