"It comes with a custom red faceplate installed, purchased from Dick Malibu Design Works when they were available around the time these units were in production. The original silver faceplate is also included. The original faceplate still has the protective plastic on it from when it was newly unboxed. The Decksaver cover as seen in the photos is also included."
"Its been serviced. Work included: servicing the power supply, replacing the voice board electrolytic capacitors, cleaning front panel switches and encoders, upgrading the OS.
The synth is fully working, tested and all features and functions work as they should.
Its in really superb overall condition, with only minor marks and blemishes.
Included as part of the sale is the original box for the synth complete with the foam inserts."
"Kurzweil K2000RS Rack Synthesizer w_sampling option (V3.87) – classic workstation module, Excellent condition. This unit has the latest firmware (v3.87) and is expanded with 32MB RAM for sampling at 48k. All MIDI, audio outputs, and floppy drive work perfectly. Note: The only issue is the internal FX engine is functioning with artifacts on the main outs only. (common in this run of Kurz units). This doesn’t affect the (8) direct outs and digital I/O, synthesis or sample-playback; Cosmetically, and internally, the rack unit is in fantastic shape. Comes with the original manual (which is considered the bible on how to design your own synth patches and beyond) and loads of floppy disks I've acquired along the way. The K2000RS is a legend – the piano presets are easily mistaken as the real thing considering the world of virtual pianos we have today. 16-part multitimbral, powerful V.A.S.T. synthesis."
Pure FM grit with digital soul This pack captures the raw, glassy textures and punchy transients of the YAMAHA TQ5, a late 80s FM synth with a character all its own. From sharp metallic stabs to warm pads and quirky percussive hits, these sounds bring a distinctly digital flavor perfect for modern productions with a retro edge. Reference YAMAHA TX81Z Factory Preset Patch https://refacedx.martintarenskeen.nl/..."
"What a foul mood I was in today. My daughter struggled to do the most basic math - I had thought she had overcome some of it, but alas, not so. Well, I handled it worse than she handled the math. Me, the adult, just couldn't do it. I exposed my frustration so quickly, she shut down. After that, we cancelled her violin lessons (she wanted to drop it) and we come to find that they make you stay for an extra 4 weeks because "it's a long-term relationship" (that they failed to disclose when we signed up. So we will lose $150 for that. Then - just general frustration at everything (little). Like the house being a mess, it's too small, there's too much to do. I just... found everything to be upset about.
At the end of the day, I profusely apologized to my daughter, but... I think it's my frustration/anger that she'll remember long from now, just like I remember my father's anger more than anything else. When I apologized - she just laughed and giggled... so I don't even know what to think, but I have to do better. Today was not good.
Well - Perhaps at the peak of my frustration is when I finally sat down and wrote this track. Now you know where my mind was when writing this.
Eventide Blackhole VST used for reverb.
Aftermarket +Drives purchased from MachineStore: / discord"
"Roland S-1 ambient patterns & patches: https://www.albaecstasy.ro/roland-s1/
Profiting of a part-cloudy day in Nice (France) with an especially chosen setup for this trip: Roland S-1, Polyend Synth, Yamaha Seqtrak. I also have with the me the Uno Synth Pro X & Pro VS Mini - I hope will use them in a further video.
Recorded - as a trend would say: 'DAW-less setup' - directly on the Zoom LiveTrack L6 - amazing tool!"
If you’re new here: Loopy Pro is the most powerful and flexible looper DAW around. Whether you’re on stage, in the studio, or building beats in your bedroom, it’s built for musicians who want total control."
"Large format 5U modular synthesizer with the Groove Synthesis 3rd Wave.
Two passes. The first was the modular synth, and the second was the played lines on the keyboard. All sounds except the melodic part was recorded in real time from the modular.
Two Matrix Algorithmic Composer modules from Synthetic Sound Labs were used for the moving lines throughout. These were fed to a pair of SSL/Ian Fritz Thru-Zero oscillators. The outputs were mixed straight and also split to an Encore Electronics Frequency Shifter, MOTM 440 Filter and heavily modulated 73B Modcan Dual Delay. Further processing with the Empress reverb and the Dove Audio D501 filter.
The bass notes were generated by the STG Soundlabs Voltage Mini Store to a pair of STG Oscillators and a Dove Audio WF. The filters included the MegaOhmAudio MA20 and the Frequency Central System X LPF.
A Q960 sent the arpeggio sweep voltage to an SSL VCO through a Behringer DD400 digital delay.
A Ring Modulator patch on the Q169 Qxcillator ++ from Synthesizers.com was directed through an Oakley Sound Diode Super Ladder filter then through an SSL Digital Delay.
The S&H sounding patch was not a sample & hold at all. It was a combination of a Q960, West Coast Random Source, MosLab 901/904A and a MegaOhmAudio CdS through an Oakley VC State Variable Filter."
"My synths and device can be found here:
https://distropolisgoods.com/
Song #6 from my set at Shibasaki MOD in Tokyo, April, 2025.
Droning ...
The Dirtywave M8 is playing randomized, droning chords.
The Prismatic Spray MKii is providing some heavily filtered, low end chaos via two bytebeat algorithms (one left/one right).
I'm using the Phantasmal Force Micro MIDI controller as a "keyboard" to play and hold single notes on the MT32-pi (which is running a soundfont set to a electric piano instrument).
All of this is routed through the NTS-3 for some reverb."
"My synths and device can be found here:
https://distropolisgoods.com/
Song #5 from my set at Shibasaki MOD in Tokyo, April, 2025.
A short interlude.
The Phantasmal Force is sending four generative sequences to the MT-32 pi, triggering some sound fonts. It is also sending multiple CC LFOs to the NTS-3 to modulate the delay settings - creating a warbly "underwater" feel.
The Prismatic Spray MKii is droning on a nice spiral visual.
I'm playing GREAT CONJUNCTION with the Phantasmal Force as well - using a button in NOTE MODE and turning the knob to play notes within Mixolydian/C."
"We cruise along California Highway 52, a beautiful freeway that traverses the rolling hills of northern San Diego. We start in the town of Santee and take 52 all the way to its western end in the La Jolla neighborhood of San Diego, continuing on La Jolla Parkway. Along the way, we cross several of the regions north-south freeways.
Original soundtrack composed and performed by Amanda Chaudhary, who played and/or hand-edited each part live. Instruments used include:
Cherry Audio ODC 2800, Solovox, KR-55C, Stardust 201
Arturia Piano V, Pure Lo-Fi, CMI V, Wurli V, Pigments
AudioModeling SWAM Flute and Alto Flute
BFD3 drums, with Bill Cobham drum kit from the Ken Scott Collection
EastWest Fab Four and Stormdrum 3
Stylophone Gen R-8
Buchla 158 Red Panel
E-350 Morphing Terrarium
Strymon Magneto
The building at the end of the video is the Geisel Library at the University of California, San Diego, near La Jolla. https://en.wikipedia.org/wiki/Geisel_...
00:00 Introduction
00:11 Start of CA 52 at CA 67 in Santee
02:22 The scenic drive through Mission Trails Regional Park
04:36 Cross more of San Diego's major freeways (including CA 163)
07:19 Hitting a bit of traffic approaching I-5
08:13 CA 52 ends and La Jolla Parkway begins
"More choices.. too many choices? So many great synths from the Sequential/Oberheim folks alone. Now I've finally got the Oberheim OB6 and TEO-5 together and loads of you have asked if I've ever demo'd them both and which one would I choose... here's an in-depth look at the differences.
The TEO-5 has a more modern and flexible approach, whereas the OB-6 gives more of the vintage experience. Full mod matrix vs Poly-Mod style section should give a good idea of what I'm talking about. But other additions to the TEO-5 like DADSR and loop-able envelopes, LFO skew, LFO retigger, all give a more comprehensive sound design tool.
Sonically they are very close. The OB-6 is a brighter, the TEO-5 has more resonance if you want it. The FX on the TEO-5 also outstrip the OB-6. SO on paper it's a no brainer... the TEO-5 specs win the day. BUT what are they like to use, and which. would you pick if you had the choice?"
0:00 Intro track - 2xOberheim in an 80s frame of mind
2:50 Main Differences - Interface and Functions
6:20 X-Mod/FM
8:07 Effects - Modulatable and Modern
12:40 Oscillators - Discrete vs SSI2130
17:31 Filters - Super Similar
"🎹 Direct sound from Novation Mininova | No post-processing | No external FX | Just one patch
🎹 In the 'Preset Transmission' series I want to focus on one selected preset from those I've created. In this episode I chose the "Late Yoga" preset from my soundbank for the Novation Mininova.
🎹 'Late Yoga' is a good example of the Novation Mininova's capabilities when it comes to sound shaping and preset building. I'm a huge fan of this little synthesizer – its engine is incredibly versatile, a prime example of how good a digital cheap synthesizer can sound. What's more, buying this affordable instrument you also get a VST, which you can use to create presets and use the instrument in your DAW.
🎹 While playing, I use pre-configured performance buttons, the mod wheel (to which I've assigned several different parameters), the cutoff filter, and (at the end) the effects feedback function. All of these allow me to build a versatile ambient jam based solely on a single preset.
⭐ Have fun! ⭐
I try to make a living from my passion for sound design. I am not sponsored by any syntht manufacturer. I encourage you to follow me on social media - it will help me develop my passion and motivation to create new soundsets. Thank you!"
"This week We were lucky enough to spend the whole week at @museodelsynthmarchigiano1717 Lots of videos and things to come! @Hainbach behind the camera!
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i have a video on the Crumar spirit already up on patreon here :- / look-at-crumar-133890428
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if you haven't seen the link at the top to the museums youtube channel here is the website :-
https://www.museodelsynth.org/"
"The ClockworkPI u console is a so-called Cyberdeck (think oversized Blackberry) powerful enough to run DAWs. The ESI XSynth is a digital synthesizer that registers both as an audio interface and as a MIDI keyboard. Now this should be the perfect match, right? Table of contents:
00:00 sound example 00:05 hi 00:20 what on earth is this 01:19 what is the XSynth? 02:07 hello linux 03:13 patch examples: A001 XSynthGo (Poly AT demo) 03:37 A006 LoFiPicks 03:54 A008 Fatness 04:13 A009 Whales 04:26 A015 On Clouds 04:47 A028 7Flower 05:42 A074 Pianism 06:05 A102 LeGrand 06:45 B060 EP Pad 07:18 B075 RevPad 07:48 some patches I made: C001 Nostalgia 08:40 C002 David 09:07 C003 Warm Pad 09:42 C004 Chaos 10:00 C005 TR909L 10:14 XSynth Architecture: Creating a patch with FM, PWM and Ring Modulation, Mod Matrix, Effects, ... 15:25 Layering tracks on the ClockworkPi to create this track (XSynth only) 17:16 some thoughts on this setup 18:35 bye, subscribe, support
"Ursa Major Stargate 323 (1983) / Dynacord Vertical Reverberation System 23 (1979) interlinked : each reverb processor feeds into the other, creating a self-generating feedback loop. The strange thing about this patch is that instead of producing a typical howling feedback (like a BBD analog delay might), the reverbs are excited by their intrinsic noise, resonating in modal patterns that lead to the formation of colorful sonic clouds - aka clusters!
The Dynacord (in stereo reverb mode) introduces some self-feedback, but not enough to auto-oscillate. Its output goes through the console’s EQ and is partially routed into the Ursa Major. That reverb signal is then returned to the console, EQ’ed again, and partially sent to the VRS via a second aux send. The VRS is also routed to the master bus, which is what we're hearing here.
Tweaking the feedback levels and delay times on the VRS shapes the overall feedback tone. Same with the Ursa - its dry/wet mix, predelay, decay time, and LF/HF decay crossovers all play a role in sculpting the sound.
Altogether, this setup produces evolving tonal textures that are highly sensitive to real-time parameter changes. Kind of reminds me of those cheap 1970s sci-fi soundtracks x)
