EMS Synthi Sequencer 256 - Genuine technical documentation

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via this listing

"Rare genuine technical documentation on the Synthi Sequencer 256 EMS. New condition, 12 thick sheets printed on one side with technical information and a photo of the Synthi Sequencer 256 in black and white. Pinch binding in 200g/m² paper

Careful packaging - Ad Valorem insurance"

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Black Corporation Kijimi SN 1209 w/ Original Box

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

via this listing

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BLACK SKY - EPIC SYNTHESIZER MADE IN THE USSR FORMANTA EMS 01

video upload by OBUKHOVAUDIO

RESONANCE 24/II - EPIC SYNTHESIZER MADE IN THE USSR FORMANTA EMS 01

video upload by OBUKHOVAUDIO

TMP-2-05 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:32 Introduction
01:19 Little Black Boxes
04:41 Switched On Cybersynths
17:31 Synthesiser Club
20:38 Commercial Break
23:02 Patching Today
37:24 Video Lab
41:15 Outro

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Episode five of the second series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses it on his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

LITTLE BLACK BOXES - A look at some classic rack mount synths of the 80s and 90s

SWITCHED ON - This second series looks at a type of synthesis based around the ideas of Cybernetics, which Benge calls CYBERSYNTHESIS

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch

VIDEO LAB - A look at old video equipment and how to create experimental visuals

////////////////////////////////////////////////////////

In THIS episode:

LITTLE BLACK BOXES - The Korg Wavestation was released in 1990. This rack mount module version, called the Wavestation A/D, was released in 1991

SWITCHED ON CYBERSYNTHS - Ramdomness Tamed. A look at the EMS Random Voltage Generator and the Buchla 200 version of the Magnetic Freak Gaussian module

SYNTHESISER CLUB - Today, its Club Crumar! Featuring the DS2, the Multiman Mk2 and the Synergy digital system

COMMERCIAL BREAK - Some adverts for Memetune related goodies

PATCHING TODAY - on the Buchla 100 - trying to tame the beast!

VIDEO LAB - In this episode we look at some SFX shots and the Ultimatte chromakey system


////////////////////////////////////////////////////////

LINKS:

Polyrythmic Electronica vinyl / Systems of Objects: https://systemofobjects.bandcamp.com/...

Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com

Memetune Studio Instagram: @ memetunestudio

Benge & Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com


////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2024

TMP-2-03 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:32 Introduction
01:29 Little Black Boxes
05:54 Switched On Cybersynths
13:24 Synthesiser Club
16:24 Commercial Break
17:33 Patching Today
31:51 Video Lab
36:22 Outro

////////////////////////////////////////////////////////

Episode three of the second series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses it on his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

LITTLE BLACK BOXES - A look at some classic rack mount synths of the 80s and 90s

SWITCHED ON - This second series looks at a type of synthesis based around the ideas of Cybernetics, which Benge calls CYBERSYNTHESIS

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch

VIDEO LAB - A look at old video equipment and how to create experimental visuals

////////////////////////////////////////////////////////

In THIS episode:

LITTLE BLACK BOXES - The Roland Super JV-1080 layersynth from 1994

SWITCHED ON CYBERSYNTHS - Electronic Tonalities and The Krell. We go deep underground on the planet Altair IV to explore the beguiling "Krell Patch" on a giant Buchla 200 system

SYNTHESISER CLUB - An assortment or Arps!

COMMERCIAL BREAK - Brand new Memetune Merch - T-Shirts, Tote Bags and Badges - support this channel and search for BENGE BANDCAMP and look for the merchandise section

PATCHING TODAY - The EMS VCS3 (and friends) from the late 1960s

VIDEO LAB - In this episode - a look at ALIEN WORLD BUILDING, based upon the world of Benge’s short film “Proof of Hyper-travel”

////////////////////////////////////////////////////////

LINKS:
Todd barton & the Krell Patch (Buchla tutorials): http://www.toddbarton.com
Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com
Memetune Studio Instagram: https://www.instagram.com/memetunestudio
Benge / Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com

////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2023

UVI Introduces Synth Anthology 4

video uploads by UVI

Note the above is a playlist featuring 4 videos. You can use the player controls to skip through them or just watch them all in order.

Details on Synth Anthology 4 follow:

The authentic sound of 200 synthesizers, from vintage to modern
4,000+ presets and layers deliver incredible sound with hardware soul
Feature-packed dual-layer engine with fx, arpeggiator and more

Synth Anthology 4 - A Synthesizer Tour de Force
https://www.uvi.net/synth-anthology-4

Rebuilt from the ground-up, Synth Anthology 4 now features the authentic hardware sound of 200 vintage and modern synthesizers, a fully redesigned engine with powerful features, fx, arpeggiator, smart sound suggestion engine, native MPE support, and more.
A dreamlike collection!

Also included in SonicPass ➡️ https://www.uvi.net/sonicpass

Video credits: Anthony Hak
Music Credits: Théo & Thomas

"The Best Keeps Getting Better

What's new in version 4?

Almost everything!
We've rebuilt the engine from the ground-up, added more synths, more presets, more effects, more filters, more modulation, a dedicated browser, a second fully-customizable layer for creating hybrid and blended timbres, an all-new smart suggestion engine that helps you quickly find similar sounds, a more powerful arpeggiator/phraser, bus effects, native MPE support, and more!

Real Hardware Sounds There is something unmistakable about the sound of a real hardware synth, from subtle differences between voice circuits and drift to the varied way filters bite into the sound; there's a distinct character and energy. Synth Anthology 4 delivers the authentic and uncompromising hardware sound with all the conveniences of a modern software instrument.

Every piece of hardware represents a unique creative vision, sonic character, innovations, and strengths. Whatever you're looking for, from analog to digital, vintage classic to future classic, you will find it here. Synth Anthology 4 delivers an incredible collection of hardware, every major manufacturer, every type of synthesis, every era, 200 synthesizers in all.

You won't find a more complete collection anywhere else."

The list:

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ERICA SYNTHS SYNTRX // EMS SYNTHI A SYTLE MATRIX SYNTH // IBANEZ UE-305 ANALOG MULTI FX

video upload by LESINDES

"New to my studio ERICA SYNTHS SYNTRX. A synth basically inspired by EMS SYNTHI A. Erica has presented a black und more reasonably priced version 2 of SYNTRX with enhanced features but I think this one gets closer to the original. In the new one there a digital multi FX unit instead of the classic spring reverb and also filters were told to be different...
This was the first time I ever played this type of synth. I did not have not even a software model to train with. Since it is a bit unusaul to connect the components of this synth via matrix (nothing prewired as in other semi modular synths like ARP 2600 or ARTURIA MATRIXBRUTE ) it tok me a while to be productive.
SYNTRX with a littel help from IBANEZ UE-305: analog delay and chorus.
No keyboard. Only one patch + joy stick action. Internal
spring reverb is doing a very good job.
This is an amazing instrument!

Contents:
Min. Chapter
00:00 Intro
00:09 Session 5 / In Space
03:11 Bizarre Melody Pool
05:04 The Heavy Hum
07:56 Steel Factory
08:46 In A Crammed Place
10:10 Geysers
11:18 Classic Space
13:00 Jumping Balls
14:57 Entering The Factory
17:16 Laser Battle
19:20 Going Home After All
20:00 Credits"

Analogue Solutions Colossus Quartz Synthesizer Expanders

video upload by Analogue Solutions

Press release follows:

Analogue Solutions ‘splits’ Colossus AS200 Slim synth into ‘quarters’ to create Colossus AS250 Quartz range of expanders with possible piecemeal purchase

SHATTERFORD, UK: having shed some pounds off its ‘against-all-odds-created’ Colossus AS100 Classic super-synth (that took its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS as one of the largest and most expensive examples ever birthed by anyone anywhere) to create Colossus AS200 Slim as a comparatively slimline version pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Colossus AS250 Quartz as a range of add-on expanders — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to enhance existing Colossus systems or other modular synthesisers while also allowing for piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost — as of May 2…

As a range of add-on synth expanders, each Colossus AS250 Quartz ‘quarter’ has a specific set of general features and is named accordingly: AS250-VCO — comprising a bank of 12 voltage-controlled oscillators (OSCILLATOR 1 through to OSCILLATOR 12), plus two noise generators (NOISE GENERATOR 1 and NOISE GENERATOR 2), RANDOM VOLTAGE GENERATOR, SAMPLE AND HOLD, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; AS250-Scope — comprising four discrete voltage-controlled amplifiers (VCA 1 through to VCA 4), four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two low frequency oscillators (LFO 1 and LFO 2), LCD (Liquid Crystal Display) OSCILLOSCOPE as standard or CRT (Cathode Ray Tube) OSCILLOSCOPE optionally available, and TOUCH KEYBOARD CONTROL / SEQUENCER; AS250-VCF — comprising eight voltage-controlled filters (with FILTER 1 through to FILTER 4 each of a SEM-type 12dB multimode design and FILTER 5 through to FILTER 8 each of a Moog-type 24dB low-pass design) with an associated VCA each, four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two spring reverbs (REVERBERATIONS 1 and REVERBERATIONS 2) with three real mechanical springs each, two RING MODULATORS, two SLEW LIMITERS, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; and AS250-Seq — comprising a 64-step analogue SEQUENCER (capable of operating in four different playback modes), four backlit moving-coil SIGNAL METERS, two JOYSTICKS, two MULTIPLES, MAIN MIXER, and two SUB MIXERS.

Modular by nature, it goes without saying, though, that each expander in the Colossus AS250 Quartz range features extensive patching capabilities with almost all parameters connectable via dedicated 3.5mm jack sockets, which when used in combination with those 31 x 15 ANALOGUE PIN MATRIX ROUTING panels — patch using (included) 3.5mm mono mini-jack leads to/from the synth circuits themselves to any matrix channels to be used, then patch using (included) red (10 kΩ) and black (0 Ω) pins accordingly — allow signals to be easily split and sent to multiple destinations with minimal cabling. “It is impossible to test every combination of patch,” proclaims Analogue Solutions Founder Tom Carpenter, before adding: “Some patches might produce unusual but still interesting results, or you could get something not mixing or buffering in quite the way you expect — just remember this is a living analogue synth, not a giant software controller that has clinical ‘perfection’.”

Put it this way: all voice and modulation circuits involved in Colossus construction are 100% analogue; in fact, Analogue Solutions steered purposefully away from digital technology to the extent of avoiding any MIDI (Musical Instrument Digital Interface) connections — those in need can, after all, always turn to third-party MIDI-to-CV boxes or Eurorack modules — though there are, of course, digital elements to the sequencer control involved in the aforesaid AS250-Seq expander that are unavoidable. As a brief aside, it is worth noting here that classic analogue sequencers like ARP’s advanced-for- its-time Model 1601 (launched in 1976) deployed digital logic chips while the colossal EMS Synthi 100 — itself inspiring Analogue Solutions’ Colossus concept from the get-go — even featured a digital sequencer that was truly ahead of its time.

Each expander in the Colossus AS250 Quartz range is — in keeping with that Colossus concept — large scale... think large knobs controlling metal shaft potentiometers, multi-turn vernier-VCOs, and panel-dominating pin matrixes constructed from eye-wateringly expensive Swiss-made broadcast-quality signal routers. Reality has it that the Colossus concept is a no-expense-spared super-synth. Indeed, it is fair to say that high-quality-constructed synthesisers such as the ‘complete’ Colossus AS100 Classic or Colossus AS200 Slim — also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself — only come around once in a decade, or, possibly, a generation. It is, of course, also fair to say that this comes at a cost. Thanks to the timely introduction of Colossus AS250 Quartz — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to create a range of add-on expanders enhancing existing Colossus systems or other modular synthesisers, piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost is now an option.

Limited quantities of the Colossus AS250 Quartz expander range are available to order — priced (excluding VAT and delivery) at £6,900.00 GBP (AS250-VCO); £5,500.00 GBP (AS250-Scope); £6,900.00 GBP (AS250-VCF); and £5,500.00 GBP (AS250-Seq) — directly from Analogue Solutions’ dedicated webpage here: https://www.analoguesolutions.com/colossus-quartz"

Analogue Solutions COLOSSUS CLASSIC - (Limited Edition w/ Black Wood Sides)

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

via SYNTH CITY Reverb

Note auction links are affiliate links. See the site's privacy policy for more info.

"This demo unit was featured at Knobcon 2022, now on display here in our showroom. Can be freighted anywhere in the country, please contact us for more info!

Analogue Solutions is excited to introduce Colossus, an exciting new mega-synth with a design ethos truly from the dawn of analogue synths. It is more than a powerful analogue ‘workstation’ - it is also art, architecture, exquisite studio furniture.

Design inspiration is of course from the 1970’s EMS Synthi 100, however, no circuit from the Synthi has been cloned or copied. We prefer to make our own designs. We have chosen some of our favourite circuits from our own large back catalogue synths such as Polymath, Telemark and Vostok.

Colossus is not a Synthi 100 clone - all circuits are non-EMS, Analogue Solutions’ design.

The original Synthi was so large it wouldn’t fit through a standard doorway. We didn’t make that mistake but don’t underestimate it’s size. It will be prominent in your studio, or art gallery!

It is sized at 1585mm wide, 700mm deep and 655mm high and weighing in too big to fit on the scales. It’s not entirely practical, but to be impressive physically and in sound. It will be an awesome centre piece to your studio.

*diagonal dimension is a little less for those with tight door ways - about 620mm effective width.

Also we have found putting Colossus on its end, you can pivot it through narrow doorways (more details in the manual).

All the voice and modulation circuits are of course 100% analogue. We purposely steered away from digital, it doesn’t have MIDI or USB (there are plenty of MIDI converter boxes out there should you need that facility). This wasn’t designed to be the solution to your modern digital studio but rather a serious analogue power house of sound. There are of course digital elements to the sequencer control - that is unavoidable - even classic analogue sequencers like the ARP sequencer using digital logic chips. In fact the Synthi 100 features a digital sequencer.

This synth is purely for those who want it just as it was in the 1970s - but new with parts still in production.

Colossus is large scale, featuring large knobs that control metal shaft potentiometers. VCOs have multi-turn verniers. The two enormous pin matrix panels dominate the horizontal panels - these are incredibly expensive Swiss made broadcast quality signal routers - 1 for CV and 1 for Audio.

There are two spring reverbs, touch keyboards, step sequencers, moving coil meters, joysticks and so much more. An immense expanse of jack sockets for additional patching within or without the system.

There are no gimmicks - this is pure synthesiser. A huge sound enclosed in a solid metal case wrapped in solid hardwood. No expense has been spared to bring this incredible machine to life.

Synthesisers like this only come around once in a decade, or possibly a generation."

Rare EMS Vocoder 2000

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

via this auction

"Beautiful Black version EMS vocoder 2000
Release in the early 80s.
It will be fully serviced prior to sale."

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Loula Yorke - Busy Visits.. EP005

video upload by ALM TV

Note the eurorack log cases.

"Loula Yorke is a live artist and composer who uses sound, video and participation to create noisy artworks. Dancing in the spaces where the personal meets the political, her electronic music practice conjures moments of revolt as well as revealing hidden systems of control.

We met up with Loula at Asylum Studios to chat about her unique improvisational process, relationship to music and art, and her influences along the way.

https://loulayorke.com
https://loulayorke.bandcamp.com
http://instagram.com/iamloula"

Black DIY synth with banana jacks at 4:02. Similar in shape to an EMS VCS3 Putney / SYNTHI.

P.S. I did a search on black EMS to see if it was ever mentioned before. I didn't find it but some other interesting posts came up. Every now and then you can find interesting things in the archives just searching on radomn stuff.

NEW! AJH Synth DUAL RVG Random Voltage Event Generator

An Introduction to this Eurorack Generative CV Source video upload by AJH Synth Official

"This is the all-new, Limited Edition DUAL RVG module for Eurorack modular. It is based on the original EMS Random Voltage Generator, providing the functions of the original, but adding substantially more. It uses the same uni-junction transistor ramp & hold circuitry of the original, incredibly rare vintage unit. It produces 2 separate random voltages, that can be triggered by it's internal clock or external gate signals. However, unlike a a common Sample & Hold, it also has random variation of it's internal clock, the amount of which can be added/adjusted manually, or controlled by CV. Additionally, it has a gate output that can be used to trigger other modules in time with it's internal LFO, and also has Triangle and Sawtooth outputs, which are also affected by the internal LFO, although these can also be used as a voltage-controlled LFO, as the module's internal clock speed can also be controlled by CV.

This super-flexible Eurorack recreation is both authentic to the technology, character and behaviour of the original, whilst offering a serious amount of random goodness for experimental, generative music, whilst also having provision for more controlled duties, from regular twin Sample & Hold duties, to voltage controlled frequency modulation.

00:00 Intro
00:27 Overview
03:27 A Closer Look

10:49 Some usage examples"

Video by DreamsOfWires

The Dual Random Voltage Event Generator (Dual RVG) is a faithful replica of the vintage EMS Random Voltage Generator. It is an all analogue design which generates two separate random voltages that can be timed either from the internal LFO or from an external clock. However, one of the most interesting features is that varying amounts of randomisation can be added to the internal clock rate with the Time Vary control - so with this we can randomise time period in addition to voltage.

The TR-IN input allows an external clock to be used instead of the internal LFO. When the LFO is stopped two new random voltages can be generated with each press of the manual Trigger button.

We have added many useful features that were not present on the original design, including Level and Offset controls for both outputs, adjustable Slew on Output 1, control of internal LFO run / stop from an external Gate signal, control of LFO rate using an external CV, and the LFO output is brought out to the front panel as both a Sawtooth and Triangle wave and both of these waveforms are skewed as Time Vary is added to the LFO rate. We have also added a gate output that produces a gate for each internal clock pulse, and this gate length changes in proportion with the time variance. The duty cycle of the gate can also be varied from 1% to 99%.

Module Width: 14hp

Module Depth: 26mm (Including power lead)

Current Usage: 95mA Positive, 70mA Negative

Provisional Information
We have taken the original EMS RVG design and re-created it in Eurorack format, and added many extra features that make it a considerably more useful in a modern day modular system, but of course it can also be used with other synths too and with a suitable conversion cable it can be used with the original EMS VCS3 and Synthi A or Synthi AKS.

Limited Edition
The Dual RVG will be available with either a Black (Dark Edition) or Silver front panel. Just like the original EMS RVG the circuitry uses vintage unijunction transistors for both the ramp and hold and LFO circuits, these are quite rare and we have only obtained enough UJT's to build a limited number of modules, Therefore the Dual RVG module is being released as a once only, strictly Limited Edition of 250 units worldwide.

Expected delivery in first quarter 2022, and it can be pre-ordered from many AJHSynth retailers.

See the dealers on the right.

The Gmebaphone Concept and the Cybernéphone Instrument

This one is in via Asbjørn Blokkum Flø. "Here is an interesting synth produced in various forms from 1973-2001. It was produced in various analogue and digital forms. If you do a Google image search for 'Gmebaphone' you will see a few different versions. The music of Christian Clozier and Françoise Barrière probably includes the instrument. I tried the instrument at the Bourges festival in 2004, and it was quirky but fascinating."

via https://ur.booksc.eu/book/43779232/b24219

"The Gmebaphone is an instrumentarium consisting of amplifiers, sound-treatment systems, loudspeakers, a console, and a processing system designed and built for live diffusion and performance. The specifications for the instrument were dictated by musical criteria. The musical interpretation of a work is based on analysis of the work and on analysis of its physical signals. Thus, the instrument is able to provide a pertinent acoustic rendering of a work’s sonic complexities (in terms of timbre, time, and space) directly under the performer’s control, thereby allowing transparent and expressive interpretations. The Gmebaphone is a processor/simulator of sonic electroacoustic space, as well as a polyphonic acoustic synthesizer of musical spaces. It is an instrument comprised of the hierarchical combination of a control system with memory, tablatures, and combinatory modes of play that give rise to a rich and workable system of interpretation and expression."

Also see https://collectionsdumusee.philharmoniedeparis.fr/

Image below with an E-Mu Modular in the back ground, and EMS Putney on the left via here.  Not sure what the black system on the farl left is.  If you know feel free to leave a comment. Also if you know if any demos of the Gmebaphone let us know!

P.S. The design reminds me of various equipment featured in synth rorschach posts.

See the exclusive label for more of the rare of the rare in the synth world.

Update: additonal info in via Asbjørn Blokkum Flø:

I've looked further into the Gmebaphone.

It basically looks like a system for live surround sound for electronic music, or as it is called "diffusion" of electroacoustic music. The surround setups could be very complex with up to 50 loudspeakers of various shapes and placements, a bit like the Acousmonium (GRM 1974-) [link]

The term 'acoustic' is used several times in the article. This seems to describe how loudspeakers interacts with the acoustics of the space, and not acoustic sound sources in the traditional meaning the word.

Being built as a custom instrument for live performance of electronic music, it is more of a musical and compositional tool than a conventional analogue or digital mixer.

It evolved over the years, but the latest model seemed to have a 76 channel mixer with 8 inputs and 16 outputs, with the possibility of digital treatments (phasing, delay, reverberation, and detuning).

From the article:
'The console has a total number of 76 channels of diffusion (36 are touch-controlled and 40 are digitally controlled via the screens) spread over 16 master outputs and eight master inputs. [..] Pull-down menus control digital treatments (phasing, delay, reverberation, and detuning).'

The article describes 6 different models (with photos):
Gmebaphone 1 (1973)
Gmebaphone 2 (1975) - 6 inputs, 2 "networks" (outputs?).
Gmebaphone 3 (1979) - 8 inputs, 22 outputs. Manual analogue control as well as digital computer control.
Gmebaphone 4 (1983) - Digital playback of soundfiles. Digital treatments (phasing, delay, and timbre).
Gmebaphone 5 (1992) - sequencing, graphical interface, automation.
Gmebaphone 6 - (renamed Cybernéphone) (1997) - 8 inputs, 16 outputs, 50 loudspeakers. Possible to save files to CD-ROM.

This page mentions the Gmebaphone number 7 / Cybernéphone (2005): [link]

The convoluted language of the article reminds me of the writings of French composer Pierre Schaeffer, and can be a bit hard to decipher.
--------
There is also some information on a large number of synthesizers that they produced between 1973 and 2008. called Systhysysop (1976), Charybde (1985), Gmebogosse (1972-1999) and Cybersongosse (??-2008?).

They are described in this article (with images): [link]

Many nice images here: [pdf link]

Another article: [link]

More images: [link 1 Also captured here] [link 2] [link 3 Also captured here]

These instruments was also made at the International Institute of Electroacoustic Music at Bourges /IMEB. Read more about IMEB here (use Google translate). [link]

You have written about the Cybersongosse before: [link]

I could not find any audio clips.

All the best"

AJH Synth Patch of The Week Videos

video uploads by AJH Synth Official

Videos by supoorting member, DreamsOfWires.

Playlist: 1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave

'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion.
The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.

Index:
00:00 'Sonic Arps'
00:34 Introduction
01:01 Assembling the patch
01:39 Sounds & Settings
04:33 Patch Sheet

A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG

Patch notes:
Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels.
Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.

2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet

This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet

This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.

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EMS Synthi AKS 73' Vintage Synthesizer

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

via this auction

Pics of the inside below.

"This beautiful AKS was restored and serviced recently. The shape is very good thinking that is an instrument of near 50 years. Some marks of use and time can be seen, take a look the pictures for close detail. But maybe you know that is very difficult to find this kind of instruments with no marks of time or use. Most important is that this unit was never modified, is full original condition with no drills or non reversible modifications that you find in another units usually seen. This unit looks and works like the original. Also includes the very interesting prestopatch socket. This is definitively the best Synthi A version with this features, finish and wild vintage sound.

Some service details are:

Deep cleaning of all electro mechanic elements, potentiometers and switches. All original potentiometers recovered and working smooth now.

Full polarized recap service, any vintage EMS with original polarized capacitors have surpassed the life span, must be replaced. With this service enjoy more decades of reliable capacitors. Taking care carefully of the compatible values and parts for ensure the original behaviour and sound.

Replaced crackled film capacitors. Some vintage EMS suffers from crackle polyester capacitors that need to be replaced for ensure good work. When requeried, new fresh polyester capacitors are used for this replacement

All bad/crap original trimmers replaced with good quality ones. Added precision multiturn potentiometers at VCO tracking for very musical close matching.

Temperature compensation for VCO 1 and 2 following the EMS bulletin. Now the track and tune keeps very stable for long sessions. Finally is possible to play it musically precise.

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Teenage Engineering Eurorack, POM-400 Matrix Kits & Talking to Aliens with a Steiner Masters Touch

Talking to Aliens video upload by Dave Vondle

This is a bit of a triple post. Dave Vondle of http://matrix.vondle.com wrote in to let me know the final 9 units of the Ghielmetti Pin Matrix Kit for the Teenage Engineering POM-400, previously posted here, have been completed. It's featured in the video above and in a post by Teenage Engineering on converting their Pocket Operator Modules (POM) to eurorack.

That said, first the description for the video above:

"Figured out how to communicate to extraterrestrial organisms.

The Calmset 3 connected to my brain is generating the frequencies - and the Masters Touch is taking breath, bite, and touch into the Teenage Engineering POM-400 (with my matrix kit attached). Breath controls the amplitude and bite/touch modify filter parameters. This all runs through the VOCU tape echo."

See here for some additional posts featuring the Masters Touch including pics. You can also find some info on Patchman Music here.

Second, info on the final batch of Matrix Kits from http://matrix.vondle.com:

"Over a year ago I created a bolt-on kit to turn a Teenage Engineering Pocket Modular 400 into a matrix synth like the EMS Synthi. Instead of using cables to patch outputs from one module into inputs of another, you use the supplied pins to connect a row (output) to the corresponding column (input).

I have completed the final batch of 9 kits, as the manufacturer of the matrices recently went out of business. Teenage engineering just wrote a blog post featuring the kit, so I figured it would be a good time to get these last kits out there.

More info about the kit:

The matrix itself was made in Switzerland by the established patchbay company, Ghielmetti, and the kit simply bolts onto the back of the POM-400 modules with the supplied hardware - there is no soldering required. Once bolted on, it enables you to make 100% of all the patches you could otherwise make using cables, with the added benefit of having virtually no restrictions on the number of available outputs and inputs for each module. Patch cables can still be used in conjunction with the matrix for interfacing the system with external modules and running sound out from the device.

I thought you folks might be interested! For more details and to place an order go to matrix.vondle.com

Bonus Video - Here’s me when I patched a Steiner Master’s Voice into the POM-400, with the kit installed:" [above]

Third: eurorack conversions for Teenage Engineering's Pocket Operator Modules (and euro racking Pocket Operators):

via Teenage Engineering: eurorack is a very common system format when it comes to modular synths. there are tons of modules and manufacturers on the market and the pocket operator modular series is eurorack compatible. this means any POM system can be used together with any other module, from any other brand. while the pocket rack format is slightly smaller than eurorack, you only need some minor tweaks to fit your pocket operator modules in your eurorack system.

here are a few ways to 'eurorackify' your pocket operator modulars and pocket operators, plus a bonus mod to really expand the capabilities of your POM-400.

eurorack front panels for POM
the two companies malm.audio and jklmnt have joined forces and created custom eurorack front panels for the complete range of modules available in the pocket operator modular POM-400 and POM-170. pick your favorite module and mount that in your existing eurorack system, or create a complete replica of an entire system. the various panels range from 6 hp width, up to 18 hp.

power adapters
they've also made a convenient power adapter that easily converts the power connector from pocket rack to eurorack. no soldering is required and everything above is available through the oddvolt webstore.

pokit for POM-16 by grayscale
the company grayscale makes modules and stylish eurorack front panels for a lot of products. their pokit is a eurorack conversion kit for the POM-16 keyboard. the front panel has a matte black finish and is 42 hp wide. the kit even comes with matching gray official knobs. this is a great option for enabling your system with the 4-channel sequencer, arpeggiator and keyboard that is the POM-16.

pocket operators and eurorack
the usually hand-held regular pocket operators can also be used in a eurorack system. this could for instance be a great way to create a portable and powerful grab-and-go live performance instrument, or to have pocket operators tightly and neatly integrated into your studio setup. here are two examples of how to mount pocket operators in a eurorack case.

EURORACK ADAPTER BY LPZW:

POKIT - EURORACK CONVERSION KIT FOR POM-16:

Analogue Solutions Now Available in Black

via Analogue Solutions:

"Limited Edition Colossus (in black) is now available!

👉 Contact us for more information or visit the AS website for reservation and purchase info (see below)

http://www.colossus-synth.com"

Update: video & description added below.
video upload by Analogue Solutions

"This is a limited edition black version of the classic Colossus synthesizer!

We have chosen some of our favourite circuits from our own large back catalogue synths such as Polymath, Telemark and Vostok.

Colossus is not a Synthi 100 clone - all circuits are non-EMS, Analogue Solutions’ design.

The original Synthi was so large it wouldn’t fit through a standard doorway. We didn’t make that mistake but don’t underestimate its size. It will be prominent in your studio, or art gallery!

It is sized at 1585mm wide, 700mm deep and 655mm high and weighing in too big to fit on the scales. It’s not entirely practical, but to be impressive physically and in sound. It will be an awesome centrepiece for your studio.

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One of a Kind EMS VCS4 Prototype to Make Post-Lockdown Debut This Year

You might remember the EMS VCS4 from this post back in March of 2020. It was scheduled to make an appearance last year but the event was postponed due to the pandemic. I beleive it is now slated to debute on June 25th this year. You can find details on the upcoming event here. Note it states the debut is on Friday, May 25, but today is Saturday, May 28, so that date is clearly wrong. June 25 lands on a Friday, so I'm guessing that is the date.

"The VCS4 prototype (a live performance model which combines two VCS3s with a ‘base station’ featuring keyboard, external audio input mixer, and signal processing inside a wooden cabinet) was built in 1969 - 1970, but was never brought into mass production. A second, but very different, VCS4 prototype is owned by Matt Black of Coldcut."

You can see Matt Black's VCS4 in this post from 2014.

There might have been a third VCS4 design, a follow-up design to the VCS3 you can find posted back in 2006.

This one was spotted and sent in via Soviet Space Child.

EMS VCS3 The Putney Mk1 Semi-Modular Synthesizer w/ DK1 Keyboard SN 349

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

via this auction, also on Reverb

"PHYSICAL CONDITION: Excellent- Super clean all around. Some of the black lettering on the front is spotty but everything is legible. Some of the knobs have very minor scuffs that one could only see upon close inspection. A few minor dings on the wood cabinet but nothing that catches the eye. Overall, the physical condition of this synth is excellent.

WORKING CONDITION: Excellent - Maintained by a consummate professional. This synth is 100% original with no modifications or repairs. This synth is in excellent working condition. Lights and meter in perfect working order. All knobs and switches feel good. Patch bay and pins all in good shape. Overall, the working condition of this synth is excellent.

UNPACKAGED WEIGHT: 30.20 lbs."

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Formant Synth Dream

Update as of 9:26 PDT: I made a couple of minor updates in case you read it before then. Sorry!

A quick note on posts like this: I hope you enjoy them. If not, just skip them. When I first started the site I used to share my synth dreams but stopped. Personally I get a kick out of them. I won't share every one, just some of the stand outs. The last one stood out for the humor, this one stood out for the design of the instrument. It reminds me of different makers and their approach. As a maker, do you set out to design a synthesizer, an instrument, or both? Are you locked in by the tools, components, and paradigms of what makes a synth? In my dream both the musician and the maker (who never made an appearance BTW) didn't really know what a synth even was. The maker just designed an instrument and the musician just played it. This reminds me of Don Buchla's original designs and specifically the Buchla Music Easel. This was at the birth of synthesis as we know it. What's interesting is his designs weren't meant to be what they are commonly perceived as today. They were meant to be unique instruments, palettes for sound, hence the Music Easel. I heard even his modular systems weren't meant to be complete fixed instruments, they weren't meant to be mixed and matched. Think about that for a bit. They were modular in design, but they weren't meant to be modular in nature. They were meant to be wholly formed instruments. In the following dream the musician reminded me of Marc-Henri and Barry Schrader to an extent. Marc-Henri almost exclusively uses an Access Virus Ti as a music easel for his compositions. Barry Schrader started with Buchla and then moved to FM synthesis for his compositions. You can find an extensive interview with him here.


And the dream...

I had another synth dream last night. In this one I was at an ensemble event held in kind of a classroom/workshop/gym-type of open space at what felt like an old English or New England boarding school - lots of wood, flat tall ceilings, and windows along the length of the far wall. The ensemble consisted of maybe 18 people in a semi-circle with a small audience in front of them, mainly standing, which I was one of. The instructor had each member of the ensemble introduce their instruments. I was in front towards the left of the ensemble and noticed the last two instruments to be electronic desktop boxes sitting on a card table (synth gathering anywone?), both vintage and almost DIY looking in style. I remember thinking, "I know what these boxes are. They are synths! I can't wait to talk shop with the owners and check them out." Well the instructor starts going around the ensemble starting on the opposite side. Each member introduces their instrument and talks a little bit about them and their technique. There were some interesting brass-like instruments. I think there was one based on an alto trombone, but it was just a flat pipe and no horn at the end. Funny side note is my daughter is currently learning to play piccolo. She plays flute in high school band and decided to finally give the piccolo a try as a stretch goal. If you don't know what a piccolo is, it's a tiny flute for super high notes. She said there were tiny versions of most instruments including the trombone. I looked one up and sure enough there is. A tiny trombone not much longer than a foot exists. The instrument in my dream also bore a resemblance to the ribbon controller featured in the Nunomo QUN post, so I'm guessing that's where it came from - some bizarre mix of the two. Anyway, when the instructor/host got around to the last two instruments, it turned out the first was a theremin based synth minus the antennas. It was made of wood and looked vintage. It would have been interesting if not for the next box. That was something. It was black with white and silver sliders, levers, buttons, and knobs. It was a unique instrument custom made for the owner who knew the maker. The interesting thing was the musician wasn't familiar with synths and didn't even see the instrument as a synth. The maker also wasn't into synths. In the dream he was more like a luthier, more of an artist instrument maker than a synth maker. No offense to synth makers! :) Anyway, it was about the size of an EMS SYNTHI and was black with white levers and sliders and had a bunch of esoteric control blocks with non standard names/labels; similar to something like the Hartmann Neuron where controls are familiar but the names are completely different. For some reason it reminded me of a black Lassence uVentury, Modor NF-1, mixed with some MacBeth and Folktek in design, but again completely different. Again, this maker wasn't into synths. This was a unique instrument. After the talk was over the musician gave a little demo. The sound of it. It was like formant analog but the timbers coming out of it were rich and full, not thin or glossy like most formant synthesis. It sounded like nothing I've ever heard before. After the talks were over I walked over to it to check out the controls and design. I wondered if I could touch it and play with it a little and for some reason, as happens in dreams, I knew it was OK so I started playing with it. There was a thin ivory white reed-like lever about an inch and a half long that controlled a female formant timbre. It was amazing. There was an group of lever-type sliders that controlled a multi band formant filter block and I remember thinking, "Oh this is a filter!" There were envelop sliders and other familiar groups that I now forget, but there were a bunch of interesting controls on it that didn't quite match up to common synths. There were additional effects and shaping tools built into the design and everything just flowed like a natural instrument. Again it kind of reminded me in concept to a Hartman Neuron and Modor NF-1, with maybe a bit of Folktek, but it was more vintage and simplistic in design - just a sold black block with white and silver controls. It was definitely designed as a work of art instrument vs. a synth. Similar in concept to the Buchla music Easel as I mentioned in the intro to this dream above. So after checking it out a little and talking to the owner I realized I should take a video of it for the site! I got the OK to film it, pulled out my iPhone, and started trying to capture some of the controls and timbres it was capable of. When I got to that formant female slider it was gone! I couldn't remember what I did to get that sound and I couldn't find the control again. Damn dreams.... And as in many real world sessions I wasn't getting those rich timbres again. I got lost between timbres! I thought my readers would be disappointed in my programming chops for a split second, but then I reminded myself anyone into programming synths will understand and not care, so I kept tweaking. Well, right then, a foster kid boarding at the school distracted me and started talking to me. I hand gestured to him (no I did not flick him off) to hold off for a second because I was in the middle of filming the synth and trying to capture audio. He understood for like five seconds and started talking again. I asked him to give me a sec but he got upset and said I should be there more for people. I felt bad and wasn't getting anywhere with the instrument at that point, so I stopped filming to talk to him before he left.

And that was it! Everything felt right with the kid so that was good, but that instrument! It's gone forever...