MOOG Taurus

Title link takes you to shots pulled via this auction.

Details:
"From a 1980 Moog Flyer
The Moog Taurus Pedal Synthesizer lets you make music with your feet while your hands are busy playing keyboard, guitar, or drums. The Taurus has three programmed voices and a voice that you can program completely In performance you can select a Moog voice or your voice instantly The Taurus is a variable synthesizer that features two audio oscillators to create phasing effects, parallel intervals, and rich percussion sounds. In addition, functions like glide, decay and pedalboard octave may be switched by foot during performance. And its five octave range makes Taurus more than a bass instrument. Add another dimension to your control over sound-add a Moog Taurus 1 pedal synthesizer.

TAURUS FEATURES
Three pre-programmed synthesizer voices: Bass, Tuba, and Taurus
· One fully programmable voice. You create the sound and pre-set it yourself.
· Five octave range-16' 8' 4' 2' and 1'
· Foot sliders for loudness and tone color variation.
· Ultra stable oscillator design: less than one cent (0.06%) short term drift, less than two cents (0.18%)
long term drift.
· Electronic preset selectors. Presets never have to be cancelled.

Introduction
THE MOOG TAURUS IS A FOOT-CONTROLLED PEDAL SYNTHESIZER COMBINING THE FEATURES OF A
SYNTHESIZER-GOOD SOUND AND VERSATILITY-WITH FOOT CONTROLLED SOUND MODIFIERS AND
PRESETS.

THIS VERSATILE MUSICAL INSTRUMENT OFFERS THE CAPABILITY OF PRODUCING TRADITIONAL OR
NEW SOUNDS, INSTANTLY SELECTABLE FROM THE FOOT-CONTROLLED PRESETS. ONE OF THESE
PRESETS IS FULLY PROGRAMMABLE SO THAT THE PLAYER MAY SET UP A "SOUND" AND GET TO IT
INSTANTLY.

TO PROVIDE MAXIMUM PROTECTION, THE UNIT IS ASSEMBLED IN A RUGGED WOOD AND METAL
HOUSING.

Description
The basic functions of the Taurus Synthesizer (see accompanying block diagram) are programmable. That is, values of the various parametersthat are used to control the details of a sound are determined either by the internally fixed values (for the three fixed presets) or set by the player accessible controls (for the VARI ABLE preset). In normal usage, the VARIABLE preset is set up prior to performance using the VARIABLES controls in the control box. During actual performance, the player selects one of the four presets instantly by depressing one of the four PRESETS foot-buttons. These four PRESETS are mutually exclusive, that is, only one preset may be ON at any one time.

The basic tone sources are two voltage controlled oscillators (A and B). Two basic pitch controls are used for fine tuning the instrument. First, the TUNE control is used to set the pitch of both oscillators to the desired reference, such as another instrument being used simul taneously. The BEAT control is used to make fine adjustments in the relative pitch of the two tone oscillators (by modifying the "B" tone source pitch). In addition to these basic tuning controls, the "B" tone osciliator pitch in the VARIABLE preset mode may be varied over a greater than one octave range by adjust ing the OSC B FREQ control. The relative pitches of the two tone sources are internally set for the three fixed presets.

The entire instrument may be shifted either up or down one octave by use of the OCTAVE foot-button. As the OCTAVE foot-button is successively depressed, the instrument tuning changes by one octave; an indicator light shows that the instrument tuning is in high range. For the three fixed presets, the OCTAVE button switches the instrument between the 16' and 8' ranges. When the instrument is in the VARIABLE mode, a manual OCTAVE slide switch in the VARIABLES control box may be used to select three pitch range positions (LO-MED-HI). These three positions correspond to a 16' or 8' range for the LO position, an 8' or 4' range for the MED position, and a 4' or 2' range for the Hl position. The "B" oscillator range extends to 1' with the OSC B FREQ control positioned all the way up.

The instantaneous pitch of the instrument is controlled not onty by the OCTAVE and fine tuning controls, but also by a GLIDE control and GLIDE foot-button. The glide effect is a smooth transition in pitch between successive notes. The GLIDE foot-button operates in a manner similar to the OCTAVE foot-button in that the glide effect can be alternately turned ON and OFF, the ON state indicated by the GLIDE light being ON. The amount of glide effect is determined by the GLIDE slider in the VARIABLES control box. The player may thus set up the amount of desired glide effect using the GLIDE slider and then use the GLIDE foot-button to switch the effect in or out.

The two tone sources are combined in different amounts in the mixer. In the three fixed presets the amounts are internally set, while in the VARIAB LE MODE the relative amounts of the "A" and "B" tone sources appearing in the final output are determined by the B-MIX-A control in the VARIABLES control box.

The output of the mixer is applied to the voltage controlled filter which may be used to provide either dynamic or fixed timbre modification. Whenever a note is depressed, a filter contour signal is generated, successively opening and closing the filter. The amount of opening and closing the filter is determined by the CONTOUR AMOUNT slider. The rate at which the filter is opened is determined by the CONTOUR ATTACK control slider while the rate at which the filter is closed is determined by the CONTOUR DECAY slider. These contour controls determine the characteristics of the dynamic aspect of the filter function. The effect of the filter is determined by the settings of the contour controls and by two other controls (CUT-OFF and EMPHASIS). The cutoff frequency is the filter characteristic which is "moved" by the contour signal. The initial cutoff frequency is determined by the FILTER foot-slider and by internally preset values for the three fixed presets. For the VARIABLE preset, this initial filter cutoff frequency is determined by the FILTER foot-slider and by the CUT-OFF control in the VARIABLES control box. For example, using the VARIABLE preset with the CONTOUR AMOUNT control set all the way down, the tone color may be changed but not dynamically, by either the FILTER foot-slider or the CUT-OFF slider.

The EMPHASIS control varies the amount of peaking of the filter. That is, the intensity of the frequency components of the tone generators which lay near the filter cutoff frequency is emphasized to a degree determined by the EMPHASIS control.

The output signal from the voltage controlled filter is applied to the voltage controlled amplifier (VCA). The VCA serves the function of "turning on and turning off" the sound. This articulation of the signal is caused by the VCA contour generator. The rate at which the sound is "turned on" is called the attack time. This attack time is internally set for the three fixed presets and is set by the ATTACK control in the VARIABLES control box for the VARIABLE preset. The sustained loudness of a preset is called the SUSTAIN LEVEL. The SUSTAIN LEVEL is determined by an internally preset value for the three fixed presets, and by the SUSTAIN LEVEL control for the VARIABLE preset. In addition, the overall loudness is determined by the LOUDNESS foot-slider. The manner in which the sound dies out or decays is determined by two functions. If the DECAY light is ON, the sound dies out at a rate determined by the DECAY control in the VARIABLES control box for the VARIABLE preset. If the DECAY light is OFF, the sound dies out immediately when the note is released (no decay).

The output of the VCA is applied to the OUTPUT LEVEL rotary control on the inset rear panel. The OUTPUT LEVEL control is used to match the signal level of the Taurus to the amplifier. GeneralIy, the OUTPUT LEVEL control will be set so that the maximum desired loudness for any preset is achieved when both the LOUDNESS and the FILTER foot-sliders are in their uppermost positions. When using the TAURUS with a bass amplifier or similar musical instrument amplifier, plug the TAURUS into a high level amplifier input, and set the amplifier volume control one-third to one-half of the way up. Then set the OUTPUT LEVEL control on the Taurus rear panel for the desired volume range.

The Taurus may be operated using either a 115 or 230 volt line voltage.

(From 1978 Norlin Music Taurus Pedal Synthesizer Owners and Service Manual)

Check out these sites!!!
http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Moog/Taurus/25/1
http://web.archive.org/web/19991002101508/http://umbc7.umbc.edu/~rous/taurus.html
http://www.oldtech.com/synth/MoogTarus12.html
http://www.soundonsound.com/sos/1995_articles/jun95/moogtaurus.html"

New Syntaxis Micromodular Starter Set

Krzychu1995

"!!! Available immediatelly at http://syntaxis.com.pl !!!
Today I have something very special to show. In this video you can see and hear synth made from Syntaxis Micromodular set. Instrument is assembled from basic set of micromodules (uVCO, uVCF, uVCA, uLFO and uADSR), but it sounds quite versatile. User is able to assemble synthesizer on it's own, in modular way, but much cheaper and without necessity of use dedicated multipliers - breadboard does it already! Usually building subassemblies of synths on breadboard makes circuit unreliable in longer term. But with Micromodules it works like it was soldered together - you can assemble you own synth, get plywood, drill holes for potentiometers, screw them in place and carry your own synth around for gigs."

"This is a set of components for building a basic but complete analog synthesizer on a breadboard. Although it might not have professional look, you will be surprised with its professional sound.

The set includes:

μPSU·112·A
μVCO·3340·A
μVCF·3320·LP4·A
μVCA·3360·LIN·A
μADSR·3310·A
μLFO·3340·A

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YAMAHA CS60 - COMPILATION VIDEO

video upload by Vintage Audio Institute Italia

"The Italian term to describe this synth would be blasonato:
Someone so noble they have a their own coat of arms.

we give you the Yamaha CS60 :
45 kilos of heavy duty Japanese build quality.
We just couldn't pass this one on although it's not typically the machine of our choice it sounds incredible.
Put on your headphones and you'll get it.
The range of sounds you get out of this synth seems frankly endless and the general interaction with an important instrument always makes us want to sell all our other machines and just keep this one instead.
We have to think about this - meanwhile it's going to a Yamaha CS-series specialised repair man for a new ribbon control and a general calibration since it's never been tuned or serviced in its 45 year old life - also kind of incredible - the build-quality is insane.
We got two drummers in this video: first songs are backed up by the elusive CRB Computer Drums (the drum section from the Computer Band 2000) and the second half of the video the rhythm unit is the EKO Ritmo 20.
Both machines have individual sound options - mute switches on the Computer Drums and volumes on the EKO Ritmo 20.

More videos with these two will go up soon so subscribe if this is your thing and follow us on Instagram for first dibs vintage gear sales and much more."

PATCH EXPERIMENT / exploring processing external sounds with DELAY 1

video upload by Joranalogue Audio Design

"Usually 'Karplus Strong' is used as a term for a certain type of synthesis, using ultra short delays to create string like resonators. I've found that when you just run a sound through a processor like that, it adds a wonderful gliss of resonating frequencies. I honestly don't know if this is just the same thing as phasing/flanging but it sounds interesting to me. DELAY 1 is a great tool for this as its short delay times lend itself really well to this type of Karplus Strong processing.

Check out the video if you want to watch a longwinded experiment on this subject.

I hope you find it inspiring.

Simon @briesmodular"

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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Festival Oscillations/SESC Vila Mariana Featuring Herb Deutsch & More

via Astronauta Pinguim (Googlish translation below)

"Festival Oscillations

SESC Vila Mariana

Apresentação:

O termo “música eletrônica” é associado, principalmente nos dias de hoje, à raves e pistas de dança do mundo inteiro. Mas nem sempre foi assim. Houve um período no qual as coisas eram bem diferentes e o termo era utilizado quase que exclusivamente de forma acadêmica nas faculdades de música, que tinham entre seus mestres nomes que trabalhavam com estruturas musicais mais radicais e inovadoras, geralmente utilizando tecnologias recém inventandas e ainda em desenvolvimento. O período que vai desde as primeiras experiências com geradores de som construídos eletrônicamente e o uso destes aparatos para gerar ritmos dançantes é tão grande e tão cheio de mistérios que merece ser estudado com mais profundidade e, somente com estes estudos e o acesso do ouvinte à eles, entenderemos melhor a evolução pela qual a música moderna passou no ultimo século, acarretando inclusive mudanças sociais e comportamentais importantíssimas para a humanidade. Ao trazermos ao Brasil nomes como Herbert Deutsch, Harald Grosskopf, Hans-Joachim Roedelius e Silver Apples, não só realizamos um festival inovador - nunca antes realizado no nosso país - como também trazemos uma parte importante e (ainda) não devidamente documentada da música mundial!

Participantes do Festival Oscillations:

Herbert Deutsch – O compositor, arranjador e inventor norte-americano Herbert Deutsch - nascido no início da década de 30 - foi o grande nome ao lado de Robert Moog na invenção do sintetizador. Foi ele quem procurou o doutor Moog com a idéia de um novo instrumento baseado nos estudos de osciladores controlados por voltagem, já em andamento nas pesquisas de Robert Moog. Herbert Deutsch foi parte importante na confecção do protótipo numero um do sintetizador Moog, instrumento que mudou completamente a forma como a música passou a ser criada e apreciada nas últimas 5 décadas. Desde o início dos anos 60, ele tem se dedicado a lecionar nas cadeiras de Musica Eletrônica e Composição na Hofstra University, em Nova York. Herbert Deutsch apresentará sua famosa palestra/concerto/demonstração “From Moog to Mac”, que abrange desde seus primeiros experimentos com música eletrônica, ainda nos anos 50, até suas mais recentes pesquisas na área, passando pela invenção do sintetizador em 1964. Herbert utilizará instrumentos originais para suas demonstrações no auditório do SESC Vila Mariana.

Harald Grosskopf - Nascido no final dos anos 40, na cidade de Hildesheim (Alemanha), Harald Grosskopf é, desde o início da sua carreira artística no começo dos anos 70, um dos músicos mais atuantes da sua geração. Participou de mais de 100 discos de bandas e artistas importantes do chamado "krautrock", como Wallenstein, Cosmic Jokers, Ashra Tempel, Klaus Schulze e Walter Wegmüller, entre outros. Em 1980, Harald Grosskopf lançou seu clássico LP “Synthesist” (relançado recentemente pelo selo norte-americano Rvng Intl), além de atuar como músico na banda de apoio da cantora Lili Berlin, na primeira metade dos anos 80. Nos anos 90 e 2000, Harald participou de projetos ao lado do também músico e produtor alemão Steve Baltes (Sunya Beat e N-tribe), além de dedicar-se à sua carreira solo e também retornar à banda Ash Ra, onde permanece até hoje. Harald Grosskopf tem 6 discos solo lançados, sendo o mais recente uma nova roupagem do álbum “Synthesist” (1980), agora renomeado “Synthesist 2010” (Rvng Intl).

Hans-Joachim Roedelius - Hans-Joachim Roedelius é um dos principais nomes do "krautrock" (como era chamado o rock e a música eletrônica/experimental feita na Alemanha nos anos 60 e 70) e também pode ser considerado um dos principais e mais criativos pioneiros de várias subdivisões da música eletrônica, da "ambient" ao "industrial", devido à originalidade dos projetos e bandas nas quais foi integrante ao longo de 45 anos de carreira. Fundador do trio Kluster - ao lado de Conrad Schnitzler (ex-Tangerine Dream) e de Dieter Moebius -, do Cluster (com Moebius) e do Harmonia (com Moebius e Michael Rother, ex-Kraftwerk), Roedelius é um dos experimentadores mais sutis (e ao mesmo tempo um dos mais radicais) dentro das suas áreas de atuação, sendo citado como influência de nomes como o produtor Brian Eno, com quem Roedelius gravou 3 álbuns nos anos 70 ("Tracks and Traces", gravado pelo Harmonia em 1976, "Cluster & Eno" e "After the heat", ambos gravados por Roedelius, Moebius and Eno em 1977).

Silver Apples - Influência tanto para apreciadores da música eletrônica - aquela feita nos primórios, com equipamentos analógicos e sem toda a tecnologia "facilitadora" de hoje em dia - como para fãs do rock experimental que se fazia nos anos 60, o Silver Apples é uma das bandas mais interessantes da história da música mundial. Formada na segunda metade dos anos 60, a dupla original era constituida pelo baterista Danny Taylor e por Simeon Coxe III, executando uma parafernália eletrônica inacreditável na época (Simeon chegou a utilizar nove osciladores de áudio controlados por um mecanismo no qual ele utilizava as mãos, os pés e até os joelhos e cotovelos para tocar ao vivo). Nesta época a dupla gravou três discos imprescindíveis em qualquer coleção: "Silver Apples" (1968), "Contact" (1969) e "The Garden" (gravado em 1969, mas lançado somente em 1998), álbuns que colocaram os Silver Apples para sempre na história da música como uma das primeiras bandas eletrônicas de todos os tempos, antecipando inclusive toda a revolução eletrônica capitaneada pelo Kraftwerk e outras bandas alemãs na década seguinte. Hoje em dia, Simeon Coxe III mantém o legado da dupla vivo (apesar do falecimento de Danny Taylor em 2005), se apresentando nos maiores festivais de música do mundo! O Silver Apples se apresenta pela segunda vez no palco do SESC Vila Mariana.

CURADORIA/ DIRECAO ARTISTICA:

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The Room of Sound

The Room of Sound from musi_arch santacecilia_sapienza on Vimeo.

"From March 5 to 20, 1977, in the Rome National Gallery of Modern Art was held from the 14th Festival of Nuova Consonanza, an association of musicians and composers congregated around Franco Evangelisti, responsible for the practical organisation of the Festival was Vittorio Consoli, engineer, music lover and enthusiastic investigator of the relations between space and sound. For 15 days in the main concourse of the National Gallery, experimental studies were made on the interaction between space and music and between musicians and computer, using compositions by, among others, Mauro Bortolotti, Domenico Guàccero, Aldo Clementi, Franco Evangelisti, Luigi Nono, Alessandro Sbordoni, Edgard Varèse, Leo Küpper and Giorgio Nottoli. The concourse of the Gallery is an exceptionally reflective space, totally non-musical. A huge acoustic dome made up of 100 loudspeakers, fed by the same number of audio channels, was created by Vittorio Consoli, with invaluable assistance from Leo Küpper, and wrapped up in a cloud of coloured aerostatic balloons, which were not fully inflated, and which gave the hall the acoustic properties required and also lent to the event an extraordinary sense of festivity surrounding the musical experimentation; this spirit can perhaps still be seen in the old black and white photos of the event and is still visible in the image we have of the main protagonists – Franco Evangelisti, Leo Küpper and Vittorio Consoli. Given the date, this was no virtual experiment in spatialisation, but a real-time musical event: the sounds, generated by an impressive analog computer, could be transmitted towards each of the loudspeakers and switched from one to another by a hand-made mixer. The most famous precedent for all this was, of course, the Philips Pavilion at the 1958 Brussels Expo, the masterpiece of Le Corbusier and Xenakis, animated by the Poème Electronique of Edgard Varèse. However, the most striking precedent was without a doubt the musical sphere constructed for the 1970 Osaka Expo by Karlheinz Stockhausen. Here the composer established the iconic quality of contemporary absolute music, an icon which subsequently symbolically adorned his grave monument. The project we are presenting here, the Stanza del Suono (Room of Sound) can be seen therefore to follow the path of a great contemporary music tradition; today we can avail ourselves of the innovations of computer technology, which allow us to organise the emissions of sound in space in a genuinely contrapuntal fashion, as Vittorio Consoli would say. The spatial evolution of the sounds thus becomes part of the decisions that the composer arranges within his creative system, to quote Schumann. The musical scores are able to not only specify precisely the limitless paths through space traced by the sounds, but also to envisage the ‘unknowns’ involved in the immediate, real-time interaction between sound and space, and between the musicians and the computer program. In this way, this new project of ours is not merely a place for listening to music, but also a place for creating and processing music in a continuous interplay between, space, music, sound, musicians and audience. The project aims at producing a new, long-term, functional acoustic and spatial device that can be employed by all
those engaged in electro-acoustic music research. It was built upon a body of work consistently carried out at the Conservatory of Santa Cecilia in Rome, in its Department of Electronic Music, up till now directed by Giorgio Nottoli, and is the result of a close collaboration with two Departments of Rome Sapienza University: the Department of Architecture and Design, under Piero Ostilio Rossi, and the Department of Architectural History, Design and Restoration, directed by Paolo Fiore. The idea of setting up a permanent cooperative research area between musicians and architects, on the theme of ‘Music and Architecture’, and of including it in the agenda of Emufest, the International Festival of Electro-acoustic Music, originated in 2011 in the insights and enthusiasms of composer Fabio Cifariello Ciardi and architect Luca Ribichini...[...]"

via Francesco Synth Meeting Mulassano on The MATRIXSYNTH Lounge

Buchla Original Dual Oscillator Model 258

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"Rare Buchla Original Dual Oscillator Model 258.
Historical Vintage Series 200 Synth System.

Dimensions approx. 7.5" x 4" x 3"

Two independent voltage-controlled oscillators, continuously tunable from 5 Hz to 20 kHz. Each has two processing inputs and a frequency modulation input. Waveshapes as well as frequency can be voltage controlled. Model 258 oscillators feature low sine wave harmonic content, negligible settling error, and high short and long-term stability, even with rapidly changing ambient temperatures.

Controls and I/O

Processing inputs
Two processing control inputs permit multiple control of pitch without need of separate external processor.
Processing controls
Used to set desired range of frequency control. Expansion, compression, and inversion of scales are accomplished here.
Frequency modulation control
For adjusting vibrato depth or creating clangorous or bell-like tones, rich in non-harmonic partials.
Output
Signal amplitude is +4 dB. Output impedance is 600 ohms.
Oscillator frequency control
Spans the audio spectrum of 5 Hz to 20 kHz with no range switching. (Applied control voltages can extend limits to .1 Hz and 30 kHz.)
Waveshape control input
Waveshapes can be varied from sine to saw (osc 1) and sine to square (osc 2). Voltage control of waveshape enables powerful dynamic control of timbre."

Vintage ARP AXXE Monophonic Analog Synth

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Note this is for sale from peahix of opitgan.com. It's the one featured in this video. You can find audio demos of this exact unit here and here.

"This Axxe was serviced by a qualified tech about a year ago, and at that time it was 100% functional and working well. The keyboard bushings were also replaced. I have not had a chance to use it much since then, so it's likely that it will at least need to be calibrated. Also, since this is an old piece of electronics, the usual caveats apply with respect to its long-term functionality. It will almost certainly need to be maintained by a qualified tech in order to continue working well. Cosmetically it's slightly rough- study pics carefully. The bumper sticker on the back adds an odd bit of charm, so I left it intact, though it should be easy enough for you to remove if you wish..."

EMS Synthi E - The Educational Modular Synthesiser (1975) Serial # 194 7137

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Such a great little compact modular synthesiser that can really surprise with its heavy bass growl. Ive destroyed sound systems at venues performing with this thing.

“Versatile and Robust” as the manual states… You have to hand it to the people at EMS they really knew how to design synths. This one has all the features you need to perform with just this alone and bring the house down, its sliding controls are smooth and intuitive, its internal touch ribbon controller is super fun and you can plug external gear (guitar, voice, drums into the Envelope Follower) to control any or many parameters. The Synthi E was designed for schools and colleges back when education held humanities in high regard, imagine being exposed to modular synthesis as a high school student?!?

A tight little package wrapped in an original Spartanite case which alone is extremely sort after and valuable.

Did I mention that it is battery operated as well? Yes, so you can take it into woods and jam out to nature sounds, set up a mic and your Synthi will play along with the birds. For studio sessions it can be connected to a 12volt DC power source so you can play all night long.

It also comes with and extremely rare 3-octave external keyboard with silky smooth action if you wanted to play it in a more conventional manner. Ive never seen one of these for sale, ever so I doubt there are many out there. Serial # 7137

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Bad Gear - Tracker Mini

video upload by AudioPilz

"Become a Patron and get access to music clips from the show, additional content, Bad Gear samples and even more AudioPilz madness

https://www.patreon.com/audiopilz

Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about the Polyend Tracker Mini. Does this successor to the original Tracker and compact sampler, sequencer, groovebox and dawless centerpiece with its gameboy controls and compact form factor even make sense or is it another hipster toy with its field recording features? Is it the "Tracker Field" as Teenage Engineering might have called it?

Thanks to Polyend for sending me a demo unit as a long term loan.

Chapters:
00:00 Intro tune
01:00 Overview Tracker Mini, Original Tracker vs. Mini
01:31 Built-in Microphone, Internal Battery, Stereo Sampling
01:46 Tracker Workflow #1
02:18 Sequencer Features
02:34 Tracker Workflow #2 (Step Jump, Fill, Scales, Euclidean, Random)
03:23 Synth Features (Filter, Overdrive, Bitcrush, Modulators)
03:44 Sample Playback Modes (Slicing, Wavetable, Granular)
04:08 FX (Reverb, Delay, Master Bus FX)
04:22 Mixer, Performance Mode
04:35 Non-realtime FX (Sample Editor)
04:44 Instruments
04:50 Micro SD Card, Loading Times, Additional Features
05:02 Playing Nintendo NES Games
05:12 What else??? (Connectivitiy, Build Quality, Pricing)
05:34 Hate
05:58 Jam 1 (Walk in the Forest)
06:49 Jam 2 (Bedroom Studio Setup)
07:46 Finale (Foley Artist Techno)
08:16 Verdict"

PPG Waveterm Wave Term B 16Bit Expander 528 Board

Note: Auction links are affiliate links for which the site may be compensated.

via this auction
Perfect Circuit Audio (RSS)

Buchla / Verbos Dual Oscillator Model 258v

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Two independent voltage-controlled oscillators, continuously tunable from 5 Hz to 20 kHz. Each has two processing inputs and a frequency modulation input. Waveshapes as well as frequency can be voltage controlled. Model 258 oscillators feature low sine wave harmonic content, negligible settling error, and high short and long-term stability, even with rapidly changing ambient temperatures.

Processing inputs:
Processing control inputs permit multiple control of pitch without need of separate external processor.
Grey one is 1.2v/oct pitch input.

Processing controls:
Used to set desired range of frequency control. Expansion, compression, and inversion of scales are accomplished here.

Frequency modulation control:
For adjusting vibrato depth or creating clangorous or bell-like tones, rich in non-harmonic partials.

Output:
Signal amplitude is +4 dB. Output impedance is 600 ohms.

Oscillator frequency control:
Spans the audio spectrum of 5 Hz to 20 kHz with no range switching. (Applied control voltages can extend limits to .1 Hz and 30 kHz.)

Waveshape control input:
Waveshapes can be varied from sine to saw (osc 1) and sine to square (osc 2). Voltage control of waveshape enables powerful dynamic control of timbre."

EMS REHBERG SYNTHI E

via this auction
"The Synthi E is a general purpose electronic music synthesiser especially designed to be used in schools and colleges. It combines low cost with versatility and robustness. It is simple to use and a complete teaching course has been built round it. This allows teachers and students to learn the techniques and background of electronic music and its production. The manual relates synthesised to acoustic sounds and the relationship of the physical properties of sound to music. It also provides many creative exercises for the individual or class. The Synthi E has a full complement of conventional electronic music devices as well as several new ones. These devices may be interconnected using a simple patching system that allows experimentation not possible with usual performance synthesisers. The unit is easily transportable as it is housed in a small briefcase and is battery operated.

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.

GENERAL:
Signal level at patch nodes: 3v P-P.
Output impedances at patch nodes: 100 ohm average.
Input impedances at patch nodes: 25 kohm average.
All inputs and outputs are protected against short circuits to each other or to ground.
IN PUTS: High level input level: 2.2 v P-P nom. 10v P-P clipping. 180 kohm impedance. Direct inputs: DIN connections 2—Ground 1 inputs
Low level input level: 200 mV P-P nom. Overhead: 14 dB
50 kohm impedance.
Envelope follower output proportional to input over dynamic range of: 40 dB. V.C.O. — VOLTAGE CONTROLLED OSCILLATOR:
Total frequency coverage: 1 Hz to 10KHz.
Sine wave distortion: 5% THD (TYP)
Triangle symmetry (rise and fall): 3% at 1 KHz.
Rectangular wave mark space ratio voltage control range: 0 to 100%.
Deviation of voltage control of frequency from ideal exponential law
Over musical range 100Hz—2KHz: .8% (B.S.L.)
Over audio range 10Hz — 10KHz: 1.7% (B.S.L.) General short term stability. Drift at 1 KHz: 2% per hour.
OSCILLATO R (VIBRATO/TREMOLO): Manual control of frequency: 0.01 Hz —15Hz.
Manual control of amplitude: 1000:1.
V.C.F. — VOLTAGE CONTROLLED FILTER (Band pass, low pass, high pass):
Frequency range: 10Hz-10KHz.
Distortion (oscillating mode musical range): 2%.
Deviation of voltage control of frequency from ideal exponential law over complete range: 2% (B.S.L.)
Minimum 'Q': 2.
Maximum finite 'Q' over musical range: 30.
TRAPEZOID GENERATOR: (All outputs)
Minimum transition time: 20 mS.
Maximum transition time: 5S.
As oscillator — frequency range: 1—25 Hz.
NOISE SOURCE:
Spectral flatness over musical range: +6 dB.

KEYBOARDS:
Slider tape Track and hold droop .02% of fullscale per second.
Chromatic keyboard Track and hold droop: .01 % of fullscale per second.
Differential step Linearity (ratio of smallest or largest to average): 95 %.
INVERTER: Voltage gain—1: + 2%.
MIXER: Fader control range: 50 dB min.
Tone control (treble lift/cut) Corner frequency: 500 Hz.
Max. change at 10KHz: 30 dB.
MONITOR: DIN pin connections. 2—ground.
3 monitor output
V.C.A. — VOLTAGE CONTROLLED AMPLIFIER:
As ring modulator
Carrier suppression: 30 dB. Signal suppression: 40 dB.
As envelope modulator Off breakthrough:—60 dB. On level distortion: 5 %.
MONITOR AMPLIFIER:
Power delivered to internal loudspeaker: 500 mw.
Output to external amplifier, tape recorder or oscilloscope (two outputs provided).
Minimum recommended load: 600 ohms.
Output impedance: 50 ohms max.
Maximum output voltage into 10K load: 7v P-P.
BATTERIES:
12 x Ever Ready U2 (1 .5V). An external mains power supply can be provided.
Battery life: Using 2 hour daily sessions and external monitor: 100 hours.
DIMENSIONS: 50 x 40 x 10 cm.
WEIGHT: 7 kg.
DKE KEYBOARD: OPTIONAL
A 3-octave keyboard for controlling the Synthi E is available. This unit is a mechanical keyboard which plugs into the Synthi E. It provides the correct pitch voltage and trigger signal for the Trapezoid Generator. A switch on the Synthi E selects internal or external keyboard operation."

En Mode Masculin Féminin

Published on Jul 5, 2013 RADIOKLOW·87 videos

Details via Marc-Henri including synths for each part:

"I am very happy to share with you this film and this music, as a tribute to the creations of a young artist in haute couture, William Kerney, 'present on Facebook), who is only 18 years old and student in term year of my the high school where I teach. I composed the music and the film was built from various sources : movies and photos shot by me and members of the team who worked on this project. Photographers, assistants, hairdressers, cosmeticians, models are all students at Lycée Edouard Herriot of lyon, France.

William Kerney conceived himself all the gowns and hats, from the basis skteches to the final production, including the sewing of every clothe and worked one year on this project.

The film begins with the collections he created during the first semester of 2013, and goes on with the fashion parade he presented around his theme of masculinity and feminity, at Lycée Edouard in may 2013, during the Week of Performing Arts of this high school. It is followed, after the end credits by a bonus consisting of two interviews in french. The first one with William Kerney and his assistant Tristan Fiancette, the second one with me as a teacher of philosophy at Lycée Edouard Herriot, teacher in charge of Culture Life in this high school composer of this music, editor of this film and author of some of the images it contains, just after the fashion parade.

All sounds on Virus TI were created by me. Sounds of other real or virtual instruments are patches of these instruments : mainly Roland Phantom XR - orchestra and voices and piano expanding cards of the SRX series : SRX-02 : "Concert Piano" and SRX-O6, "Complete Orchestra" and SRX - and also feminine choirs from Voices of Passion by Eastwest. At the end of the composition he created a special sound on Alchemy by Camel Audio and played it myself (see below) during the final part of the composition : it is not a sequence nor an automatic pulsation.

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Physical Synthesis Cicada Acoustic Vibration Synthesizer & Nymph Eurorack Module Update

video upload by Physical Synthesis



You might remember the Physical Synthesis Cicada - Acoustic Vibration Synthesizer posted back in April of 2021 - you'll find a playlist of demos there. The initial run was sold out. They are now teaming with USA-based distributor Electro Distro on a new run of Cicadas as well as a Nymph eurorack module.

The press release follows:

NEW YORK, NY, USA: having sold out of its initial production run, unique products-producing hardware startup Physical Synthesis is proud to announce that it is working with San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) to bring its game-changing Cicada — an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound — to a wider audience in advance of Nymph, its upcoming Eurorack module…

It is fair to say that every once in a while, a moment comes along whereby human interaction with sound changes completely. Cicada is effectively one of those moments — one of those new instruments that moves the needle in music technology. Indeed, it is pioneered by unique products-producing hardware startup Physical Synthesis as an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound. Says company founder Spencer Topel: “Cicada was the first step in introducing physical synthesis methods to the synth community; it is an award-winning interface that really lets musicians explore microscopic sounds with precise control.” Clearly, Cicada made musical waves when winning the Judge’s Special Award at the Guthman Musical Instrument Competition 2022, hosted by Georgia Tech School of Music — one of the few schools in North America that offers Music Technology as a major in undergraduate, graduate, and Ph.D levels of study — as an annual event dedicated to identifying the newest and greatest ideas in music.

Musical waves notwithstanding, ‘noise' is a subjective term; while electromechanical devices like speakers or headphones try to minimise the distortion inevitably introduced in physical systems, Cicada is designed to precisely exploit these distortion products as the basis of a new kind of synthesis. Cicada converts voltages to vibrations in a mechanical oscillator to create intermodulation — the addition of frequency content in a nonlinear system — in place of typical analogue or digital oscillators. By bringing the signal chain into a physical space, Cicada allows users to shape such content with natural, tactile gestures that truly transcend twiddling with a knob or pushing a slider. “As a violinist and composer, my experience of creating sound is highly physical,” proclaims Spencer Topel, adding: “With Cicada, I wanted to make an instrument that connects these elements, allowing musicians to produce complex, compelling sounds, but through tactile interaction.”

Insofar as actually doing what it does, Cicada receives two Eurorack-level signals that drive oscillation in a cantilevered Bridge positioned atop a Soundboard at an adjustable height. Digging deeper, distortion caused by the Bridge-Soundboard interaction adds frequency content to the input, determined by the specific qualities of the system. Self-explanatory Polycarbonate Soundboard, Foam Soundboard — made of EVA (Ethylene-Vinyl Acetate) foam, and Wood Soundboard — made of Birdseye maple — options each provide a range of resonating/filtering properties that combine uniquely with the likes of the Coral Wing Bridge — tip made of solid oak (resulting in a bright, clear tone), Coral Dual Tip Wing Bridge — tip made of premium rubber (allowing for a hard, precise attack with a balanced low-end), and Grey Wing Bridge — tip made of soft neoprene foam (resulting in a mellow, balanced acoustic effect); each pairing opens up a portal to a distinct sonic universe.

Users can dynamically change the system (and, therefore, how it is transforming signals) by adjusting the Bridge height, changing the region and degree of contact between Bridge and Soundboard, or applying pressure to either — effecting real-time, tactile timbral control, in other words. With that being said, premium vibration damping materials, such as Delrin, and custom circuitry minimise unwanted noise, allowing the intermodulation products to shine, while the output, captured by a pickup microphone positioned beneath the Soundboard, can be monitored directly, processed modularly, or recorded into a DAW (Digital Audio Workstation).

With behaviours akin to those exhibited by a traditional acoustic instrument, Cicada is highly responsive to differences in the excitation mechanism — the input signal, in other words. As an example, striking a snare drum with a stick or using it with brushes produce vastly different-sounding results; driving Cicada with quiet or loud, spectrally simple or complex, or bass- or treble-heavy signals similarly yield very different timbres.

Though Cicada is designed to work with a Eurorack setup out of the box, one of its strengths lies in its inherent flexibility. Indeed, it can just as easily receive signals from a DAW, boosted to the appropriate 5-10Vpp level via an outboard mixer. Moreover, the choice of input is completely left open to the user: an Ableton Live loop run through Cicada acting as a physical filter to provide timbral variety over time, for example; an LFO (Low Frequency Oscillator) from a Eurorack module, generating rich percussive tones on the maple Soundboard as the foundation of a beat; or a harmonically dense signal — similar to the output of a Max/MSP FM patch (which many would, without doubt, prefer to navigate physically rather than digitally) — made by moving the Bridge around the Soundboard to amplify certain harmonics and suppress others, finding a grittier sound with the Bridge barely touching or coaxing a more ethereal tone with it centred and depressed.

Endless exploration possibilities are a given, guaranteeing that any sonically-ambitious Cicada user is likely to while away the hours playing with input signals, system configurations, gestures, modulation combinations, and more.

It is hardly surprising, then, that Physical Synthesis sold out of its initial Cicada production run, really hitting a home run by counting luminaries like renowned electronic music composer and performer Hainbach — citing Cicada as being “The Tesla of electro-acoustic workstations, miles ahead of standard piezo and solenoid boxes...” — and Ableton CEO Gerhard Behles amongst its fan base, and has now turned to working with US-based distributor Electro Distro’s growing global network of dealers to bring its game-changing ‘acoustic synthesizer’ to a wider audience. “I want to bring acoustic synthesis to a wider range of musicians,” maintains Spencer Topel, before ending on a high note: “We are building some really exciting expansions of Cicada to different formats, including a Eurorack module called Nymph, which is coming soon.”

Physical Synthesis’ ‘acoustic synthesizer’ is now available as Cicada Founders Edition Extended — encompassing two dual AMPs, one PRE, one Actuator, five Bridges, three Soundboards, three Meanwell power supplies, three custom SATA Cables, and one custom Nanuk 935 Flight Case — for $2,700.00 USD or as Cicada Pro Series individual modules — starting at $79.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly from Physical Synthesis’ online Shop (https://shop.physical-synthesis.com).

For more in-depth information, please visit the dedicated Cicada webpage here: https://www.physical-synthesis.com

The GCP EGG Basket Observer - Social Siesmograph

This one in via Gerard. In the simplest terms, the GCP Basket Observer is an audio generator that triggers sounds fed to it from random generators throughout the world. GCP stands for the Global Consciousness Project.

"The purpose of the project was and is to create and document a consistent database of parallel streams of random numbers generated by high-quality physical sources. The goal is to determine whether any correlations might be detectable of statistics from these data with independent long-term physical or sociological variables. In the original experimental design we asked the more limited question whether there is a detectable correlation of deviations from randomness with the occurrence of major events in the world."

In short: random generators that somehow are not so random during major events:

CBS News segment on the Global Consciousness Project

YouTube via GCPvideos
"Correspondent Brendan Keefe reports on the Global Consciousness Project for CBS News2 NY May 13, 2005"

Check out the eerie hartbeat at the GCP Basket Observer

Pittsburgh Modular: Timetable

flickr By Analogue Haven

more info via Muff's:

"Coming Soon...

The Pittsburgh Modular Timetable is a combination of a basic clock divider (the left hand section) and a voltage controlled pattern generator (for lack of a better term).

The divider produces quarter, half, whole & double whole-note divisions of the input signal. The patterns generated in the 2nd section range from the simple (or mundane, even an exact replica of the divider outputs) to the convoluted, depending on several factors - some adjustable in real time, some not.

Even in its basic configuration the Timetable is 'bent by design' it takes advantage of what could (should?) be considered errors to provide variations and unpredictable (but not random or chaotic) changes... all tied to a clock. The user can also take the "bends" further by swapping out one, or both, of the CMOS logic chips in the core of the circuit. Changing the logic chip changes the functionality of the Timetable creating a new set of behaviors to explore.

The primary intention of Timetable is to provide timed events, both predictable & inconsistent... a little like the average public transport system.

In practice, you can use the module to provide a set of straightforward divisions or as a whacked out gate spewing lunatic... and of course something, somewhere in the middle. It loves feedback. Sending one of the many outputs back into its CV or Digital control inputs will make it jerk and twist. A Binary system that sometimes gets stuck somewhere between 1 and 0.

Here is some audio of the Timetable in action. A basic oscillator and filter are used with the Timetable in this demo. The pitch of the oscillator, frequency of the filter, and the divider within the Timetable are all CV'd from different voltages available on the Timetable.
http://dl.dropbox.com/u/252415/UNC_SEQ_TT_RND1.mp3

Complete sets of CMOS chips will be available separately so it will be easy to try different combinations of logic. The sets will include a pair of 5 different logic chips. (NOR, NAND, XOR, XNOR, AND).

The Timetable was designed by Thomas O'Connor (DGTom on Muff). His designs are a unique combination of utility and chaos. A perfect match for the VILFO! If you check the Muff archives, he has published a few of his great designs in the Music Tech DIY section. I am excited to have him on the team!
_________________
www.pittsburghmodular.com"

Aphex Twin UNIQUE SUPER RARE RSF SD-140 VINTAGE Drum Machine ?

Note: Auction links are affiliate links for which the site may be compensated.
video upload by urgobenz

"Original samples and patterns by urgobenz.

Pattern n°1 : RSF SD140 (no effect)
Pattern n°2, 3 and 4 : RSF SD140 (with reverb).
Pattern n°5 : RSF SD140 + Korg 700s
Pattern n°6 : RSF SD140 + Chroma Polaris"

03 DMX Krew - Sppoookey [BREAKIN RECORDS]

video upload by edmx

via this auction

This one was spotted and sent in via xonox who noticed the following: "No mention is made in the auction but there is AFX scratched on the surface of the machine. According to Ed DMX (DMX Krew), Aphex Twin used one on his early tracks. Interview here. It is not my auction, i have no insider knowledge on anything either. Is it possible it's indeed one of AFX's drum machines or is it some classic AFX prank ?"

The SD140 has only been featured on the site twice before this post.

The following is the full description from the listing saved for the archives:

"Up for sale a unique extremely rare vintage drum machine. impossible to find it in another place. Many years ago I found this diamond and made the service in a professional workshop. Please note - this is an old gear for the collection and synth enthusiasts, this drum machine is in working condition, but I will not accept any returns and no compensation after the sale - please accept it. These are the first innovative electronic music devices and therefore you can see in the pictures the old technology of plastic coatings and touch buttons have traces of use, but all functions and buttons are well work.- It runs on 220 volt AC.The sound of this beast is very unique, the sound structure and flow are capable of creating incredible emotions and creative potency. The sound is incredibly relevant, I give a detailed description below. The package will be sent internationally, I pack the electronics well — a double strong box and a lot of bubble — look at my seller feedback.

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Noatikl (or noatikl)

"Noatikl (or noatikl) is a powerful yet easy to use generative music tool that will help you generate new musical ideas.

It uses techniques developed over the last 17 years through our work on the award-winning Koan generative music system, techniques now used in the all-new and superior 'Noatikl'... Many years ago, Brian Eno popularised the term "generative music" to describe music that is ever-different and changing, and that is created by a system."



Some notes via via brian c who sent this one in:
"Noatikl is a generative music tool , i.e. it generates a MIDI stream over several channels from a rule based set up. The rules can be very complex providing harmonic and scale structure , CC controllers, envelopes, pitch and tempo variations etc. The rules run up against a randomizer as well so this thing will never play the same thing twice, but is always musically coherent and usually interesting. For creating long ambient pieces it is ideal. I run the standalone version on an older laptop and send the MIDI out to my Ableton Live DAW and then redirect the notes received to whatever hardware or soft synth I choose to use. What the program does for me is remove the worry and focus over the playing a keyboard and allow me to focus on tweeking the synths on top of the music for the sound quality - sort of a virtual Eno-buddy to play with. I am such a shitty keyboard player, this really is liberating, of course you can also assign that control to the program too, but I like to knob twiddle. Prior to this I would use some MIDI sequence and then use Live's random tool, but there was never any guaranteee that the random parts would fit with each other. Noatikl assures that you have compatible notes. It's also way easier than MAX which is for really nerdy types. Of course you can also make it very atonal and dissonant if you send it those rules too. It is Mac and Windows flavored and there are standalone versions as well as plug-in versions. The only limitations that are irksome is that receives but does not send MIDI clock, so you have to synch it from inside LIVE if you want to run both. It also does not work well with Live as a plug in because Live does not support multiple MIDI -outs from a single VSTi, you have to route it out and back to MID-Yoke as a work around if you want the plug in version, I just use it standalone on an old laptop. Because it just sends MIDI it is not a CPU hog. And finally it's not a synth per se, but it allows you to set up a mix of 16 soft and outboard synths in Liveall at once and let them all work together on a piece ...awesome soundwall to say the least and the best part is it doesn't sound like a TB303 ACID cliche"

Update via the comments:
via Pete Cole:
"Hi! Many thanks for mentioning Noatikl.

Mixtikl (coming any week now) is a trans-platform music mixer, player and sound designer, that runs on Windows, Mac, and Win Mobile. It includes a built-in Noatikl player; listen to your generative music compositions on the move. :)

http://www.intermorphic.com/tools/mixtikl/index.html

HTH, Pete"

via Umcorps:
"Some audio and video demos here
http://www.vimeo.com/umcorps/"

Tutorial - note to midi CC conversion in noatikl from Umcorps on Vimeo.

"This short demo looks at how to use note to midi controller conversion to create a system of midi control that conforms to the musical compositional rules in noatikl."