Note: Auction links are affiliate links for which the site may be compensated.
Moog muSonics Sonic V Demo video upload by MOS-LAB
"The sonic V is a synth developed around 1969/1970 by ex Moog employee Gene Zumcheck (the idea of a portable synthesizer had been refused at the time by Robert Moog).
This synthesizer was built by the company muSonics when Gene Zumchek join them, and was released "officially" when the company bought R.A Moog in 1971 under the Moog muSonics badge.
There were less than a hundred units built (mine has serial number 18).
Unfortunately, very few models are still in existence today, making it a very rare instrument. Not having been exported at the time, it was mainly
intended for universities in USA.
Its successor, the Sonic 6 is an improved and portable
version, but with a different filter (Moog ladder filter)
So it doesn't sound quite the same."
Spotted the above video in the listing below. I'm not finding it previously posted so up it goes. You can find additional demos in previous posts.
"Showing how you can get some nice plucky sounds out of the cre8audio East Beast. The unit crashes on me later in the video and I'm unsure what caused/causes this bug (possibly something to do with changing the clock source while the sequencer is running). I will probably link this video to cre8audio as this isn't the first time this kind of settings lock up has happened to me."
"Showing how you can get a different flavor of modulation on the cre8audio East Beast by filtering the pitch CV and modulating the filter with an LFO. I also show at the end of the video how to lock up the mode settings on the East Beast with the external clock in."
"A friend of mine was very generous and loaned me his Black Corporation ISE-NIN so that I could compare it with my Roland System 8.
My main thoughts: they’re almost identical. The small differences felt extremely nitpicky. The ARP on the ISE-NIN is much nicer, with a longer gate time, and it just sounded richer? Hard to describe, but you can hear it in the video.
Honestly, this is a horrific comparison video, I freely admit it, but I felt pressed for time and didn’t want to spend too much time on it. So if you’re wondering why this is so crude, well, just don’t let perfect get in the way of awful, that’s all I have to say.
I talk towards the end about what my thoughts are - but really, the video was made just so you could hear the differences, not because I think you should buy either one.
Truth be told, I think the Prophet 5/10 is a better synth than the Jupiter 8 (or System 8, ISE-NIN). Different flavors perhaps. I think it’s reasonable to say that the System 8 and ISE-NIN are great alternatives to the Jupiter 8. If I could grab a Jupiter 8 for under $10K, I probably would, but I also think, based on the sounds out of these synths, I actually don’t think I would necessarily love it.
I’m impressed with the System 8, being completely digital, and seemingly able to compete with more accurate representations of the Jupiter 8. I also worry part of the differences could have been chalked up to my lack of skill, so you must take what I’m saying with a grain of salt.
"Welcome to a unique exploration of improvisation in electronic music. This video is not just a performance; it's a journey into live electronic improvisation, designed for music tech enthusiasts of all levels and tools. Through is improv session, I share my personal voyage and the concepts that have shaped my approach to improvisation. I know I have a lot to learn and I'm still on the journey but they've helped me get better and I'm sure they'll help you too.
Discover how to elevate your live performances by embracing spontaneity, understanding the flow of electronic sounds, and connecting with your instruments. This video has insights into the philosophy and techniques, as well as a chance to enjoy the music and hopefully enhance your own improv skills.
Think differently about your practice and push the boundaries of what's possible with electronic music. So plug in, tune out the world, and let's embark on a musical adventure that aims to transform your approach to electronic improvisation.
Key Takeaways:
*Understand the importance of spontaneity in live electronic music.
*Explore strategies for deepening your connection with electronic instruments.
*Learn how to embrace and navigate the unpredictable nature of improvisation.
*Gain insights into creating a more engaging and dynamic live performance.
For:
Music tech enthusiasts, electronic musicians, improvisers, and anyone interested in the art of live electronic performance."
"Today, I traded something small (Polyend Tracker) for something big (Ensoniq EPS). I kind of don't know what I was thinking. I knew I was overwhelmed with gear. But I've been debating buying an Ensoniq Mirage again and wondered if this (EPS) would suffice. I'm kind of thinking... yeah, maybe. It's doing everything I felt I did with the Mirage, only in an easier way. It's a higher bitrate, but it's still pretty chunky. I'm liking it. This is after digging around on it for one night, so I don't know if what I did sounds any good. I guess I like it, so that's good enough for me. I have no disks to save the sounds on, so I think this will have to say goodbye and be gone forever.
Still - I'm pretty impressed. The Ensoniq EPS gets dumped on. Not as much character as the Mirage, not as good as the EPS16 plus, and definitely not as good as the ASR10. To me, it seems like it's actually the worst one of the bunch. In no way did I find anyone recommending the EPS over the others mentioned above.
Well, I like it. It was pretty easy to make this and I think it's got some character, in a very similar way as the Mirage. One thing that didn't make sense was that it appears to be stereo based on the outputs, but I'm not sure it actually is.
"Introducing the new OUTPUT BUS module from me (DivKid) and Befaco. It's an 8HP summing mixer, output stage, soft clip limiter, line level integrator, LED meter visualiser, headphone monitor and more ... it has many features that aimed to solve typical mix and output problems you'll find yourself working with in a Eurorack modular system."
"Weirdly Ben has made almost exactly the module I need right now, as I'm building a modular mixer in my latest live system, and I need to sum and 'vibe up' the Roland TR-8. My pal Ben @DivKid sent me one for free - so here's me starting to use it! (Video update on this case coming soon!) 🙌 "
"The Output Bus is your ultimate output module: Presented by DivKid and Befaco, meant to be the last link in your modular chain!
Inspired by pro audio and studio summing units the Output Bus allows for summing style mixing, external gear integration, soft clip limiting, flexible output types, headphone monitoring and level visualization.
The module works great mixing all your other mixers in your setup, to return mono or stereo FX into the master bus and for bringing in external stereo line level gear with ease. All of this in just 8HP while also being able to visualize your final levels, output appropriate signals on the right cable type and monitor in headphones.
"Dire Straits 'Brothers In Arms' from 1985 had a lot of synths in it. Digital synths like the Yamaha DX7 and Synclavier were utilized a lot on that album.
I'm using both the DX7s and the TX802 in this video. The first string patch uses the low strings from the TX802 while the high "tremolo" strings are coming from the DX7s. Throughout the video the patches are evenly divided between these two synths. Except for the first 'Brothers in arms' string sound, no sound is layered.
Chorus and reverb are used on some of the patches.
With careful programming the DX7 can sound very lush and slick, even for string- and pad sounds. The last two patches, where I play freestyle (not Dire Straits chords)are such examples.
Both these two patches are edited from the first string patch I show in this video.
All the patches in this video were made by a guy known as Hedge777 or ElectronicSupersonic [video below]
I will not send his sysex patches to anyone so don't bother asking me. Ask him yourself.
Find my music here:
Bandcamp: https://espenkraft.bandcamp.com/
00:00 Brothers In Arms Strings
02:19 Brothers In Arms - the album
04:01 Different sounds"
"It's always fun to perform with my good friend Cameron Graves aka "The Planetary Prince". I was introduced to Cameron and his brother Taylor Graves in 2008 by Jada Pinkett Smith when we co-scored her film, The Human Contract. We've remained friends and musical brothers ever since. We hope you enjoy this music that we created right before the cameras started rolling . We intend to make more of these synth jam videos in the near future. We're playing the solos on an extremely rare ARP 2600 "Blue Marvin" which was a prototype for the Tonus ARP 2600 that actually went into production. The rest of the synths include a later model gray faced ARP 2600, an orange faced ARP 2600, the Korg ARP 2600 M, Moog Minimoog, Korg MS-20 and ARP Omni String Synthesizer. The drums are performed by my engineer Ben Rachlis on a vintage LinnDrum the he is processing through The OTO Biscut, Bim, Bam and Boom. Please remember to like and subscribe to these videos. It would mean a lot to me and my dedicated and enthusiastic crew. Thank you to all for your support and inspiring comments!
00:00 Intro 00:53 Blue Marvin Jam 01:17 Melody 02:01 Blue Marvin Solos 03:18 Breakdown 03:35 Melody 04:21 Special Thanks 04:26 Logo (music)"
"A live synthesizer jam performed entirely on the Ableton Push 3 Standalone, recorded to a stereo audio out.
I'm hoping to play some more live shows this year, and that means I want to create another live set. I thought that if I were creating a new live set, I might as well create a bunch of new songs at the same time. And if I were creating new songs, I might as well try a completely different style/genre of music.
So here's my first attempt. The Push 3 Standalone is still the best choice for me, in terms of making a live set. It has its limitations and foibles for performance, but in terms of sheer number of tracks and effects, in terms of sequencing length and arrangement, and in terms of reducing the mental juggling necessary during a set, the Push 3 works well for me.
Many of the tracks were bounced down to audio, to increase the number of elements in the song. I may also eventually add a stereo effects loop with the Zen Delay, but that's for a future video. For now, I'm happy with this template, and looking forward to creating more like it.
Thanks for listening.
Ableton Push 3 Standalone - all sounds and effects and such Many in-the-box sounds used as well, notably Tympo from Teletone Audio, which was used for the drum sounds
Recorded and performed live to a stereo channel, with EQ, compression, and limiting on the master.
"first testrun with my newly acquired Roland SE-02. Sequenced by Hapax - no additional Effects.
I'm quite surprised and thrilled by the raw soundpower this little synthi delivers"
Roland SE-02 Testdrive II - with Beats
video upload by
"and the second Testdrive with my new Roland SE-02 - this time i added some Beats with the Yocto 8080 run thru the EHX Tubezipper
________________________________________
to listen more music by me please visit https://verstaerker.bandcamp.com https://verstaerkerahead.bandcamp.com"
"The Synth Tray 2 saga continues. It's now grown a little to include a battery bank to power the NTS-1 that you can see tucked under the cables behind the SmlpTrek. This has 2 outputs so it's also able to power my handmade midi thru box now I've made a cable for it, you can see it at the top right. I've also added a Little Bear MC5 mixer which is sat behind the ELZ_1 play. This is really just a temporary fix because I plan to replace it with a Bastl Bestie when I can justify dropping £200 on one.
So a bit about how this is all setup. The SmplTrek is controlling all the midi in this setup with multiple midi tracks set to different channels. The midi out goes to the midi thru splitter box which then connects into the Liven MEGA and Korg Volca Keys. The SmplTrek is also playing the deep pad from the beginning which was sampled out of the ELZ_1 play into it, and the drum loop. When I'm using this in a sofa session I mix the external gear on the Little Bear MC5 and monitor all the audio through the SmplTrek and usually add a little of my send effect to the output, but this time when I recorded it for this video I connected all the separate instrument outputs to my audio interface instead to give me a greater level of control over the final mix.
The Korg Volca connects through the NTS1 in this jam and I'm using the Hammond Eggs Music - Haze reverb. It contains a high pass filter so it's great for making top end pad/string type sounds. I checked this list of available plugins for the NTS1 recently and found loads of new stuff I didn't know about. Mine is absolutely full now :)
I'm using the ELZ_1 play to play the Liven MEGA here and using the LFO set to a speed of zero as a upward pitch bend. The current firmware of the ELZ_1 play has no 'local control off' function which makes it hard to use as a controller and sound module while composing in a setup like this as playing external midi channels also triggers the internal sound engine. I've suggested adding 'local control off' as an option, so fingers crossed for that one.
The MiniDisc player isn't really part of the setup I've been using, but it was nice to see it fit neatly with everything else :) I was planning to record the output down a global track on the SmplTrek, but they're mono so the ambience lost something when I did that, so I resorted to just playing it live and looping the track. The ambient recording is of my home town of Boston, Lincolnshire, UK.
The NTS1 is being used as an insert effect here (the Volca Keys is passing straight through) but once I buy a Bastl Bestie there is a way to use that in a send/return configuration which will be very useful from such a smaller mixer."
"Join me at the Alan R. Pearlman Foundation booth as I take questions, help people program an ARP 2600 synthesizer, give tips, recommend practice techniques and patch / perform a few sounds. We also raffled off a ARP 2600 (signed by me) that was generously donated by Korg USA. It was a fun day at the ARP booth spreading the joy of programming and performing on vintage analog synthesizers.
00:00 Opening (music) 00:17 Anthony's Intro 01:37 ARP 2600 M Giveaway 03:22 Shane works on a lead sound 08:33 Anthony plays the lead sound 11:07 Anthony talks about overcoming hardware issues 11:38 Han works on a ring modulator sound 13:59 Anthony talks about saving sounds 15:08 ARP 2600 Patch Book with 100 Patches 16:22 4 Ways to Break down a sound 18:51 Review Han's ring modulator sound 20:41 Review the 4 Ways to Break down a sound 23:10 Favorite Patch 23:31 Anthony Patches a Theremin 29:21 Tim Pates a Theremin / String 31:47 Camillo makes a high tone pluck sound 34:44 Anthony recommends making simple sounds with efx 35:18 Making sounds that fit the song 37:04 Surprising Sounds 38:43 Recording Effects 41:07 Synthesizer Cookbook Series 41:23 Anthony talks about emulating acoustic instruments 43:21 Closing 43:37 Sign up to win an ARP 2600 M / Support ARP 44:11 Logo (music)"
"Credit to Scott @scottmcauleysounds for his patch creation brilliance on the Summit and the Sub 37. I'm playing his SM Pryda patch (ARPed) on the Sub37 and the Sm Rotary Organ on the Summit.
It makes me happy to have you all come to have a listen to these amazing synths. Enjoy!"
"When I was a kid my family got a Sega Genesis (Megadrive) at Christmas.
I’ve been cursed by a love for FM synths since…
I’m so dang nostalgic for the sounds and music of that era that when this little groovebox was announced I ordered right away!
Liven Mega Synthesis… M-Sega S-Genesis… ?
I got the flu right when it arrived so I hadn’t spent as much time with it as I planned. I got better!
It’s battery powered so I take it with me sometimes to play on work lunch breaks, or chilling on the sofa with family.
Here are a handful of patterns I’ve been playing on it. You may recognize couple from games!
Not only do I love the gritty crunchy sounds of this thing, I like how the sequencer works; especially its stutter and random modes. They’re great for fills on drums and grooves on bass.
"Why just make a quick guide on replacing the Midicake Arp's front panel when I can have an extended gripe about too-colorful gear? So here it is, all talk and no music about the joys of black front panels. For reasons unknown a jumble of gear colors disturbs me. Perhaps there's some deep explanation centring on light patterns, color contrast and their interaction with brainwave states? After all, why are some color groupings universally regarded as "beautiful" or "harmonious" - such as a sunset - and other combinations like brown and orange, or magenta and red, judged terrible? Either that or I'm just getting more grumpy and demanding. In the meantime, if anyone knows of a black overlay sticker for the Big Sky, I'm in.
0:00 Approved colors
1:18 Midicake Arp
2:35 Strymon neon
3:24 Arp front panel
3:50 Replacing the case
5:35 Knob time
6:55 Ta da!
"I had no interest in recording anything tonight, but I feel like any time I sit down with the DSI Prophet 08, I enjoy it, so I recorded this. Sorry about the crackling. I don't know what it is about the P08, but it seems to distort more easily than other synths. Maybe I just have the levels all wrong.
I had been comparing the P08 to the P10, side by side, and I still have to say to myself 'WTF - I like the P08 more.' In almost every sound I create, the P08 feels more melodic. I don't get it. There's something almost 'boring' in the P10. Or maybe it can just go too wild at the 'same settings'? I don't know what it is, I am sure the P08 is more tame so in a way it more easily makes things sound pleasant. I can usually get them super close (which speaks highly to the P08 I think).
Also - I call it the 'better one' because I absolutely hated the REV2, after owning it once and borrowing it from a friend to compare to the P08. I concluded that the P08 was better then. And it's still one of the best synths I have. I like it more than the P10, PE, P12 (easily), Jupiter 6... Not sure about the Chroma Polaris, which itself is wild, but in a more "Bladerunner" sort of way.
On a personal note - I'm one week into being bald. It's weird. Most people don't say a word and I wonder 'Does that mean they think it looks terrible or does nobody care?' One person did stop me to say they thought I looked good, but I felt like maybe they said that just to be kind, knowing I must feel pretty bad otherwise. Truthfully, it's hard to get used to. I think 'great, I'm just another bald dude...' and think a bit less of myself, but part of me loves the idea of not having to think about my hair after I have a hat on or bike somewhere.
And finally, today I got my final gift from my mom. It was new indoor slippers. She bought me a pair about 10 years ago and I wore them beyond the point that they had holes in the soles. I asked her for a new pair for christmas, but she didn't make it to then, and so I bought myself a pair. I'm wearing them now. It will be sad to throw the old pair out, but I should lay them to rest. They've served me well.
"Join me and my good buddy Doctor Mix as we explore one of the most talked about synthesizers at NAMM 2024. It won't be difficult to discover how much fun we're having checking it out for the first time. I can see that there is still a lot to unpack about this synth and I'm looking forward to doing just that. Please stay on the lookout and tune in to AMM for a much more in-depth look at this super fun and great sounding instrument. It's part of a special family of synthesizers that were all designed with much love.
PWM Mantis is a collaboration between the late Chris Huggett (EDP Gnat, EDP Wasp, OSCar) and PWM (Paul Whittington). A hybrid-analog synthesizer, Mantis utilizes mathematically-generated oscillators with a pure analog signal path and a modernized design architecture based on the EDP Wasp with an OSCar-style filter. It is also duophonic, with two fully independent voices, and features dual multi-mode filters that can be combined in series or parallel. Fully featured, Mantis is equipped with an arpeggiator, 37-note full-size semi-weighted keyboard with aftertouch, multi-function joystick, and MIDI/USB control for easy integration with any studio or live environment.
00:00 Doctor Mix and Anthony Sweeping Filters (Cold Open )
00:30 Walk up (music)
00:49 Meeting Mantis Co-Designer Paul Whittington
01:24 Trying out the PWM Mantis
02:22 Sweeping Multi-Mode Filters
03:33 Wave Shape Panning
04:57 Add Glide and Filter Sweeps
05:14 Paraphonic
05:40 Doctor Mix and Anthony Summary
06:18 Logo (music)"
And welcome to a nice little ambient patch for you to relax to. Using the Teenage Engineering OP-1 Field, and some instruments I made using the built in stereo sampler, I made this ambient music piece. I also used the excellent Teenage Engineering TP-7 to record the audio, before recording its’ playback into Logic, to help achieve a more tape-like final piece. I had a lot of fun making this piece, and experimenting along the way so i hope you enjoy!
I have a couple of videos in the works, such as a walkthrough video of making a piece similar to this one, using the OP-1 Field and its’ Sampler, to make some ambient music, and I’m also working on a video focused on the Make Noise Morphagene, one of my all time favourite Eurorack modules, but please let me know if there’s anything else you’d like me to explore and I’ll be happy to have a go if I can find the time!
