"Yamaha DD-8 1992 drum machine featuring a 20-point modulation patch bay. The unit also includes a joystick for immediate performance of four additional effects which are also combined on the diagonal axes for further processing options.
Both of these custom modifications unlock an array of original sounds and rhythmic variations; making a single connection on the patch matrix alters the output but applying multiple connections produces an increasingly complex, sometimes aleatoric range of reversed, tonal, bit crushed, flanged, distorted, aliasing and delayed sounds, additional accents, rhythmic patterns and digital noise. Additionally, the five included patch cables can be stacked for further sonic manipulation.
The DD-8 includes a wide range of rhythmic styles, sound effect samples, 9 percussion sets and echo, flam and roll effects.
The patch bay and joystick affect the 100 tempo adjustable onboard rhythms and, depending on the connections, the velocity sensitive drum pads. The 20 different preset drum and percussion sounds can be individually assigned to each pad. The unit functions as normal when the patch bay is not implemented.
Mains (9- 12v DC) and battery powered (6 x AA), features a 1/4" output, no onboard speaker."
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video upload by Canned Sound
"Kawai K1M 1988 synthesiser module featuring a custom 25 point modulation patch bay, stackable patch cables, original PSU and an original RAM card. The K1M has 256 8-bit waveforms which can be blended and manipulated with the joystick to create unique evolving sounds. It excels at gritty and atmospheric textures, pads and leads and also includes a range of percussion sounds. The patch bay supplements the instrument's capacity for in-depth sound programming with the generation of a wide range of effects to process your patches including inharmonic sound, bit crushing, aliasing, distortion, digital noise, additional intervals and more. The unit functions as normal when the patch bay is not in use."
Note: Auction links are affiliate links for which the site may be compensated.
video upload by Canned Sound
"Rare 1987 Casio SK-5 8-bit sampling keyboard custom modified with a 50 point patch bay. This is a strange, lo-fi, challenging but rewarding instrument which will inspire any alternative electronic musician and sound designer."
"Rare 1987 Casio SK-5 8-bit sampling keyboard custom modified with a 50 point patch bay. This is a haunted, lo-fi, challenging but rewarding instrument which will inspire any alternative electronic musician and sound designer. Nothing is obvious here- the keyboard itself doesn't always function as you'd expect while the patch bay opens up a world of experimental audio possibilities, far outreaching Casio's original intentions- remember, it isn't broken, it's just weird.
When the patch matrix is implemented, an array of warped sounds and effects are generated; applying multiple connections produces an increasingly complex range of cyclic, pitch dropped, fractured, tonal, bit crushed, flanged, distorted, aliasing digital noise and bizarre sequences which affect the presets, onboard rhythms (speed rushes of laser, lion and drum samples) and any sound you record using the sampling feature. The SK 5 is also very good at producing complex drones and atmospheres which can be developed using the five included patch cables- these can also be stacked for further sonic manipulation.
"Rare 1990 stereo drum machine featuring a custom 'sound storm' switch which generates a deep, rumbling, soundscape which glitches and evolves until the unit is switched off. The 25 point patch bay modulates the onboard rhythms and sounds to generate an array of original effects and rhythmic variations. Making a single connection can dramatically alter the output but applying multiple connections produces an increasingly complex range of fractured, reversed, tonal, bit crushed, flanged, distorted, aliasing and delayed effects, arcade sounds and digital noise, alternative rhythmic patterns and additional accents. The five included patch cables can also be stacked for further sonic manipulation.
Features: 8 velocity sensitive drum pads. 100 preset rhythms. 10 drum kits. 1/4" stereo output. 2 x onboard speakers. 608 mm x 281 mm x 105 mm. Takes a 9v power supply or batteries. MIDI In, Out."
"The TX81z is best known for the "Lately Bass" bass patch, so this is a demo of the new punchy and fat bass patches. Of course there are many other great patches in the TX81z banks, the "Deep Space" pad ends the video.. Many of the sounds were inspired from patches from the SY99. The patches go far beyond the "canned" samples sound of the ROMplers of the period.
The patches can be found at https://www.offthematrix.net/product-...
The Franken Kit samples are free to download.
Stock footage that came from PexBell and Leaf Studio is used with a Creative Commons license."
"These banks showcase the true capability of the DX7. No more spending hours going through banks to find the right sound. The DX7 is a truly remarkable synth which can rival modern VL synths. The realism of many of the sounds comes from the 6 operators of the DX7 responding differently to velocity levels, so the sound is dynamic as an acoustic instrument. The patches go far beyond the "canned" samples sound of the ROMplers of the period. more If these patches came out in the 80's they my have changed history.
The sounds can be found at https://www.offthematrix.net/product-...
The video effects were created with Pinnacle Studio 24"
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video upload by Canned Sound
"A presentation of this modified vintage keyboard demonstrating the use of the multi-timbral manual vector controller joystick in conjunction with the custom 30-point patch bay. This turns the unit into a generator of noise, bizarre soundscapes, a range of lo-fi ambient, aliasing, glitching and unison pads, corrupted rhythms and percussion."
"The Yamaha PSS 795 is a rare 1990 49-key digital keyboard which implements Advanced Wave Memory synthesis- the use of real world instrument and voice samples which are looped and/or blended with digitally generated sound. Four of the unit's onboard presets can be assigned to the vector controller- a joystick which allows the user to morph between each of these sounds. With the addition of the custom built 30-point patch bay, this adds up to one of the most remarkable, enigmatic and useful modified instruments Canned Sound has to offer. This feature unlocks an endless array of other-worldly soundscapes, bizarre loops, weird sample hybrids, drones, warped digital distortion, garbled and staccato FM sounds, ethereal effects, powerful unison patches, strange percussion hits and grinding bass tones. The unit also features a switch which triggers completely random streams of noise, sequences, effects and tones- another great option for sampling.
When utilising the patch matrix, each configuration of the five included stackable patch cables produces an often multitimbral range of sounds across the keyboard. The percussion pads and onboard rhythms are also affected. The capacity for the generation of unusual pads, noise and percussive hits is immense; this modified PSS 795 is a source of distinctly different sounds which any alternatively minded electronic producer will find inspiring. Demo to follow.
Specs: 61 mini keys. ROM: 100 sounds, 50 rhythms. 8 percussion pads (46 percussion sounds + voiced numbers 1 - 4 are assignable to each). 4 patch vector controller (a user created movement sequence is writable in the 8 track sequencer). Pitch bend wheel. MIDI: In, Out, Thru. Twin 3 watt speakers + headphone/AUX out. Dimensions: 776 mm x 302 mm x 141 mm. Weight: 4.5 kg."
"1987 12-bit programmable drum machine custom modified to include a heavy-grade distortion switch and a 25 point patch bay. This modification generates an array of bit crushed, flanging, glitching, distorted, delayed, tonal effects, flams and digital noise.
Five patch cables included- these can be 'stacked' for even deeper audio manipulation.
13 pads: tom 1/conga 1, tom 2/ conga 2, hi hat open/bongo high, ride/agogo high, cowbell/whistle, timbale high/ cuica high, bass drum/ tambourine, snare/rim shot, tom 3/conga low, hi hat closed/ bongo low, crash/agogo low, clap/shaker, timbale low/cuica low.
Accent, level, pan for each sound.
User Patterns: 999.
User Songs: 10.
Tempo Range: 40 - 240 BPM.
MIDI in/ out.
ROM Size: 26 PCM waveforms at 12-bit resolution.
Screen: 16x2 character display.
Weight: 1.5 kg."
"Incredibly cool piece of RARE vintage analog goodness. This is a pretty-much-mint condition 1970 Brother Auto Emillion GX-151 Synthesizer/Organ.
Before it was the Baldwin Discoverer DS-50, it was the Brother Auto-Emillion GX-151, manufactured by the Japanese printer company, who later sold the rights to Baldwin.
Made by Brother Industries, Nagoya Japan, and sold in the US under the name Baldwin Discoverer. Which was a favorite of Brian Wilson from the Beach Boys, and later Radiohead, Gorillaz, Beck, Haley Williams - Tiny Desk NPR, etc...
This one’s definitely for the collector, but could also be a fully functioning addition to the keys collection of any recording studio looking for those extremely rare, cool retro vibes.
This analog synth/organ has a number of great preset sounds, as well as the potential to create your own sounds combining different sound voices.
This machine has the ability to record user-created arpeggiated or chord sequences, and this function works perfectly. One saved sequence can be stored on a microchip which is working perfectly, even after powering off. It is also one finger or live automated if desired. Similar to a Suzuki Omnichord, but with a synth/keyboard.
There is a Mic input which can be volume controlled on the interface, expression pedal input, Line out, and Line in, Input jack for DC 12V.
There's a great built-in analog drum machine, with great preset rhythms, reminiscent of the Roland CR-78, and two different rhythms can be played at once, creating nice new combinations.
This is a great sounding machine with tons of character.
Again, it is in collector condition. Comes with the original Instruction Manual, the two original music stands, and complete with the original dark grey Brother carry bag.
Minus one tiny scratch on the left end piece. Every function, knob, and slider is in working condition. It’s been in storage for a few years, so some of the pots are scratchy, could use some canned air or contact cleaner. All in all, it’s in fantastic shape.
Purchased in Ireland, Comes with the original European 250v Brother A/C adapter. I’ll include the after market 12v USA adaptor pictured."
Starter Kits | Episode 03 | Production Value
video by Cinematic Laboratory
"In this episode I'll give Plaits a final run, teaming up with Frames, Blades and Beads. I wanted to try and create a full track using Beatstep Pro & Ableton Live with Plaits as the only oscillator (and Beads for some effects). It's a weird futuristic track, but hey, it must sound 'minimal modular'. Uploaded earlier today, but I wanted to take out some things I am not sure about yet."
Starter Kits | Episode 04 | Bloom, Pico System III, Desmodus Versio
video by Cinematic Laboratory
"After three episode of Plaits it's time to go analog with the 'westcoast' inspired Erica Synths Pico System III, Qu-Bit Bloom sequencer and the insane Desmodus Versio reverb. The workflow is completely different and you'll have to make your sounds from scratch. It sounds completely different too! Technically, it's three modules, but Pico System III has 13 'pico' modules stacked away under one faceplate. So it's definitely a mini-modular with huge potential, but you have to discover it yourself!"
Starter Kits | Episode 05 | VPME Quad Drums & friends
video by Cinematic Laboratory
"In this episode I've joined Pamela's new workout and Mimetic Digitalis with the 'canned fun' Quad Drums module from VPME. If you have to start small, this is a great module to get totally eurorack addicted. I also makes it very easy to explain why modular synths are so cool.
There's a snippet of WMD Metron in the video to explain the difference between Pam's clock magic and a full rhythm sequencer. If making beats is your true love, then Metron will help you to build your ultimate modular drum machine patterns."
"I got an early Christmas present two days ago. I thought I would show you some of the patterns I’ve created so far, and give a quick 'first impression' review of the Teenage Engineering OP-Z.
I’m coming from the Novation Circuit, which I’ve loved, but I was starting to feel the limitations of the two synth tracks and canned presets. I chose the OP-Z so I could expand the number of synth tracks, allow full control of the synth engines without a computer, and use its awesome, esoteric sequencing capabilities.
I’ll start off with some of the things I like. First, the synth engines sound wonderful. They are very usable and musical sounds. I’ve found myself spending less time trying to find the right sound and more time writing music, because the sounds just work in almost every context. I feel like I could use the same set of sounds across diverse genres equally well. I’m able to focus more on melody and composition, rather than sound design, which helps me be a lot more productive.
The step sequencing and punch in effects are fantastic. I haven’t used it enough yet to be comfortable using the punch in effects live, but the step components are great at adding elements of variation and surprise. You can make it so you’ll never hear the same 16-step pattern twice, but the parameters have enough constraint that it never feels chaotic (unless you want it to).
It’s super portable, and the built in battery is convenient. I’ve only had to recharge it once in the two days of use. I don’t think it’s too small to use comfortably, and it’s actually quite nice to just use it on your lap. I can fit the whole thing in my pocket easily. The buttons feel good to play.
The interface is surprisingly intuitive. It took about 2 hours to feel comfortable with the interface, and now I feel like I can perform most of the tasks without consulting the manual. I only have to reference the step component parameters every once in a while. I have an Android phone and didn’t realize until the second day that TE had just released a beta app. Honestly, I didn’t find it too useful. I prefer using it without a connected screen.
The sampling capabilities are great, especially now that you can sample directly through the microphone or USB audio. I’ve been going through my music collection on my phone and building sample packs from them right into the OP-Z. You can use samples as one shots or sources for a synth track, so the sonic capabilities are now pretty much endless.
Here are some of the things I don’t like. First, the reverb is terrible. I don’t know what TE were thinking. There’s only one reverb algorithm, and it’s very digital and harsh sounding. There’s almost no tweaking of the sound. The maximum decay time is much too short. It’s almost useless at adding large space, so I’ve found it really only works as a stereoizer. It works in some cases, but I don’t find myself using it very often.
I’m slightly concerned about build quality. I bought mine used off Reverb, and when I received it, I was disappointed to find that the encoders were popping right out. I scoured the forums and found a little Teflon thread tape around the encoders should fix the problem. It worked wonders and I haven’t had problems with that since. The back panel is a little loose. The buttons do double trigger every once in a while, which makes me worried for their longevity.
The synth engines, while great sounding, are a little limited. There’s not much tweaking of the sounds, so everything ends up sounding pretty similar. This is less of a con than I thought, because the sounds are very usable and work across many genres. I’ve always held that composition much more important than sound design, anyway.
I wish an analog of the mixer interface on the app was available on the device. You have to go to the fourth page of parameters on each track to change its volume. That’s not very practical in a live setting.
There’s no excuse for how little memory is on board. 32 Mb is just unacceptable in 2019. As great as the sampling capabilities are, there’s only room for 4 different six-second samples per synth track, so you have to pick your favorites unless you want to constantly shuffle samples back and forth from your computer.
Despite its limitations, I’m in love with this thing. It’s my desert island instrument for sure. I am super productive while using it, I can take it anywhere and make music anywhere, and it’s just plain fun to use. Mine was supposed to get wrapped and put under the Christmas tree, but I don’t think I can let that happen."
This one was sent my way via Pat. Note although the primary focus of radiator is a laser light synthesizer, it has audio and CV out. I asked Andrew Kilpatrick about the audio out and he had the following to say:
"Normally the outputs would carry the X and Y signals that move the mirrors. I’ve experimented with it quite a bit and generally it sounds like a very stereo drone, but it could be used as a pitched sound source with voltage or MIDI control. The cool part is that you hear what you see, so it’s basically the most true kind of visualization!
We intend to also have modes that modulate the laser to audio or CV inputs, allowing any parameter of the laser patch to be controlled in real-time from another instrument. Radiator is a flexible type of synth with a modules optimized for making vector graphics, but it all works in the audio range so there are many creative possibilities for musicians."
And regarding the CV out:
"The CV outputs let you use the internal LFOs as sources for other synths and effects. Since a laser preset might have some kind of rhythm to it, you could patch this to other gear to have it work in sync."
The following is the official press release for radiator along with some hi-res pics. Click on the them for larger versions:
Wednesday, February 17, 2010 - 7:30PM Microsoft Studios 4420 148th Ave NE, Redmond WA 98052, Building 127
Our February meeting features some of the rising stars of the new wave of Modular Synthesis giving demonstrations of some innovative new products as well as showing off some of the more tried and trusted, but never completely predictable, modular delights. This will be a great opportunity to play catch-up for those of you who may be new to the world of modular synthesizers - a world of infinitely variable possibilities that started in the early 70s when modular synthesis was pretty much the only way to go. If you're old enough, think back to the Buchla, Moog 900-series, and the ARP 2600 synthesizers. If not...
In the beginning, there were several separate modules, each responsible for a specific aspect of sound creation: Voltage Controlled Oscillators (VCOs), Voltage Controlled Filters (VCFs) and Voltage Controlled Amplifiers (VCAs). It wasn't too long afterwards that Low Frequency Oscillators (LFOs), Sequencers/Arpeggiators, and Envelope Generators joined the party, creating a broad range of wonderful synthesized sounds. The flexibility of such a system was tremendous - primarily because the modules were connected together by patch cords, encouraging sound exploration and design. That flexibility came at a cost - complexity and price. The modular synths of the day were well out of range of all but the most serious musicians and academia. In addition, the different manufacturers had proprietary sizes and interfaces for their equipment.
This complexity led to an integration of functionality - the standard modules and patches that create sounds were put together and pre-patched, with control mainly of the parameters of the components, but not their order/configuration... These units incrementally came down in price until the pendulum swung furthest in the mid to late 80s. Here we had synthesizers whose human interface consisted of a couple of 7 segment LEDs and a data slider. The majority of the "patches" (named for the earlier use of patch cables to build a sound) were pre-set and canned. Much of the joy the synthesist derived from creating and manipulating their own sounds in real time evaporated. On the other hand, for live performance, a synthesizer with presets was really the only practical solution, because there was no way for a modular synthesizer to change patches quickly during performance.
Fortunately, with lead of several visionaries in the field, modular synthesis has been revived and the costs have dropped enough to become accessible to the general audience. There are new modular standards that provide opportunities for many manufacturers to make modules that interoperate seamlessly and inexpensively. On February 17th, we'll meet several of those manufacturers. Come and learn the history, state of the art, and future trends in modular synthesis.
images via this auction. There is also one here. via brian c: "I have one and I use it all the time it as a kind of musical "leatherman" for testing MIDI related devices, or ideas .......I've also taken it with me on Craigslist purchases so I can check stuff out before I hand out the cash....although I haven't bought much in the last year....just a T-resonator ...I don't really use it for music making much, but sometimes when I travel I throw it in the suitcase as a sound module for the laptop. .....the canned sequences, tacky as they are, are also good for for trying out chord sequences because you can chain chords together within the sequencer and get an idea what it might sound like with better equipment, more space and more time. it has 16 channels so when I need a GM MIDI sound source it is a whole lot better than the built in one from microsoft woindows.. it does eat batteries however, so I carry a power adapter when I can. The LCD is barely readable in certain light conditions too"
Remember the SFEM? The following are Brian Comnes' notes on the last Friday of the event.
act 1 - Barbara Golden, a big Bay Area name in alternative music came out and read a piece of prose about getting lusty with some now dead poet, allegedly Lenoard Cohen's mentor, and there was a home slide show of her in the 70's with canned bouzuki music - a nice prose spoken word piece, but wierd for the SFEMF is you think about it
Act 2 was Steven Roden, his rig is in the picture I attached and as far as I can tell it is a few guitar delay boxes and some sound sources, harmonicas, slide guitar, and including the wooden peach crate which is apparently rooted in some electronica history , very nicely done piece but it put me to sleep, hardly synth porn..... here is another shot from the sfemf press photos site, hey he's playin a harmonica, not biting his nails.
Act 3 part 1 was a 12 minute set of Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.) Bottom line is that it was about 9 minutes too long, heck I could have done that with a copy of AudioMulch and 2 mouse clicks, a lot of people were looking at their watched at the 5 minute mark, to top it off I think it was from CD and not genrated live.
Act 3 part 2 piece by Toronto-based James Tenney whose piece which was played back from CD with a live percussion overlay by percussionist William Winant. He showed up with about 80 pieces of kit, including tuned Bundt cake pans, assorted pan lids in addition to a gong, tympani and other more traditional drum stuff but look at that other attched picture and you will see a door bell buzzer (!) in a box that was fileterd by opening and closing the lid, the canned track part seemed to be random synth burps and gee if I had 80 things to bang on I'd like to think I could keep it going, he had some great techniques though with the gong and tympany by rubbing on them with a mic'ed stick of some sort
the best of the evening was before the show .....a multimedia installation at Recombinant Media Labs by Semiconductor....the venue is superb, you are surrrouned by ten 15 foot wide by 8 foot high video screens in a 30X45 foot room and it has 16 channel surround, the video was NASA video and still shots of the sun using the solar energy patterns worked down to audible levels and added harmonics, i.e. the whiter the screen the louder the music, ...its a really cool way to experience solar flares to say the least
also I didn't see it but on Thursday night Brenda Hutchinson was playing this rig"
