Title link takes you to shots pulled via this auction.
Friday, April 13, 2007
Yamaha SY-1
Title link takes you to shots via this auction.Details:
"1975 Yamaha SY-1 vintage synthesizer. All keys, knobs, sliders, and outputs function. This was yamaha's very first entry into the synthesizer world. The Very First! This keyboard came out before the popular CS series. This monophonic VCO synthesizer has 28 presets all of which can be edited, but not saved. NOTE: This synth is old and shows signs of use. This does not affect the playability or control in any way. Please take this into consideration when bidding on this item. Aside from that, this keyboard is in great shape and very rare.
Yamaha's first keyboard synthesizers, the SY-1 (pictured above) and SY-2 are monophonic single-VCO analog synthesizers with preset sounds and limited programmability. There are 28 great preset sounds which can be slightly edited using the 8 sliders to the right of the small 37-note keyboard. There's an analog low-pass / high pass resonant filter, analog VCA envelope and a slide effect. There is no sign of MIDI, CV or Gate control but the compact design and wood-case make this a fun synth to mess around with. Some crazy analog sounds can be formed. These are fun little synths with plenty of 'Vintage' status and fun live-performance-ability."
Thursday, April 12, 2007
genoQs OS V1.0 Released
"Dear all,more than a year ago we were proud to announce the general availability of what was to become quickly a quite desirable piece of gear.. says the continuous feedback we get about the Octopus.
Needless to say, we are not only proud, but deeply satisfied to see that what has started as a labour of love and passion has found greatest appreciation by users and users-to-become alike, many of whom we knew and respected highly long before they knew about us.
The feedback, ideas, thoughts and commitment that we have seen in return have helped build a machine that today we are ready, proud and thankful to present to you. We are ready to launch Octopus OS v1.00
This is a key moment in the life of Octopus, and one much anticipated, by many, and for many reasons. Once again, our sincerest thanks go to all who have contributed to the effort that went into creating Octopus what it is today - we leave the description out but would explicitly like to get your feedback on what you feel that
Octopus is to you!
Now - we are listing below an exerpt of our list of new things in OS v1.00..
All the other details are up on our web site.
Enjoy!!
Gabriel Seher + Marcel Achim
________________________
http://www.genoqs.net
In the following, we use the following mark convention:
(***) for new features,
(**) for evolved functionality, and
(*) for minor changes.
FREE TRACK CHAINING (***)
Tracks in a Page may be chained according to any
configuration desired by the user.
TRACK PROGRAM CHANGE (***)
Tracks now retain the MIDI program change information
as a track specific value.
EDIT TRACK DIRECTIONS (***)
Directions 6-16 are freely editable by the user, including
re-trigger and randomize options.
STEP GROOVE ATTRIBUTE (***)
A step may be delayed at playtime by a random amount
of time in multiples of 1/192 of a note.
GRID-TRACK MODE (***)
Up to 90 tracks are mapped to Matrix buttons and act as
virtual track selectors allowing for direct track operation.
STEP-NOTE RECORDING (***)
Notes may be recorded directly on pre-selected positions
in a page, irrespective of timeline and chase-light position.
PAGE SCALE CAD (***)
Changes to a scale may be set to affect the pitch values of
the tracks in the page. Whenever the scale is modified, the
track pitches are aligned to the new scale, modifying the
harmonic structure of a page in a musical way.
VAST MIDI-IN CONTROL (***)
Apart from recording MIDI data, MIDI IN ports can be
used to control various functions of the machine via MIDI IN
signals. This includes selecting grid sets and toggling grid pages
via program change messages, or even creating and modifying
scales on the Octopus - all at runtime of course.
VIRTUAL MIDI CHANNELS (***)
Provide an internal wiring of tracks to the Octopus MIDI in.
In this way, Octopus tracks may be used to leverage the
capabilities of MIDI IN control, right on the Octopus.
MAP FACTORS (***)
Each relevant attribute map now has a map factor, which indicates
the amount to which that map is applied to the current output.
EXPORT CONTENT TO SYSEX (***)
Memory content may now be exported as MIDI system exclusive
streams, providing a means to store machine state data outside of
the Octopus.
PITCH BEND HANDLING (**)
Now pitch bend data can be recorded and worked with, similarly
to any other MIDI controller data.
TRACK FLATTENING (**)
The FLT mutator has evolved to new semantics. It is now applied
to two or more tracks to create a "stacked" version of that track
selection into a single track.
NEW EFFECTOR STATE (**)
Tracks can now take on an additional state with regard to the
Effector. In addition to being unaffected, a sender, or a receiver,
tracks may now be receiving senders.
CC MAP LEARNING (**)
In addition to programming CC maps, you can now have them
learn by listening to MIDI IN input. Saves time and comes in handy.
FORCE TO SCALE INPUT (**)
Externally played notes can be passed through the Octopus and
forced to the scale of the current page.
TRACK SPEED MULTIPLIERS (**)
Octopus now features additional track speed multipliers.
These include: 1.5 (for direct creation of triplets), as well as the
following: 1/1.5, 1/8, 8, 1/16 and 16.
BANK CHANGE MESSAGES (*)
In addition to sending program change messages Octopus now
also sends bank change messages."
Wolfram Franke on The Blofeld and Legacy Support
Many on the Waldorf mailing list have been discussing what the new Blofeld and Stromberg synths will be as well as OS updates for the previous Waldorf synths. As for the Blofeld, the consensus was it was either and updated Micro Q or a new synth based on the Nano plug-in for the CME plus more. If you caught the Gearwire interview with Wolframe Franke (posted here), you might have caught a few details on the new synths. One, the Blofeld is basically an updated Micro Q, and two, the Stromberg will support both the architecture of the Q and the XT/Microwave in addition to the hardware plug-in capabilities with an analog filter in line. Check out the video for yourself. Wolfram popped by the Waldorf list today with the following on the Blofeld and addressed support for previous Waldorf products:
"Regarding the Blofeld: yes, the Blofeld basically has the architecture of the Micro Q. This can easily be seen when you look at the spec list on the Blofeld product page. It will certainly have some new features, among them more than 1000 sounds or the cascade filter types. We might add further features but I won't go into detail about them right now.
Colors: the Blofeld is almost white. We chose this color because it simply looks cool combined with the aluminum controls.
Updates for old products: we really understand the need for taking care of some issues that are bugging you, like the Aftertouch bug in the XTk. But please give us a chance to get a financial foundation first. We are, however, *talking* about the bugs. Only, finding a time slice to work on that is not possible right now. I hope you understand that. And please, no emotional discussions about that. We are aware of it and we try to find a way to take care of it."
John Bowen Podcast on SonicState
"Messe proved a feeding frenzy for synth lovers – at least those who’ve followed the career of John Bowen – and you’d need to have been around some to be there from the start!
Starting in the 1970’s as a fresh faced Moog clinician, John presented himself at the door of another legendary synth designer Dave Smith – you know Prophet 5, MIDI, that sort of thing – on a mission to blag some free gear to feed his own musical needs – and use in his work as the Moog clinician. From there a fruitful relationship ensued, with the outcome being many classic Sequential Circuits Inc synths, sequencers and drum machines, and the rest as they say, is history.
In a brief lull between Musik MESSE and pre flying back to the US to continue development of the new hardware synth the Solaris, we talked to John about the past, the present and the future."
Title link takes you to the podcast.
Starting in the 1970’s as a fresh faced Moog clinician, John presented himself at the door of another legendary synth designer Dave Smith – you know Prophet 5, MIDI, that sort of thing – on a mission to blag some free gear to feed his own musical needs – and use in his work as the Moog clinician. From there a fruitful relationship ensued, with the outcome being many classic Sequential Circuits Inc synths, sequencers and drum machines, and the rest as they say, is history.
In a brief lull between Musik MESSE and pre flying back to the US to continue development of the new hardware synth the Solaris, we talked to John about the past, the present and the future."
Title link takes you to the podcast.
SonicProjects OP-X
"The OB-X saw the light of earth in 1979 and was the first fully programmable polyphonic synth built by Tom Oberheim. It's the direct successor to the famous SEM based units. The secret of the OB-X is that it still has the old discrete 12db SEM-filters. All later units such as OB-Xa, OB8 and Matrix as well as many competing products made the use of the more sterile Curtis filterchips. This fact makes the OB-X one of the best sounding polyphonic synths of all time. Experts put the OB-X in the same league as the Memorymoog. We love this synth!! The secret of analog behaviour: OB-X Voiceboards Various methods have been used in the plugins world to copy analog behaviour. SonicProjects has made a new and different approach. By extensive exploring of the real device it became obvious that a big part of the organic feeling comes from the minor differences in sound between the voices. This has nothing to to with random behaviour but with device tolerances and slightly different trimpot settings. SonicProjects has implemented this behaviour into the virtual device. There are four global buttons which let you control the detunings of the oscillators, filters, envelopes and portamento times."
Title link takes you there. Via this VSE post where you will find a couple of samples by , chnarles, also mirrored here.
Previous OP-X posts
Pearl Syncussion SY-1
Click here for shots via this auction.
Details:
"Pearl Syncussion synthetic drum module. Renowned or notorious (depending on your point of view) for some of the classic 70's and 80's synth drum sounds. Should work with triggers using standard 1/4" plugs, or, as the original brochure says "microphones can be connected to either input", with a 1/4" connector of course. Mono output.
More information on this unit is available here and a download of the original product brochure is available here which gives an overview of the various functions."
KORG MS20
Title link takes you to shots via this auction.BTW if you are on the look out for an MS20 also check out this auction.
KORG MS50
Title link takes you to shots via this auction.
Details
"The Korg MS-50 - modular in design and at the height of the MS-series synthesizers. This keyboard-less expander type module is completely patchable and uses Korg's Hz/V type of CV and Gate for control with other synths like the MS-20. There are lots of knobs and patch points on this one... The MS-50 is still a single VCO monophonic analog beast but offered more patchability and power than any other MS synth. Other features include a ring modulator, voltmeter and sample & hold. It was also designed to complement the SQ-10 sequencer."
ARP Odyssey
Title link takes you to shots pulled via this auction.Details:
"Odyssey III (Models 2810-2823) produced from 1976-81 and featuring the new Model 4075 filter design. The rest of its specifications are virtually identical to the Odyssey II except that the overall look and quality are further updated to match the look of the latest ARP synths with the orange & black color-scheme."
MOOG Source Track
Title link takes you to the track, "A Beginning, But Not the Beginning" featuring the MOOG Source arpeggio. Via redchapterjubilee, via this Matrixsynth forum post.
Wednesday, April 11, 2007
Synergy DK
via this auction.Update via the comments regarding the details that follow: "It was a Crumar GDS that was used on Carlos' TRON soundtrack, not a Synergy. Also, I'm not aware of that Larry Fast ever used a Synergy. That was just his artist name."
Details:
"Here is your chance to own one of the rarest keyboards in existence (there are reportedly only about 100 working models left in the world!) as used by Wendy Carlos (Tron and "Beauty in the Beast") and Larry Fast. This particular model has the MIDI in/out/thru on it, and looking inside, seems to have been done by a skilled technician (or perhaps the factory). This means it is the II+ model. The sounds are very digital in nature, but have a nice warm tone to them. There are plenty of electric pianos and strings, as well as some neat digital drum sounds. The keyboards velocity sensitivity drastically change the sounds, and this is part of the nature of the Synergy's programming.
I also have 14 original sound cartridges with this, 4 of which seem to be blank. The cartridges include: VCART 1-3 "Voices", CARLOS WC-1 "ORCH-PLUS", CARLOS WC-2 "Bells and Whistles", CARLOS WC-3 "Missing Links", DEMO "Demonstration of internal voices" and TCART1 "Processor and Panel Tests" and TCART2 "Oscillator and D/A tests"... These are included in the auction.From the web: The Synergy is a Phase Modulation/Additive synthesizer and has lots of DX type FM sounds. The Phase Modulation algorithms are user defined with up to 16 oscillators available.
The envelopes have up to 16 stages/per osc, and are loopable. Program/sounds consists of 2 'boundaries' which are 2 separate timbres. The keyboardist can morph between these timbres via velocity and key number. The DK SYNERGY II synthesizer originally retailed for around Six Thousand 6$k (Thanks matrixsynth.com!)
Also from the web:
http://users.ece.gatech.edu/lanterma/synergy/
http://www.synthmuseum.com/synergy/index.html
http://www.synthony.com/vintage/dkigds.html
The rear of the Synergy has 1/4" unbalanced outputs 1 and 2, and balanced XLR outputs 1 and 2. There is also RS-232 output for interfacing to a Kaypro computer for programming. The knobs on the front offer user control of the sounds, but in order to really dive into this synthesizer, you need the Kaypro."
roland cr8k, cr-78 and mellotron m400
flickr by ostara voskhodMore synths in Second Life.
"the drum machines are working now. the cr-78, cr-8000 and 808 play loops when you click on them. im still working on the scripting to get them to select patterns and stop/start. anyone know how to do that?
oh yeah, loading in sounds for the mellotron and prophet v(seen in this pic) are next. "
Kawai K3m ROM Mod
Plutoniq9 (Ryan) sent the following to AH. I asked him if I could put up a post and he gave the thumbs up.
"Just a recording demo of a Kawai K3 with a TB-303 waveform (Replaced in ROM).....thanks to a list member for supplying the raw VCO square/sawtooth recordings. Not bad, considering they needed to be converted to 8-bit @ 22khz.
k3m_303_saw.mp3 (3.3M)
Prophecy is providing the arpeggio (via midi) to the K3m. I'm still not sure if I'm gonna bother with bandlimiting yet, maybe in the long run....... but the Prophet-VS I know gets part of it's character from it's aliasing & they only cause real problems in the highest octaves. It was a pain in the ass getting this far :)"
I asked Ryan if he had a web site or page up with more info and he said one would be coming on audiosyn.com.
"I'm actually still working on waveform selection, my plan is to create a ROM bank thats 50% classic analogue waveforms and 50% digital, mainly some good Prophet-VS samples + choir & strings on the digital side (basically, all the things that the K3 sucked at).
The ROM system is very cryptic :) Interleaved waveform data (containing different octaves) + a second ROM containing information necessary for anti-aliasing the waveforms (also interleaved). The service manual does not even brush upon this area, so it's been heaps of trial n' error getting it to work right. I've got some rudimentry code that allows me at this point to encode 512-byte raw waveforms (8-bit @ 22khz), but with no bandlimiting (at the moment).
Hopefully I'll have a ROM available shortly (freeware) for download, though I'm still holding out for some better analog waveform samples. Additive potion of the synth is not touched, and there will be a way to switch back to the original waveform set (or an additional bank of 31 waveforms)."
Thanks Ryan!
"Just a recording demo of a Kawai K3 with a TB-303 waveform (Replaced in ROM).....thanks to a list member for supplying the raw VCO square/sawtooth recordings. Not bad, considering they needed to be converted to 8-bit @ 22khz.
k3m_303_saw.mp3 (3.3M)
Prophecy is providing the arpeggio (via midi) to the K3m. I'm still not sure if I'm gonna bother with bandlimiting yet, maybe in the long run....... but the Prophet-VS I know gets part of it's character from it's aliasing & they only cause real problems in the highest octaves. It was a pain in the ass getting this far :)"
I asked Ryan if he had a web site or page up with more info and he said one would be coming on audiosyn.com.
"I'm actually still working on waveform selection, my plan is to create a ROM bank thats 50% classic analogue waveforms and 50% digital, mainly some good Prophet-VS samples + choir & strings on the digital side (basically, all the things that the K3 sucked at).
The ROM system is very cryptic :) Interleaved waveform data (containing different octaves) + a second ROM containing information necessary for anti-aliasing the waveforms (also interleaved). The service manual does not even brush upon this area, so it's been heaps of trial n' error getting it to work right. I've got some rudimentry code that allows me at this point to encode 512-byte raw waveforms (8-bit @ 22khz), but with no bandlimiting (at the moment).
Hopefully I'll have a ROM available shortly (freeware) for download, though I'm still holding out for some better analog waveform samples. Additive potion of the synth is not touched, and there will be a way to switch back to the original waveform set (or an additional bank of 31 waveforms)."
Thanks Ryan!
Ciat Lonbarde Rollz 5 Drum Machine by Photon
Via Photon via electro-music.com:"Here's a couple of photos of my implementation of the Ciat-Lonbarde Rollz-5 drum machine. The geometric jack arrangements are pulse generators. The banks of knobs are filters: the left produce drum like sounds, the ones on the right tones. The upper four filters heterodyne and make weird shortwave radio-like sounds. You connect the pulse generators to make patterns then patch thru a filter to output."
Latronic Notron
Title link takes you to shots via this auction. Details:
"In the words of Paul Nagle from his Sound On Sound (June 1997) review: "Is it a hi-tech bathroom scale? Is it a 21st-century computer game? Is it Darth Vader's toilet seat? No, it's an innovative LED-laden MIDI step sequencer, with the power to wring new life from your old synths".
via Johan.
Yamaha DX1
Click here for shots via this auction. Note the DX1 had poly-aftertouch.
Details:
"This is quite rare and hard to find, since they only made about 140 of this model.
The Yamaha DX1 Digital FM Synthesizer was a direct decendent of the original DX series prototype, the CSDX [also check out the FX-1] that I saw at a NAMM (National Association of Music Merchants) Convention in Anaheim, CA around 1983-84 in the Yamaha booth. Clark Spangler renowned composer and product specialist was demonstrating the instrument and had the room capitvated with the sounds of this prototype keyboard with a real Yamaha wooden keyboard action. He said to the crowd intently listening "this keyboard has to be felt to be believed". Of course, no one was allowed to touch it but him! Everyone was drooling. This thing was huge with beautiful Brazilian Rosewood sides, front and a front panel display that looked like the cockpit of a 747.Everything about the DX1 is top shelf. It weighs 112.2 pounds (at least that's the weight listed in the owner's manual, it's very heavy), it has full length wooden keys and twice the polyphony of the Yamaha DX7 - the DX1 is 32 note polyphonic when in SINGLE MODE and features a DUAL MODE that layers the two 16 voice tone generators or a SPLIT MODE that puts a complete 16 voice polyphonic synthesizer on each half of the keyboard. This makes the DX1 one of only two of the DX series instruments to offer a full 32 notes of polyphony when using the sustain pedal and arpeggiating a large number of keys.
Many people think that the DX1 is merely two DX7's in a big wood case or a DX5 with 73 wood keys. NOT SO. The DX1 sounds better than ANY of the DX and TX series synthesizers, I've owned them all and played them side by side, there's no comparison. I always thought that the DX1 was the most "analog sounding" and warmest of the DX series. I realized that it wasn't just my opinion or my ears, I found out that Yamaha did make the DX1 using hand-picked components for it's top of the line instrument, so IT IS DIFFERENT than ALL the other DX series synths. It's cleaner and quieter than all the others, including the DX5 that was introduced as a lighter version of this magnificent beast. All DX7 cartridges can be used with this DX1. The classic DX FM pianos have a depth unlike any DX7. Brass and string sounds are much fuller and richer sounding since the two tone generators can be detuned and this detuning is one of many programmable parameters that a single DX7 can't duplicate.
Besides the sound (as if that's not enough alone) what makes the DX1 really special is it's control surface. The tiny LCD display that made the DX7 so hard to understand and program or edit, the DX1 finally makes programming FM synthesis easy to understand and FUN! The plethora of controls and LED displays this instrument has is incredible. Like it's little brother the DX7, the DX1 has the graphic representations of the 32 algorithms, unlike the DX7, they're larger, easier to see and more beautifully displayed over a blue lined background on the lexan/plexi front panel. Next to this are 13 LED windows that not only show the algorithm selected, but the position and relationships of the operators. There are small LED bars that link these windows together so that the algorithm is represented fully illuminated. Next to this display is another pair of LED windows that display the algorithm number and the mount of feedback (if there is any) for the designated oscillator. More than just a "pretty face" this section really lets you see all the information represented by the selected algorithm. The display also includes LED windows that show the frequency ratio, or if selected the fixed frequency, and the detune amount of the currently selected operator.
If you've ever tried to change the attack or decay times of the envelope generators on a DX7, you know how cryptic and tedious it can be stepping thru all the different individual envelope "pages" in that tiny display. The DX1 makes changing the envelopes a snap since it has eight numeric LEDs, showing the setting of each envelope parameter (00 to 99) and four 16 segment LEDs that display graphically the amplitude rates and levels. This display can be toggled to also show the pitch change rates and levels for the pitch envelope.
Other LED displays include the Keyboard Scaling panel, which again shows you all at once, the break point, depths and selected curves for the currently selected operator. The last LED windows on the right side of the panel show the velocity sensitivity, amplitude modulation, and output level for the selected operator. All of these displays are controlled with actual physical buttons unlike the DX7 that has all membrane switches. Many of the switches also have LEDs in them to indicate which button is selected as well, another great feature that "de-mystifies" the programming and editing of sounds. You can easily see which button is "ON or OFF". As you can see in the attached pics, the DX1 even has 6 dedicated switches for the operator selection and 6 buttons to turn the operator on/off making it very easy to hear how each adds to the resulting sound.
There are individual buttons for algorithm and feedback selection, operator mode and tuning that work with the previously mentioned LED display windows, as well as 8 individual buttons for all the rates and levels on the envelope generators, a toggle between the EG display and Pitch EG, 5 buttons for the Keyboard output level and rate scaling, Amplitude Modulation, Key Velocity, Operator Output level....just look at the pics.
The 32 voices are divided into two sections labelled "A" and "B". There are 32 patches for the "A" tone generator and 32 patches for the "B" tone generator. Each section has four banks of eight patches for a total of 64 programs in all. There are also two standard DX series ROM/RAM cartridge slots; one each for the "A" and "B" banks giving you a total of 128 programs available at once! There's also a nice large 40-character, two line, LCD dipslay, (again nothing like the tiny LCD on the DX7) which display the programs selected in Single, Dual or Split mode as well as LFO and other voice specific parameters when editing the programs. This LCD also shows you what you are editing in FUNCTION mode. There's a nice silkscreen right on the front panel to help you remember all of these additional functions such as Tuning, Performance Memory Parameters (how you combine the different programs in Dual and Split modes, detuning of the two tone generators, etc, etc, etc,.....), MIDI controls, and the parmeters that control the poly aftertouch that is unique to the DX1.This keyboard not only has the standard mono aftertouch like the DX7 and most other syntheiszers for LFO and other modulation, but it also has poly aftertouch that can affect all the operators individually. The DX1 is the only DX synth with this feature. You can actually program the poly aftertouch to allow you to change the timbre and volume of an individual note within a chord!
The front panel also includes the master volume control, the A/B balance of the two tone generators, a dedicated portamento time slider (try changing that on the fly on a DX7), and the data entry controls which include both a continuous controller/slider and up/down buttons. There are the standard Pitch and Modulation wheels.... even these "feel" better than those on any other DX or KX keyboard (I've got both of them). The Mod wheel has a smooth, weighted feel to it and the spring loaded action on the pitch wheel is nicer than most.
The rear panel has 13 inputs and outputs. These include AC input, MIDI In/Out/Thru, continuous controller inputs for volume and modulation amount, footswitch inputs for sustain and portamento on/off. There are 6 audio outputs, three 1/4 inch outputs for a mono mix of both the "A" tone generator and "B" tone generator as well as individual outputs of both for stereo. These are also three XLR balanced outputs for mono mix, and the "A" tone generator and "B" tone generator . This Yamaha DX1 Digital FM Synthesizer has been in my smoke free studio since 1985. I'm the second owner. This is a Japanese 100 volt model that I have been using with a transformer that converts 110/120 volts to 100 volts. The transformer is included in the auction as well as the original Owners Manual, DX1 Performance Notes, a Control Pedal (for volume or modulation) and a sustain footswitch pedal (you can still buy new an additional Yamaha FC-7 foot control pedal as well as an additional Yamaha sustain type footswitch if you want total control of volume, modulation, sustain and portamento at the same time.
I'm also including the two impossible to find original Yamaha DX1 Data ROM Cartridges with the original factory programs made especially for the the DX1. I also have a road case for this DX1. (not an anvil case but one made by Bobadilla cases). The foam in the case has deteriorated and would need to be refoamed. One of the latches is missing it's folding handle so it has to be turned with pliers. This is not the red DX case on wheels that was seen in the Yamaha DX1 brochures. No stand is included. This instrument weighs 112.2 lbs."
via Johan.
Access Virus Bing Bada Bling
Remember the Goldfilter? Well, here's a couple shots of it in the flesh. The Goldfilter is a one-off, Limited Edition Access Virus TI. Title link takes you to a site the winner set up with more shots and info. The owner will be auctioning it off starting May 31st. This will be a fun one to watch. I'll put up a post if I see it in my Ebay feed, but if I miss it, feel free to shoot me an email. Via one of the anonymous in the comments of this post.
ARP Pro Soloist Interfacing
The ARP Pro Soloist keyboard has a 6 bit output; 4 bits chose one of 12 pitches, and the remaining 2 bits control the octave. The voice selector card for both the Pro Soloist and the Pro-DGX output a 5 bit code that selects one of the 31 presets, or "Off". Finally, there is an op-amp that buffers a voltage proportional to the output of the aftertouch sensor, and subbing a CV for this output will work even if the resistive strip is dried out and dead. Thus, your MIDI to CV converter should generate a 6 bit code for note-on/off, a 5 bit code for program change, and a CV for aftertouch, and the only thing on the ARP you'll have to touch to play it are the aftertouch destination routings, the vibrato/repeat rate knob, and the portamento on/off switch.
David Hillel Wilson
Curator
New England Synthesizer Museum."
David Hillel Wilson
Curator
New England Synthesizer Museum."
Sequential Circuits Pro One
Title link takes you to shots via this auction. This one is good enough for your mama.Details:
"This is the original Sequential Circuits Pro-One. You could compare it to the Minimoog or the Arp odyssey but why? The three are the trinity of analog mono-synths. They often sit along side one another, but never do they replace each other.... The most common problem with the Pro-One is the goofy, clunky keyboard. The keys go out of alignment and become uneven. This one is no exception. This IS a snaggle toothed Pro-One. There are also two stickers on the back. One is "Tony Banks" and the other is "Le Car". They are really cool stickers and show that you are musically diverse. Photo Sharing and Video Hosting at PhotobucketI draw close attention to these flaws so they do not surprise you, but when you look at it you really see a beautiful, classic, good-looking synth that you would be proud to show off to your mom."
Tuesday, April 10, 2007
Roland MC-4b, MTR-100, and OP8
Title link takes you to more shots via this auction.Details:
"This is a Roland MC-4b MicroComposer Digital CV/GATE Sequencer for sequencing analog synths with CV/GATE inputs. It comes complete with the extremely rare optional MTR-100 Digital Cassette Recorder and the somewhat rare optional OP-8 DCB converter for controlling a Juno-60 or Jupiter-8 via DCB interface. It also includes the original manual, 20 Maxell M-90 Data Cassettes (recommended by Roland in the manual), and an original DCB cable for interfacing with a Jupiter-8 or Juno-60. It took me over 12 years to complete this set, now you can save yourself the time and effort by buying them altogether. This sequencer is the tightest sequencer on the planet, and can sequence CV/GATE synths with ease. It was used by many artists to create some of the best music ever heard. Former users include Vince Clarke, Rational Youth, Human League & Martin Rushent (Dare!), Richard D. James (Analord), John Foxx, Wang Chung, Tears For Fears (The Hurting), Toto, Devo, YMO, and many more. A keyboard with CV/GATE output can be hooked up to enter notes via keyboard, or you can enter notes using the calculator keypad. This MC-4 is the more difficult to find expanded model with the "B" designation that allows you to save patches to the supplied MTR-100 Data Cassette Recorder at twice the speed as normal, and also contains double the memory capacity. This is my last MC-4b, and it will be sorely missed. You can listen to a song I composed entirely with this setup and an additional MC-4 here: http://isatellite.info/lifeintokyo.html. For more information, you can visit my detailed review at: link."
Ken Stone's Programmer/Sequencer
Bookmarking this one for "one of these days." Title link takes you to more info. Be sure to check out the rest of Catgirl Synth. "The Programmer/Sequencer is a Serge inpired multi-stage sequencer. Unlike most sequencers, this one makes no use of binary counters. Rather, it uses a set of individual stages, each one directly accessible. As such it could be considered to allow "random access". The first sequencer produced by Serge was a 4017 based counter that put out gate pulses. In order to get a control voltage sequencer, the gate outputs were fed to the input stages of a multi-state programmer. Usually built in groups of four, but sometimes coupled through a switch, these programmers would only allow a single stage to be active at any time, outputting the corresponding control voltages to their bussed output jacks. The stages could be selected either via a gate/trigger input or a panel mounted push button."
Oscar and His 505
Image sent my way via Mark of The Backlit Lounge. BTW, in case you are interested, the "Backlit Lounge is a monthly event in San Francisco. It is open to any Electronic Musician that would like to perform. All you have to do is visit Backlit Lounge and sign up for one of the 45 minute monthly slots."
Roland System 700
Vintage Synth Scans
Glassware-electronics Atari Punk Console
Roland SRE-555
Title link takes you to shots pulled via this auction.Details
"This is the Roland SRE-555 Chorus Echo, the best sounding and most reliable tape echo ever made. It is also the quietest and most fully featured Roland tape echo, with redesigned circuitry for the pro studio environment. It's in pristine condition with only slight scratches from racking. You can hear a Jupiter-4 played only through this tape echo on the intro to this track on my Web site"
New Sega Sequencer
"A sega megadrive/genesis sequencer that controls the joystick and the bends.. It syncs to the gameboy. so the characters in the game move to the music that is comming out of the gameboy.. the game that has been used in the video on my site has also been rom hacked. sonic and tales have gotten a complete work-over the layout is different and you can see the flowers have turned into gameboys.."Title link takes you there.
KORG MS02
Title link takes you to a couple more shots pulled via this auction. Not the best, but you don't see these often.
Details:
"Here we have a Korg MS-02 Interface in PERFECT WORKING ORDER. Sorry for the out of focus photos. Cosmetically in GREAT shape, a 9 out of 10. No particular blemish stands out as worth mentioning, just some occassional surface scratches and smudge marks, but again, in great cosmetic shape, especially for a 30 year old item. I have the original manual and will send that as well.
From the manual:
"For complete connection compatibility between synthesizers.
The MS-02 is ideal if you want to upgrade your synthesizer by adding on other synthesizer units having different kinds of keyboard control voltage and trigger signals. The built-in, fully adjustable log amp, anti-log amp, and trigger processor ensure complete system flexibility and compatibility between any presently voltage controlled synthesizer."
Meaning, you can use this unit to connect any major analog synth with CV in/outs to any other synth with CV ins/outs. Hugely useful for connecting your Moog to your MS 20, or your ARP to your MS 10, or whatever you desire. Crazy Analog synth sounds possible!
Furthermore, it has juntion points on the bottom, which is hugely useful for modular patching. For instance, on the korg ms 20, it only allows you to patch one parameter to only one other paramater, but with the junctions, you simply connect your parameter in, and have the possibility to patch it to two, or even THREE different other patch points. This doubles or even TRIPLES your possibilities!!! So useful!
Here are the specs:
1. LOG AMPLIFIER Tuning
Width
Hz/V input (0~15V)
Oct/V Output (-12V~+12V)
2. ANTILOG AMPLIFIER Tuning
Width
Oct/V input (-4V~+4V)
Hz/V output (-12V~+12V)
3. ADDING AMPLIFIER Channel 1 level control
Channel 2 level control
Input Channel 1
Input Channel 2
Output
4. TRIGGER PROCESSORS x 2 Trigger indicator
Reverse switch
Input (Vth=+2.5V)
Output (0V~+15V)
5. OTHERS Power switch
Pilot lamp
6. JUNCTIONS 4 x 2
3 x 1
7. DIMENSIONS 283 (W) X 110 (H) X 195 (D) mm
8. WEIGHT 2.2kg
9. POWER CONSUMPTION Voltage (local voltage, 50/60Hz), wattage (5W)"
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MATRIXSYNTH - EVERYTHING SYNTH
© 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
