Title link takes you to Synth Music Direct, a site that hosts and sells synth music. Our own previously featured Boele Gerkes' SCD is listed. If you missed my previous posts he recently came out with a DVD including all of his music (over 300 tracks), and video similar to this one. I added Synth Music Direct to the Synth Music Stores section under Synth CDs on the right.
Friday, March 02, 2007
Synth Music Direct
Title link takes you to Synth Music Direct, a site that hosts and sells synth music. Our own previously featured Boele Gerkes' SCD is listed. If you missed my previous posts he recently came out with a DVD including all of his music (over 300 tracks), and video similar to this one. I added Synth Music Direct to the Synth Music Stores section under Synth CDs on the right.
Casio CZ-1000
Title link takes you to more shots via joshua_schnable's flickr set. Note this was listed on the Matrixsynth Forum for sale. There's also some nice shots of a Novation ReMOTE 37SL in this set, also listed here.
KORG Legacy Digital Edition adds the T1
"In addition, the Version 1.5 free update added all of the PCM data of the successor to the M1 - the T Series - including the piano PCM that was included only on the flagship T1. Along with the Programs and Combinations of the T-Series instruments, the entire contents of the optional TSD-01 through 05 disks are also included. Each of the TSD disks contains additional PCM data and Programs and Combinations using those new samples. For additional information about the T-Series PCM Library, click here."
Note the legacy edition includes all of the expansion ROM cards for the M1. This is where I think digital softsynths excel. You can replicate the sound because it was digital to begin with and the UI is actually better on a PC screen vs. the small LCD menu driven originals.via Loonytunes
Rhodes Chroma Site Updates
Via Chris Ryan on the Rhodes Chroma List:
"This month I've added a couple of short articles from Keyboard
magazine, April 1982 and March 1983, announcing the Chroma ("Rhodes
Synthesizer") and Chroma-Apple Interface."
Title link takes you to them.
"This month I've added a couple of short articles from Keyboard
magazine, April 1982 and March 1983, announcing the Chroma ("Rhodes
Synthesizer") and Chroma-Apple Interface."
Title link takes you to them.
Under The Side Panel
punkdISCO found this under the side panel of his Korg 900ps. The following are a couple more shots of the inside: one, two. Click the image on the left or the title link for a super sized shot.
The stamps with 58.8.26 is the year in Nengo (Emperor Era), month and day the synth was stamped. 58 would make it 1977? If you know more feel free to comment.
Update via the world of next tuesday in the comments:
""Nengo" is just saying it's a Japanese date, not a Western date. Written properly in English the synth is from the year "Showa 52" (I've seen it abbreviated S52 for instance a lot in Japanese booklets).
I guess the math is 1926+S-1 because there was no year Showa 0. Now "52" is easy to assume as Showa since no recent emperor lived as long as Showa (a.k.a. Hirohito) and the synth has to have either a Showa or Heisei date (1989+H-1), but avoiding confusion you are supposed to add whomever's reign it was or is to the number."
Update via SoNiCbRaT in the comments of this post:
"Hmmm correct me (anyone) if I am wrong... here goes:
C1/R1: Inspection Item
C1/R2: Product Satisfactory Stamp
C2/R1: (I am not sure)
C2/R2: (somebody's name?)
C3/R1: Organization
C3/R2: (a name)
C4/R1: Functionality Check 1
C4/R2: Stamp with date and name
C5/R1: External (cosmetic) Check 1
C5/R2: Stamp with date and name
C6/R1: Functionality Check 2
C6/R2: Stamp with date and name
C7/R1: External (cosmetic) Check 2
C7/R2: Stamp with date and name
C8/R1: Assessories and Packaging
C8/R2: Stamp with date and name
C9/R1: Grading
C9/R2: Passed
Hope I helped..."
C = column
R = row
Thursday, March 01, 2007
Custom Moog Prodigy
via this auction.
Details:
"This auction is for a uniquely modified Moog Prodigy synthesizer module. It features a CV Input, Gate Input, Filter Cutoff Control Input, External Audio Input (with gain control), Filter Frequency Modulation, and a beautiful wooden case! I spent many, many days planning and completing this project.
This module can be controlled by any analog synthesizer with CV (V/Oct) and Gate Outputs, or by any programmable Midi->CV converter. The module has only been used in my smoke-free home studio, and works perfectly. I controlled it with a Korg Mono/Poly and also with my Arp Axxe. But due to financial difficulties I've sold both of those synths and so now the Prodigy isn't being used.This may be your only opportunity to hear a Moog Prodigy with Frequency Modulation. . It's a very natural and unique timbre that I never previously imagined a Moog could produce. Everything about the Prodigy's sound is very natural and it sits very nicely in mixes of all kinds of music. I have also had a ton of fun running drum tracks and other audio through the filter's external audio input. The Pitch-Bend/Sync Wheel, Modulation Wheel, and Filter FM Control Knob are built into a separate enclosure which is interfaced with a 9-pin serial cable. The wooden case has been lovingly sanded, lightly stained, has large rubber feet to keep it situated on stage or in the studio, and it also features a convenient carrying handle."
John Entwhistle's Steiner Parker EVI
Click here for shots pulled via this auction.
"Extremely rare 1970's STEINER-PARKER Wind Synthesis in superb condition, complete with controller, synth, footpedal and cables. Formerly the property of bass and brass legend, JOHN ENTWISTLE. Complete with original transit packing addressed to John!!!
As an instrument in its own right, this is a valuable collectors item. As a piece of history for WHO afficianados, this is unique!"
Update: some more info on the EVI via Mark Glinsky:"For those unfamiliar with Nyle Steiner here is a short bio.
Nyle originally conceived of the concept of a brass-style electronic synthesizer in the 1960's. He began prototyping the concept in the early 70's and in 1975 Nyle completed his first playable electric valve instrument- the 'Steiner Horn'. A woodwind version was developed soon after. Around 1971, Nyle started working on this new idea. The prototype was finished about a year later, while it was not much to look at, it worked. The first production models were offered in 1975 with the rest of the Steiner-Parker product line. According to Mr. Steiner, around 200 were produced between 1975 and 1979. Most of them were sold to University electronic music departments and pop groups (one of the first systems was sold to Earth, Wind and Fire).
"I developed my own transducer using whatever- I tried a lot of things out. A lot of the main parts I had to build myself. The first one was just a switch. You blew and it turned on and off - just like pressing a key. Later I built a proportional transducer."
Kitty Devil Fish
Title link takes you to a few more shots including Jomox and Akai MPC sent my way via Jason.
EMS Synthi E
Title link takes you to shots pulled via this auction, including one of the inside.Details:
The EMS Synthi E was a basic synthesizer designed for educational use from 1975 by the EMS boys in Cornwall. I believe that there were only around 200 of these things made and they are pretty rare now! This one is number 147! It's in great condition hardly a mark on it however, it might need a bit of cleaner on some of the faders as there is a slight scratchy sound when moving some of them. The mixer level 2 fader may also need reseating as it seems a tiny bit wobbly!. There are 11 of the original patch cables to go with this thing too including 2 Y cable splitters. The thing sounds WEIRD but ultra cool. Only needs 12 big 1.5V Eveready batteries and your away! If you want to learn a bit more type "Synthi E" into google and check out some of the sites. WILL SHIP WORLDWIDE
MAIN FEATURES INCLUDE:
* Input Amplifier with low (Microphone) and high (line) level inputs.
* Envelope Follower providing a voltage proportional to the amplitude of the input.
* Oscillator 1 with true exponential voltage control of frequency and three simultaneous output waveforms (sine, triangle and voltage controlled pulse)
* Oscillator 2 for slow control voltages such as glissando or vibrato.
* Filter/Oscillator 3 with v.c. low, high and band pass filter or pure sine wave.
* Modulator for envelope shaping or ring modulation. Noise Generator.
* Trapezoid Generator for multiple simultaneous trapezoid waveforms. These may be used for envelope shaping (trigger mode) or for low frequency waveforms (free run mode).
* Manual-Slide tape Controllers (2) for obtaining control voltages. One slide-tape is stepped and may be used as a keyboard and the other for variable control. One provides a trigger pulse. Both may be temporarily marked or written on.
* Inverter to invert control voltages or signals.
* Monitor Amplifier and Loudspeaker with two input mixer faders
via ben
Marjan's Synthesizer Schematics
Title link takes you there. The list includes:
01. EML-101 Multimode VCF
02. SERGE Triple Waveshaper Module
03. BUCHLA #194 Fixed Bandpass Filter
04. KORG Polysix Ensemble LFO
05. MINIMOOG VCA
06. BUCHLA #291 Dual Bandpass VCF
07. SERGE Sequential Pulse Source
08. OBERHEIM Matrix-6 White Noise
09. R0LAND D-Beam
10. KORG MS-20 LFO
11. SERGE Lin/Log VCA
12. ROLAND SH-09 Noise and S/H
13. EMS VCS3 Type Ring Modulator
14. MOOG Source VC LFO
15. SERGE Ring Modulator
16. EML 101 Schematics
17. ROLAND/KORG Transistor VCA
01. EML-101 Multimode VCF
02. SERGE Triple Waveshaper Module
03. BUCHLA #194 Fixed Bandpass Filter
04. KORG Polysix Ensemble LFO
05. MINIMOOG VCA
06. BUCHLA #291 Dual Bandpass VCF
07. SERGE Sequential Pulse Source
08. OBERHEIM Matrix-6 White Noise
09. R0LAND D-Beam
10. KORG MS-20 LFO
11. SERGE Lin/Log VCA
12. ROLAND SH-09 Noise and S/H
13. EMS VCS3 Type Ring Modulator
14. MOOG Source VC LFO
15. SERGE Ring Modulator
16. EML 101 Schematics
17. ROLAND/KORG Transistor VCA
YouTube Video Embedding Added to Forum
Title link takes you to more info and the first video on the Forum. I had to go with the T.
2nd cab filters
flickr by fonik2000.ssm2044, wasp, doepfer quantizer (custom frontpanel)
Title link takes you to more shots. Be sure to also check out the link below.
www.modular.fonik.de
Wednesday, February 28, 2007
Apple Patents New Synthesizer Method
Title link takes you to the patent. Via Chip Collection.Some details:
"Music synthesizer generate audio tones. Many synthesizers generate their tones by using one or more oscillators. It is very common to use several oscillators in a single synthesizer voice but with at least one oscillator detuned. That is to say, that oscillator is oscillating at a slightly different frequency to at least one other oscillator. As a consequence of interference, this results in a periodically changing resulting signal due to the varying phase difference between them.
When there are two slightly detuned sine waves, the resulting signal is perceived as a single sine wave with a sinusoidal amplitude modulation varying with frequency. The frequency of this amplitude modulation is called the "beat frequency".
More often than not, there are two detuned oscillators producing more complex waveforms. Complex waveforms include waveforms in shapes which differ more or less from a perfect sine wave, e.g. a sawtooth or rectangular wave and can be decomposed into a sum of harmonic sine waves (the overtones or partial frequencies). The resulting interference from such complex waveforms is not a simple amplitude modulation but a complex timbre variation. This is because each pair of harmonic overtones has to be treated separately. However, the timbre variation when mixing two slightly detuned oscillators is still periodic with a beat frequency. Moreover, that beat frequency is equal to the difference between the two frequencies of the mixed detuned oscillators.
Synthesizer oscillators are usually tuned in a chromatic scale that consists of equal semitone intervals. An interval is defined by a certain frequency ratio between two tones. Twelve semitone interval steps result in an octave interval which is defined as a frequency ratio of 2:1. Hence, each semitone is the twelfth root of 2 or approximately 1.06. A semitone can be further divided into cents. A cent is one hundredth of a semitone. Thus, one cent is a 1200th root of 2 or approximately 1.0006.
In the prior art, synthesizer oscillators have been detuned by setting a certain detune interval which was usually measured in cents. Due to the fact that the detune interval defines the ratio between the detuned frequency and the nominal frequency, the frequency deviation itself is proportional to the nominal frequency. For example, if the nominal oscillator frequency was 1000 Hz, then applying a detune interval of 10 cent (approx. 1.006) would result in a detuned oscillator frequency of 1006 Hz and a beat frequency of 6 Hz. However, with the same detune interval of 10 cent at the next octave, the nominal frequency would be 2000 Hz with the detuned oscillator frequency of 2012 Hz and a beat frequency of 12 Hz. Accordingly, at a given detune interval the detuned oscillator has a frequency deviation which is proportional to its nominal frequency. Hence, when mixing detuned oscillators, the resulting signal has a beat frequency which varies with the pitch and doubles with each octave.
In order to accommodate for this beat frequency, a compromise is reached but often such audio tones have a beat frequency which is relatively too slow at lower tones and too high at higher tones.
An aim of the present invention is to provide a music synthesizer whereby sounds are generated with an optimum beat across a large range of tones. "
Inside The Future Retro
Title link takes you to more shots of the Future Retro via shaft9000 in this VSE post. Shaft9000 gave me the go ahead to back them up as he will be taking the shots down in time. BTW do check out Shaft9000's AWT for music and more synth shots and info. There are some nice synths there.
How to Stream Audio over the Web
Title link takes you to a pdf on how Doktor Future set up Doktor Future's Radio Modular. Via this Matrixsynth forum thread.
ipMIDI
Now this could be interesting. Think community based interactive mega synths - we all interact with it via MIDI over the net."MIDI over Ethernet ports - send MIDI over your LAN.
You can route MIDI over your Ethernet network, using ipMIDI ports to send and receive MIDI data between PC's connected to your LAN. For example, if you have a music studio with several computers connected via MIDI interfaces and MIDI cables, ipMIDI will replace them all.
Any MIDI application on the LAN can communicate with any other without any new physical connections, eliminating separate MIDI cables and additional hardware interfaces and if you are running a wireless IP network (i.e. 802.11 a/b/g) you don’t need any cables at all! This is becoming more in demand, the ability to just establish a temporary local wireless network and hook in the PCs."
via sequencer.de
A Helitron and His Spectralis
Title link takes you to the MySpace page with tracks featuring nothing but the Radikal Technologies Spectralis. Audio quality on this one is superb.via this Matrixsynth Forum thread, where you will will discussion on the Spectralis along with a link by Moogulator to his Spectralis page with more info and samples.
Nova Aurora
YouTube via http://www.youtube.com/profile?user=gstraatman. Sent my way via Joe:
"It is the hit Aurora from the synth band Nova. It was a number 1 hit in the Netherlands in 1982. Rob Papen was a member of Nova: link. Same Rob Papen who helped developing Albino and Blue VST synths: link.
According to the dutch 'synthforum' this song was recorded with :
Korg Sigma (Lead en Bass)
Korg MS-10 en SQ-10 (sequences)
Korg MS-20 (Lead Panflutisch sound), effect sounds en other sounds
Diamond Strings (the strings at the beginning of the song)
Roland CR-78 for the drums"
Anyone know which one Rob is?
JanVanVolt's Synthesizer
Image of JanVanVolt's Digisound VCDO via the comments of this post. Title link takes you JanVanVolt's Synthesizer page with more.
KORG Polysix MIDI
Two options for KORG Polysix owners out there.Korg PolysixM (extensive and expensive) - $380 installed, $200 kit.
""Korg USA proudly announces the PS6-MRK MIDI Retrofit Kit for the Korg Poly-6 Synthesizer. Thanks to modern software/hardware technology, a great classic analog synthesizer, the Korg Poly-6, has now been upgraded with one of the most advanced and comprehensive MIDI Retrofits ever devised for a pre-MIDI synthesizer. With MIDI, your Poly-6 can now join the MIDI revolution, easily connecting with other MIDI synthesizers, expander modules, sequencers, drum machines, personal computers and more ... "
KORG Polysix MIDI (cheap and simple) - $70 installed
MIDI In only
KORG PolysixM pictured
Digisound 80-21
Click here for shots pulled via this auction.
Details:
"The Digisound 80-21 is a rare Voltage Controlled Digital Oscillator, and provides a very unusual sonic palette.
The Digisound 80 Modular Synthesizer was a (largely) kit-built synthesizer designed, primarily, by Charles Blakey who ran a small family-owned company called Digisound Ltd near Blackpool in northern England. Many of the early modules appeared as construction articles in two British electronics magazines - Electronics Today International (ETI) and Electronics & Music Maker (E&MM) in the early to mid 1980s.
The Project 80 series - a number of whose modules were based on the CEM (Curtis Electro Music Specialities) range of ICs - was not, however, his first collection of synthesizer modules. He had, previously, produced an early series (the Digisound 20000 series) based around the SSM (Solid State Microtechnology) range of ICs.
Here's a recent article from January 2000 about the Digisound modular written by Paul Nagle (a British composer of synth music and user of the Digisound synth) available in the internet archives of Sound-on-Sound magazine. To quote from Paul’s own web site "Great, smashing, super - this is an amazingly versatile, superb-sounding modular - full of character" - ‘nuff said!
All Digisound Synthesizer modules had a common package design, with modules interchangeable within the cabinet, common voltages, Input / Output impedances, etc. This made it quite simple to design a system, or change that system around if you desired a different configuration. The modules are compatible with the majority of the modular and performance synthesizers of the time, i.e. 1V/Octave exponential control voltage scaling, 0-10 Volt peak-to-peak control voltage ranges, and a regular gate trigger system.
I've been a big fan of Digisound Synthesizer modules since the late 70's, when I used to bug them and Aries Modular Systems for new catalogs! Over the years, I put together a large number of modules (along with Aries Modular, the USA equivalent).
This unit combines the flexibility of analogue voltage control with the clarity and realism of digitally generated waveforms. The design is fully compatible with existing synthesizer systems (1V/octave frequency control, 10V p-p output, linear and exponential modulation inputs) and offers the versatility of 32 different waveforms encoded as wavetables in the 2716 EPROM. A particular waveform can be selected with push button switches using a simple incremental system or a combination of a push button switch and suitable electronic pulses to the input. The useful audio range is 30Hz to 10kHz.
Much more great information can be found at Dave's Digisound Page."
E-Mu Ring Mod
No title link. Just the two shots and details pulled via this auction.Details:
"Up for bid, a 2430 Ring Modulator vintage analog synthesizer module by E-mu. PCBs are date coded 1974. Info on the E-mu modular can be found at emulatorarchive.com - also the following info is copied from the official E-mu literature from the 1970's:
The Eµ 2430 Ring Modulator is a balanced modulator for electronic music. It contains an Eµ 1430 ring modulator submodule. The module has two inputs, modulation and carrier, which are identical for high signal levels. The output is the algebraic product of the input voltages:
Vout = Vmod x Vcar ÷ 5
when the input attenuators are fully clockwise and the coupling switches are in the DC position. AC coupling will level-shift the corresponding input so it effectively centers around zero volts. This can have a striking effect on the output signal, due to the inherent non-linearity of balanced modulation. The Eµ 2430 was designed for high carrier rejection in the absence of a modulation signal, typically in excess of 80dB. The reverse rejection, that of modulation feedthrough with no carrier, is only 40dB.
Power Requirements: ±15 V @ 10 mA typical
Firm-wire Patch Connections:
Inputs - Modulation, Carrier
Outputs One (3 pins)
Power Bus Connected Inputs: None
Adjustments: Gain
Modulation Rej'n - Mod positive
Modulation Rej'n - Mod negative"
Update: Not directly synth related, but you might want to check out the seller's "KORG Univox EC-100 Stage Tape Echo Delay by Unicord" as well. That was a mouth full. linky
Alesis ION Filters and Oscillators
Alesis Ion - filters
Alesis Ion - oscillators shaping
YouTube via trevor001. Title link takes you to the rest of trevor001's videos.
Alesis Ion - oscillators shaping
YouTube via trevor001. Title link takes you to the rest of trevor001's videos.
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
