Trancendent 2000 Modified Synth Module with Midi

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

via this auction

"A rare collectable piece of equipment from the now defunkt POWERTRAN CYBERNETICS. These synths were originally sold as kits complete right down to the last nut and bolt. Designed by the legendary TIM ORR of EMS fame. A fully analogue synth designed on a single circuitboard. Gone now is the keyboard and original case, this one has been re boxed in a wood case. Now incorporates midi control that now allows connection to a computer sequencer or whatever midi device you like. Midi incorporates a push button learn facility for channel recognition. Midi control can be programmed via a PC and suitable cable allowing key span and adjustments. There are controls at the rear that allow precise tuning of octave width and pitch offset. Software links and some information will be provided on CDROM regarding these setup procedures. Now has a full compliment of moog style knobs however, the shafts that hold the knobs have been sanded to get these knobs to fit making the control turn slightly wobbly. All knobs work though with no noise, all have been cleaned. Incorporates an LFO rate indicator on the front panel. The original key switches used in the T2K become unreliable and can be a complete nightmare to set them all up correctly. With midi control this problem is eliminated. This unit plays exactly as a T2K should. A great sounding filter with a warm quality close to moog ladder designs. Incorporates band pass and low pass responce. Only genuine high quality components used when repaired and converted. Pictures show rear of the unit, midi in and thru sockets will be labelled before despatch."

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Ensoniq VFX SD MIDI Keyboard Music Production Synthesizer

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

via this auction

"The VFX/SD series is one of the most important synth series ever created. The VFX combined "ahead of its time"-sounds and technology and the performance aspect of the VFX's was (is, almost!) second-to-none. With addition of a very intuitive Performance/Sequencer-mode with the SD models, arguably, they are one of the finest hardware sequencers ever produced in a synth.

At the time, the market was flooded with cheaper $2000-and-under synthesizers. The Ensoniq Corporation, an American company created by computer programers and chip designers wanted to put out a keyboard with all the bells and whistles with no expense spared.
The VFX is a true synthesizer, not just a reprogrammed keyboard that plays sampled sounds or a simple workstation, and with the addition of the sequence-able SD models made them the very first true marketed Music Production Synthesizers.

The VFX was the first synth ever to offer oscillators with which the actual waveform can be modulated making the sound sequence more alive, ever changing with complexities of natural sound and dynamic synthesized soundscapes.

Features include:

61 key keyboard with velocity and polyphonic after touch. ( add modulation such as vibrato to notes by applying pressure to the keys.)
In addition to synthesizer sounds it has dozens of great sounding real instrument samples including piano, strings, guitars, drums, flutes etc. Up to 12 keyboard split zones can be programed
A 24 track, 25,000 note capacity MIDI sequencer allowing the user to unleash their musical creativity
A floppy disk drive for storing songs and sounds (patches)

MIDI IN, OUT and THROUGH hook-ups for connection to computer or other MIDI devices
20 effects algorithms including large hall, small room reverbs, flanging, delay and multi effect combinations
The ability to program and store your own sound from the dozens of sampled wave forms

Specifications

Polyphony - 21 voices
Oscillators - 1 to 6 per voice. Wavetable has 109 waveforms (multi-sampled acoustic instruments, sustained waveforms, harmonic and inharmonic structures)
LFO - 1 LFO
Filter - Dual multi-mode digital filters; High- and Low-Pass with 12 or 24 dB/Oct. Band-pass filter with 12 dB/Oct.
Envelopes - 3 11-stage envelopes
Sequencer - (VFX-SD only) 24-track, 25,000 note capacity (expandable to 75,000), 60 songs and sequences, 96 PPQN quantization resolution
Effects - 24-bit Dual VLSI Multi-Effects: reverb, chorus, flanging, and delay
Keyboard - 61 keys (velocity and polyphonic aftertouch)
Memory - VFX: 120 patches, 12 performances

VFX-SD: Over 200 patches, 3.5" disk drive for external loading and storage of sounds, sequences, songs, MIDI SysEx and VFX-SD sequencer Operating System.

Control - MIDI IN/OUT/THRU (12-channel multitimbral)"

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The Synths of Jodorowsky's Dune (2014)

Jodorowsky's Dune (2014) - HD Trailer Published on Feb 14, 2014 Giles Thomas·70 videos

Update: please see this post for some unfortunate news regarding Kurt Stenzel.

Many of you I am sure are familiar with Frank Herbert's sci-fi novel Dune as well as the film adaptation by David Lynch in 1984 and the 2000 miniseries by John Harrison.  If you are not, see this article on Wikipedia and then head back.  Unknown to many, there was a planned film adaptation in 1973 by Alejandro Jodorowsky. It was to feature art by H. R. Giger (Aliens) and Jean Giraud, possibly music from Pink Floyd and Magma; the cast of actors was to include Salvador Dalí, Orson Welles, and Gloria Swanson.   The adaptation never made it due to financial reasons.  Jodorowsky's Dune (2014) is a documentary on the undertaking of the film that never was.

The film launches in the US today. You'll find the cities and dates and additional details on the film's website here: http://sonyclassics.com/jodorowskysdune/dates.html

As for the synth connection, the soundtrack was composed by Kurt Stenzel who reached out to me. I asked him if he could give us more info on the synths used in the soundtrack and particularly what we hear in the trailer. The following is what he had to say (scroll down to Specifically for this Trailer in red if you want to jump to what you are hearing in the trailer):

"I did this soundtrack using a rig that I have used for years in Cookin With Kurt, Beyond-o-Matic and SpacEKrafT.  Since I play out at events in San Francisco I go for as much analog goodness as I can carry- so these synths are throughout the movie.

I have an original Novation Bass Station with keys (it has a really unique filter in my opinion), a Dave Smith Tetra (HEAVY!), an Oberheim Matrix 1000 (god-like), and for the sake of portability, I do get into some of the more recent analog modellers that all have some merit- I have a MicroKorg 2, a Novation Xio 25, and a Quasimidi Sirius.

 In the 'digital that's special' I have TWO CZ101s (the synth I learned on when it was new) and a Yamaha TG-33 vector synth.

Larger analogs that are hard to gig with, include a Moog Source (don't cry, I got this for $40 on the street when analog was uncool) and a rather GRITTY MicroMoog, and the 'head' part of a Moog Taurus 2, and a very handy Roland Juno 6. I also used a Korg Poly 61 and a Korg Poly 800, as well as one studio session with a real Rhodes, a real Celeste (no joke it was the one you see Susan Dey play in Partridge Family episodes-- the studio owns THE one) and they also had a Roland String Machine. The Celeste and Rhodes didn't make it to the film though--Director Frank Pavich though they were 'too normal' Ha! .

I also use Casiotones quite a bit--an original MT-60 my Dad bought in Japan when they were really novel, and a Concertmate from Radio Shack. I mention the Conccertmate as I realized that sucker has appeared on EVERY recording I have ever done--some of the low bit string sounds are ethereal and I run that through effects. It's very beat up from 20 years of gigs. God bless Radio Shack.

I also have lots of effects and toys like the Bliptronic, the Buddha Box, old school Kaos pad, and I use my kids Nintendo DS's to sync up 3 programs on 3 DS devices. I also got a Korg Monotribe and the Korg Monotron. Toys are good.

I used some very low fi techniques for sound design too. Oh, and my buddy Dave Miranda recorded me on his Dave Smith Poly Evolver keyboard as a last minute thing in NY and it wound up being a crucial scene-- that required no overdubs or any treatments-- that thing sounds amazing.

Also noteworthy, I am a hardcore user of the Roland SP-808 for sound design. That has been a platform for me since it came out, so my zip discs were flying on this project.

There's about 9 minutes of SpacEKrafT music in this film as well- that is my duo with Edward Dahl here in San Francisco. Ed uses Ableton and plays guitar and we have lots of toys--Alesis Air Synth and Air Effects. I use my aforementioned rig in various settings with SpacEKrafT. I also played a fair amount of guitar on the soundtrack, as well as some vocalizations. Some screaming, which came natural as I am also the singer in NY band "Six and Violence". When I am not tinkling on the keys.

SPECIFICALLY on the TRAILER: Zero to :40 is a relatively rare Yamaha SS-30 which I think has become fetishized since Sigur Ros uses one. That thing is way fun, and I have to thank Peter Fuhry from Beyond-o-Matic for loaning me that and the MicroMoog for many years.

In the trailer, when you hear the arpeggiation kick in at :40, that's one of my favorite synths ever, the Matrix 1000. That thing is my secret weapon. I love it. I am using the arpeggiator on the Quasimidi Sirius (and playing) to drive and alter the pattern. I know Sirius keyboards are rare nowadays, glad I never got rid of it. I mean, it has real Kraftwerk demoss in it straight from Germany!

The loud "blast" at 1:37, no joke, is a 'thunder tube' which is basically a tube with a drum head and a reverb spring--I banged it and slid the whole tube over an omnidirectional mic running through pitch shifting and all kinds of stuff. Don't tell Hollywood!

Next in the trailer, the brass at 1:55 is the Quasimidi Sirius which has an amazing factory patch named 'Shine On' (Floyd was supposed to do the original Dune) so it was a great coincidence, as I feel that patch is very cinematic--I have been using it for years--sounds great in a club (or now a movie theater). I probably ran some analog under it, the Matrix 1000 and the Tetra just via MIDI. 

This whole project was done largely with a MIDI 8x splitter as I improvise and play, so to get the multiple textures and voices at once, I fire the whole rig up and play my mixer faders live to weave textures. I did NOT use any computer based sequencing, almost no overdubs-- the synths sound beautiful as their own voices.

I played and mostly recorded myself. I pulled all-nighters as I had a full time day job, 2 kids, a lovely fiancee and band gigs the whole time this was happening. Frank Pavich essentially typecast me as he knew I was such a fan of Jodorowsky, all things 70's and analog, etc. This was not just a soundtrack, it was already my own personal and spiritual journey with or without the movie.

One last story of gratitude- I was very intent on getting my hands on a REAL Yamaha CS-80 -- granted that was a little later than the 1975 time period of the documentary, but I love Eddie Jobson's 'Alaska' solo, and obviously Vangelis used it so well on Blade Runner. I was very envious that Daft Punk seemed to have one on the Tron soundtrack. I asked all around-I know synth people- I know the guys in Devo a little and their crew is really cool- they almost got me one. NO ONE had a working CS-80, not even in Los Angeles. One night I came on a YouTube Tutorial called 'Vangelis Bladerunner sound JUNO 60' and followed it and dialed up such a great sound from my good old Juno 6. So I want to THANK "magevers" whoever you are on YouTube. That to me is what the synth community is all about-- people who really have a keen interest and are WAY INTO THE SYNTHS. Like you Matrix Synth Jones, THANKS BROTHER- hope you get to see this movie-- Jodorowsky will blow your mind and you will want to go and CREATE ART!"

Can't wait.  Thank you Kurt!

Update: some links via Edward W. Dahl in the comments:

"I am co-captain of SpacEKrafT and you might have seen this video posted here on Matrixsynth a little over a year ago."

Music: www.soundcloud.com/spacekraft
Facebook: http://www.facebook.com/myspacekraft

Update 4/13/2014:

Q&A with Dune Composer Kurt Stenzel

Published on Apr 8, 2014 hellspreetube·39 videos

"Q&A with Kurt Stenzel, soundtrack composer for "Jodorowsky's Dune," after a showing at One Embarcadero, San Francisco, CA, April 5, 2014.

http://www.kurtstenzel.com/
http://www.jodorowskysdune.com/"

via David Wilson-Okamura on The MATRIXSYNTH Lounge

Synth Spotting with Tiny Wight on I♥SYNTHS:

via Jim Smith
"NEW INTERVIEW!! Introducing #010 on iheartsynths with Tiny Wight of The Deadites. See how this masked maniac creates his brand of monster-killing synthpop and take a tour of his gorgeous studio space. "

"I♥SYNTHS: When did you start collecting synthesizers and what was your first?
Tiny Wight: I got my first synth – a little Casio MT-100 – back around 1985 when I was 11 (for “band”). I graduated to the equally terrible Yamaha PSR-47 when I was 13 or so. At 16 I picked up an Ensoniq SQ-1 and things started to get interesting. All of the early Deadites songs were made on this keyboard and an Alesis DM-5 module slaved to the onboard sequencer. I wrote with this combo plus an E-mu Orbit for about a decade, from 1990-2000.

Somewhere in the mid-1990′s, I started using a computer pretty extensively for songwriting, but mostly for sequencing and mixing. I picked up Propellerheads Reason v1 shortly after it came out towards the end of 2000 and used versions of that more or less exclusively until 2012, when I said, “F#*$& this sh#*&. This isn’t fun at all anymore”, and started my synth collection with a limited edition Moog Little Phatty Toxic Edition. Once I got my hands on it, my fate was sealed, and my wallet literally exploded, permanently injuring my right buttock."

The CRB Oberon

via Davide Mancini of soundmachines on The MATRIXSYNTH Lounge

"Mr. Enrico Cosimi shows a CRB Oberon mono synth to the audience..."

This is the first post featuring the CRB Oberon. You can find a few posts featuring the CRB Computer Band 2000 synth and CRB Diamond 725 Rhythm machine here. I did a quick search on the CRB Oberon and found the demos below featuring the following:

"6 tracks
Sequence - Steelphon S900
LFO sound - Steelphon S900
Bass sound - CRB Oberon
High Filter sound - CRB Oberon
Solo - CRB Oberon
Pad - Elka Rhapsody 610"

Royalty-free music for professional licensing

Update: click here for for a photo gallery of CRB instruments on Facebook.  via Luca

Vintage CRB COMPUTER BAND 2000 Analog Synthesizer

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

via this auction

Pics of the inside below.

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Richard Lainhart, Morton Subotnick and I Dream of Wires Screening

As many of you know, Richard Lainhart passed away on December 30, 2011. He was primarily known in his later days for his music composed with a Buchla 200e modular system and Haken Continuum. On July 7 & 8, 2012 he and Morton Subotnick's works will be featured in a concert and screening presented by Harvestworks, in association with ((audience)) and River-to-River Festival. A screening of the modular synthesizer documentary "I Dream of Wires" which features Richard will be held on July 8.

"A note from Caroline Meyers (Richard's wife).
'Richard would have been so honored to have his name linked to that of Morton Subotnick for this July 7th concert. He often spoke of his reverence and admiration for the composer's works and I believe Silver Apples of the Moon was the inspiration for Richard to begin his explorations in electronic music.

That he did not live to see this day pains my heart, but I hope that the occasion and the admission price will encourage you to mark your calendar and attend this concert in his name, and in celebration of electronic music from the master.'"

The events:

July 7, 2012, 7:30pm
Works by Morton Subotnick and Richard Lainhart Michael Schimmel Center for the Arts
Pace University
3 Spruce Street, NYC
Admission: FREE

On July 7, Source of Uncertainty II presents a premiere performance of Energy Shapes by Morton Subotnick and excerpts from his legendary album Silver Apples of the Moon.

The July 7th concert's opening feature is The Orchestra of the Damned, by the late Richard Lainhart (1953-2011). The Orchestra of the Damned is a quadraphonic tape-work for the Buchla 200e analog modular synthesizer.

As Richard introduced the first audition of the piece on MatrixSynth (www.matrixsynth.com) in 2007, he said: "Friends: just in time for Halloween, a new piece for Buchla 200e and Continuum - The Orchestra Of The Damned...I played this live entirely with the Continuum - no sequencing or multitracking involved. I hope you enjoy it." [posted here]

In a review for Further Noise, Caleb Deupree says, "Orchestra of the Damned is cinematic with all of its texture changes, from sparse, quiet sounds to constant, siren drones, including a remarkable section reminiscent of the earliest electronic works from Cologne and Paris of the 1950s."

July 8, 2012, 6:00pm
Film screening of I Dream of Wires
including an interview with Richard Spectacle Theater
124 South 3rd Street, Brooklyn
Admission: $5

On July 8, ((audience)) will present a special screening of selections from I Dream of Wires, a forthcoming documentary on the modular synthesizer featuring interviews with manufacturers, collectors, designers and musicians.

The I Dream of Wires, screening will include an interview with Richard Lainhart.

Directed by Robert Fantinatto, I Dream of Wiresis a journey into the obscure but highly influential world of modular synthesizers. Learn how it revolutionized music from the pioneers that were there, why it quickly became obsolete, and how it has become all the rage again.

The film is currently in production; the directors will present a selection of raw footage and interviews. For more information, visit http://idreamofwires.org/.

The evening will also include short films by Liz Wendelbo with soundtracks by her Brooklyn-based synthesizer band, Xeno & Oaklander."

"About Richard Lainhart
Richard Lainhart was a composer, performer, and filmmaker based in New York. He studied composition and electronic music techniques with Joel Chadabe, a pioneer of electronic music and the designer of the Coordinated Electronic Music System at one time the largest integrated Moog synthesizer system in the world. From 1987-1990, Lainhart was the Technical Director for Intelligent Music, developers of innovative computer music software like M, Jam Factory, and UpBeat.

His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan. Recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, ExOvo and Airglow Music labels and are distributed online via MusicZeit. As an active performer, Lainhart has appeared in public approximately 2000 times. Besides performing his own work, he has worked and performed with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others. He has composed over 100 electronic and acoustic works, and has been making music for forty years. In 2008, he was commissioned by the Electronic Music Foundation to contribute a work to New York Soundscape.

Lainhart's animations and short films have been shown in festivals in the US, Canada, Germany, and Korea, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film "A Haiku Setting" won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2008, he was awarded a Film & Media grant by the New York State Council on the Arts for "No Other Time", full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback, and high-definition computer-animated film projection."

KORG KRONOS Details

via Hispasonic, translated to Googlish from Spanish:

"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.

Features in detail

There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:

* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.

Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).

It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.

Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.

Section 16 effects available. 9-band equalizer general. Flexible Routing. Mastering tools. 16-track sequencer."



Update:

Korg KRONOS Music Workstation- Official Product Introduction video added below.

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Native Instruments Releases KOMPLETE 7 and KOMPLETE 7 ELEMENTS

"Native Instruments Releases KOMPLETE 7 and KOMPLETE 7 ELEMENTS

Berlin, September 2nd, 2010 – Native Instruments has just released KOMPLETE 7 and KOMPLETE 7 ELEMENTS, two new software bundles that offer comprehensive assortments of professional instruments and effects for studio production and live performance. The latest version of the professional KOMPLETE bundle combines an even wider range of products from the NI range into a truly universal sound arsenal, while the KOMPLETE 7 ELEMENTS collection sets a new price point that makes it ideal for music production enthusiasts on a budget.

The seventh generation of KOMPLETE now comprises 24 individual products, including the latest REAKTOR 5.5 version as well as the new REAKTOR PRISM, RAMMFIRE, REFLEKTOR, TRAKTOR'S 12 and VINTAGE ORGANS. Other products now contained in KOMPLETE include the ABBEY ROAD 60s DRUMS vintage drum library, the radical performance effect THE FINGER, the acclaimed electric pianos and an electric bass by sampling mastermind Thomas Scarbee, all four acoustic pianos from the CLASSIC PIANO COLLECTION, the cinematic ACOUSTIC REFRACTIONS instrument and the distinctive REAKTOR SPARK synthesizer, amounting to over 10,000 sounds and 90 GB of studio-grade sample material overall.

The new KOMPLETE 7 ELEMENTS collection combines the vast synthesis, sampling and effects processing capabilities of the KONTAKT, KORE, REAKTOR and GUITAR RIG player versions with over 2,000 production-ready sounds and 12 GB of sample material to cover a wide range of musical styles. This includes a full assortment of acoustic sounds with VSL orchestral material, Abbey Road drum kits, and various other classical, ethnic and band instruments, further complemented by sampled classic analog synthesizers and other vintage keyboards.

For electronic sound aesthetics, KOMPLETE 7 ELEMENTS contains various distinctive REAKTOR instruments with over 1,200 presets, complemented by atmospheric ABSYNTH soundscapes and energetic sounds from the MASSIVE synthesizer, all enabled through the integrated engines in KORE PLAYER. KOMPLETE 7 ELEMENTS also includes eight authentic amp emulations and a wide range of effects based on GUITAR RIG, providing a versatile basis for guitar recording and general creative sound processing.

Every copy of KOMPLETE 7 and KOMPLETE 7 ELEMENTS also includes an NI Online Shop voucher worth $60 / 50 EUR, valid towards any product from the KOMPLETE Instruments and Effects range.

The suggested retail prices are $559 / 499 EUR for KOMPLETE 7
and $119 / 99 EUR for KOMPLETE 7 ELEMENTS.

Additional information on KOMPLETE 7 is available at
www.native-instruments.com/komplete

Additional information on KOMPLETE 7 ELEMENTS is available at
www.native-instruments.com/elements

A digital press kit including picture material is available at
www.native-instruments.com/press.info


About Native Instruments:

Native Instruments is a leading manufacturer of software and hardware for computer-based music production and performance. The company's mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike."

Optigan Demo - Swing It!

YouTube via peahix

"OK, this is especially for all the folks out there who refuse to believe that the music in the car commercial was, in fact, made using either an Optigan or samples of an Optigan. In this video I use a not-very-well-working and very dusty Optigan (I buy authentic 70s-era dust on eBay to sprinkle on all my Optigans) to show how this music was created. Whoever put together the music for the commercial almost certainly used samples of the Optigan (a comprehensive set of which is available from my website: http://www.optigan.com), but the result is more or less the same as if they'd played it on a real Optigan drenched in reverb.

Incidentally, you can hear Optigan sounds in LOTS of TV commercials- it's just that they're usually mixed in with other instruments as a texture, rather than played solo as is the case here. There were 40 different musical style discs made for the Optigan, so it doesn't just sound like a big band. Most of the folks who've bought my sample set are commercial and/or pop music producers, and I've stopped keeping track of all the commercials and songs that feature Optigan sounds.

Oh, and back in the year 2000, my band Optiganally Yours used the "Swing It" disc to record a song called "Walk & Chew Gum" for the Powerpuff Girls: http://www.youtube.com/watch?v=Pc-jxj...



To sum up: the music in the commercial is not a "song" from ANY old record. It is a series of one-bar big band riffs (arranged by Art DePew in the style of Tommy Dorsey) strung together either manually on an Optigan, or by assembling a set of Optigan loops on a computer.

My blog post here has further info and sound examples:

http://www.optigan.com/content/2010/0..."

And the Chrysler commercial

Eigenharp Details and Pricing

Chris Muir wrote in to let me know pricing info and full details are now up at Eigenlabs

The Eigenharp Alpha to left is listed from £3,950 inc Vat
The Eigenharp Pico below comes in at £349 inc Vat
Details for the archives. See Eigenlabs for links and more.

Eigenharp Alpha
"A professional level instrument which allows the musician to play and improvise using a limitless range of sounds with virtuoso skill. The unique design of the keys makes this the most expressive electronic musical instrument ever made. The Alpha can play and record loops, change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while the musician is performing live on stage.

Available in a variety of finishes, it has 120 highly sensitive keys, 12 percussion keys, 2 strip controllers, a breath pipe and numerous pedal inputs. This gives almost endless possibilities for flexible keyboard layouts, fast instrument switching and expressive musical control. The comprehensive software system provides a wealth of musical performance features, including playback of its own native instruments, many common software plugins, soundfonts or midi instruments.

The Alpha requires a Mac computer to run. Click here for full software specification.
What's in the box?

* Eigenharp Alpha
* Eigenharp Pro case by Hiscox.
* Product Activation card for website support and tutorial materials.
* Breath pipe.
* Two mouthpieces.
* Leather strap.
* Eigenharp Base Station.
* 6M Alpha to Base Station connecting cable.
* 3M Base Station to computer USB2 connecting cable.
* Eigenlabs laptop/Base Station and cables carry bag.
* Eigenlabs 8GB USB stick with latest install software (Macintosh) and getting started tutorials.

Hardware Specification

Keys
* 133 keys in all.
* 120 keys on the main keyboard.
* 12 percussion keys on the lower part of the instrument.
* Plus one mute key.

Key Properties:
* Sampled at 2000 samples/second, per key.
* 11 bit (2048 values) resolution.
* Sensitive to direct pressure and to lateral pressure in both directions.

Breath pipe:
* Sampled at 2000 samples/second.
* 12 bit (4098 value) resolution.
* Bidirectional, sensitive to blown and drawn breath.
* Removable, interchangeable mouthpiece for hygiene.

2 Strip Controllers:
* One on each side of the instrument, 480mm long.
* Sampled at 2000 samples/second per strip.
* 11 bit (2048 values) resolution.

Headphone output:
* 48kHz sampling rate, 24-bit DAC Sigma-Delta.
* Software programmable volume.
* Mute, soft ramp and zero cross detection for volume adjustment.
* SNR = 95dB.
* THD < 0.01% at 1kHz, 30-Ohm load at -3dbFS.
* Up to 750mW output on a 3.5mm mini jack.

Microphone input/preamp:
* Balanced input on an industry standard 4 pin LEMO locking connector.
* 24 bit at 96khz A/D converter.
* Low noise programmable gain from 10 to 55db in 1db steps.
* Software switchable 48V phantom power.
* 8.2V Electret polarisation power available, requires specific cable.
* Noise: EIN= (A-weighted) -120dBu with 150 Ohm source 20Hz to 20kHz, 50 dB gain. EIN Un-wtd= -125dBu with same conditions as A-weighted.
* 26dB software switchable input pad.

Recommended uni-directional (cardioid or supercardioid patterns) microphones:

* Sony ECM66BC, Audio Technica AT898C and AT831C, Sure WL184, DPA 4080 and DPA 4022. Note: Custom wiring for each microphone is required

Base Station:
* 2 inputs for continuous control expression pedals:
* Suitable for use with Boss FV50 and FV500 volume pedals.
* Suitable for use with Yamaha FC3 continuous control sprung sustain pedals.
* USB 2 interface to host computer.
* 2 inputs for foot switches.

Strap:
* Leather strap.
* Friction controlled multi axis instrument mounting.

Floor spike:
* 300mm retractable floor spike with removable rubber foot.

Instruments and soundfonts

You can load and play your own Soundfonts, Audio Unit Plugins and Midi instruments with the Eigenharp Alpha. In addition, the Alpha comes with its own native instruments (at present a software model of a Cello, Clarinet and a Synth engine). The Alpha also ships with a collection of loop libraries and several acclaimed instruments from our partners:

* 1500 AIFF format (timestretch and tempo change capable) varied Percussion and Drum loops.
* Sampletekk 'Black Grand Steinway D, sampled at 20+ levels in a 6 Gigabyte set that includes three recordings from dry to highly ambient.
* Sampletekk 'Tubed Rhodes', a multi sampled Rhodes Electric Piano.
* Sampletekk 'Wurlittzer' electric piano in a Gigabyte multi sample set.

System Requirements and Software

* Please see our Software page"

Eigenharp Pico
"The ultra-versatile Pico is simple to use and anyone can play it. Light and portable, it packs a powerhouse of features. Use it to play solo, play and record loops, change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while playing live. It's ideal as a solo instrument or for playing in band.

With 18 playing keys and 4 mode keys, a strip controller and breath pipe, the smaller Pico has the majority of the playing features of the Eigenharp Alpha. It plays an unlimited range of sounds and is available in two finishes. The Eigenharp Pico, with its ease of playing and transformational approach to learning scales and music theory, represents a new and easier way to learn to play a musical instrument. The Pico gives you freedom to express your creativity through improvisation like no other electronic instrument in existence.

The Pico requires a Mac computer to run. Click here for full software specification.
What's in the box?

* Eigenharp Pico in robust cardboard carry case/box.
* Product Activation card for website support and tutorial materials.
* Breath pipe.
* Two mouthpieces.
* Neck strap.
* 3M Pico to computer USB2 connecting cable.
* Eigenlabs 8GB USB stick with latest install software (Macintosh) and getting started tutorials.

Hardware Specification

Keys
* 18 playing keys.
* Sampled at 2000 samples/second, per key.
* 11 bit (2048 values) resolution.
* Sensitive to direct pressure and to lateral pressure in both directions.

Breath pipe:
* Sampled at 2000 samples/second.
* 12 bit (4098 value) resolution.
* Sensitive to blown and drawn breath.
* Removable, interchangeable mouthpiece for easy hygiene.

Strip Controller:
* 180mm long.
* Sampled at 2000 samples/second.
* 10 bit (1024 values) resolution.

Other features:
* 4 Mode Switches.
* USB powered.
* Conformable, height adjustable thumb hooks.
* Neck strap.

Instruments and soundfonts
You can load and play your own Soundfonts, Audio Unit Plugins and Midi instruments with the Eigenharp Pico. In addition, the Pico comes with its own native instruments (at present a software model of a Cello, Clarinet and a Synth engine). The Pico also ships with a collection of loop libraries and several acclaimed instruments from our partners:

* 1500 AIFF format (timestretch and tempo change capable) varied Percussion and Drum loops.
* Sampletekk 'Black Grand Steinway D, sampled at 20+ levels in a 6 Gigabyte set that includes three recordings from dry to highly ambient.
* Sampletekk 'Tubed Rhodes', a multi sampled Rhodes Electric Piano.
* Sampletekk 'Wurlittzer' electric piano in a Gigabyte multi sample set.

System Requirements and Software

* Please see our Software page"

OSCar MONOPHONIC SYNTHESIZER (Full Midi V3)

via this auction

"Polyphony - Monophonic (Duophonic via built-in Sequencer)
Oscillators - 2 DCO's with sawtooth, triangle, and square-, variable- or modulated-pulse waveforms and 5 preset digital wavefroms
LFO - 1 LFO with square, triangle, sawtooth waveforms, sample-and-hold
Filter - Two 12dB/oct analog filters which can be linked in series for 24dB/oct configuration. Lowpass, bandpass, highpass modes.
Dedicated ADSR envelope, Frequency Cutoff and Resonance controls.
VCA - Two ADSR Envelopes
Keyboard - 37 keys
Memory - MIDI Model: 12 user, 24 preset patches. MIDI-equipped V3 (latest): 36 programmable patches. Custom Waveforms: 24 programmable digital waveforms.
waves. Sequencer: 24 sequences.
Control - Trigger In, full MIDI spec.
Date Produced - 1985

OSCar
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It first appeared on the scene in 1983 and was considered then to be in the same class as the Arp Odyssey & Minimoog mono-synths (it is). Its late arrival makes it one of the more advanced programmable mono-synths. Amazing sounds and digitally controlled dual oscillators with analog filters and plenty of programmabilitie. It also has full midi MIDI spec.

The Oscar is monophonic, but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square, variable, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator. Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function. A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. With full MIDI spec (V3) you can easily synchronize your OSCar and other MIDI gear together and a computer! The sound patches that are stored in memory can also be dumped via MIDI to more permanent storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is very hard to find as there are little more than 2000 in excistence, so now is your chance.

It is working well and has been well maintained over the years by the same qualified engineer who used to work in the famous 'Rod Argents Keyboards' in Denmark Street, London W1, the same place I purchased her back in 1985.

‘Sequencer’
The OSCar's sequencer, operates in step-time mode, and is fairly sophisticated. It features the rare ability to lengthen notes or insert spaces, so that it isn't restricted to producing an
endless stream of notes of identical length. This is done by holding down the required note while advancing the step button, or pressing the Space button just below the wheels.
Twenty-four sequences can be stored (the numbered keys being pressed into service for one more function) but then these can be chained together into more complex sequences, complete with program changes. As a result, with a bit of planning, you can produce really quite sophisticated bass lines and other monophonic sequences, whilst playing a second part over the top, if you want. All this can be triggered externally via a Click In which is ideal for interfacing with the drum machines of the day (Linn, Emu Drumulator, Sequential Drumtrak) and OSCar can often be seen as one half of a very tight rhythm section at live gigs. There is even the facility to sub-divide the incoming clocks to create slower or faster lines without spending hours inserting Spaces or making each note four times the length. The same triggering is available on the arpeggiator, which made it amongst the most flexible of the day with multiple octave ranges and random ordering. Or you can just use your computer for sequencing and a nice midi cable, it's your choice.

Oxford Synthesiser Company OSCar Specifications
* Type: Synth/ keyboard/
* Synthesis Type: Digital Accoustic simulation Subtractive, Additive (24 harmonics)
* Polyphony:
o Max: 2
o Typical in use: 1
* Multi-timbral (number of parts): 1
* Oscillators per Voice :
o Min : 1
o Max : 2
* Controllers : Pitch bend, mod wheel, (sysex?)
* Effects :
o Number of FX units : 0
o Number of different effects : 0
* Keyboard :
o Number of Keys : 37
o Can send on 1 simultaneous MIDI channels
o Responds to :
o Sounds can be split by :
* Memory :
o Patches : First versions: 12 RAM/24 ROM. Later versions: 36 RAM.
o Performances :
* Inputs and Outputs :
o Number of Audio Outs (excluding Phones) : 1 stereo
o Number of Audio Ins : 0
o Number of MIDI Outs (excluding Thru) : 1 (if MIDI'ed)
o Number of MIDI Ins : 1 (if MIDI'ed)

Well known artists credited as using OSCars include:
* Billy Currie, Chris Cross and Midge Ure of Ultravox
* John Foxx
* Geoff Downes (Asia)
* Jean-Michel Jarre and Dominique Perrier
* Keith Emerson
* Stevie Wonder
* Tim Simenon
* Sneaker Pimps

Examples of OSCar sounds on commercial releases include:
* Ultravox - "Love's Great Adventure" (solo, atonal sequence)
* Band Aid - "Do They Know It's Christmas" (bass line)
* Jean-Michel Jarre - "Revolutions Overture" (bass line, solo at climax)
* Stevie Wonder - "Skeletons" (bass line [with Elka Synthex])
* S-Express - "Theme From S-Express" (bass line)"

VEMIA Update

Via Peter Forrest:

"Interesting analogue items in the VEMIA auction at www.spheremusic.com ending on this coming Saturday, (April 12) include ARP 2500, Quadra, Solina String Synthesizer, Cavagnolo Exagone XM64, CRB Computer Band 2000, Crumar Spirit s/n 15, Digisound, Doepfer, Elka Synthex, EML 200, EMS Logik, Dequencer, Hi Fli, Vocoder 2000, ETI 4600, Fender Rhodes Mk I, Freeman String Symphonizer, unopened Hohner Clavinet, Drumfire DF500, Kenton Mono/Poly kit, Korg MS02, 03, 50, SQ-10, Trident II, VC-10; two Mellotrons (one in Canada), MasterRoom reverbs, R A Moog CEMS (the biggest custom design he ever did?), Minimoogs, Minitmoog, Sonic Six, three touchplates; Matrix 12 with Xpander front panel, OB8, OBMx, OSCar, Syntars, PPG 1002, 350, 360, 390; Rhodes Chroma, Prophet T8, Simmons SDSVs, Spectral Audio ProTones, Steiner Masters Touch, SE MIDIMini and MIDIMoog, Stramp Synchanger II, dotcom stuff, early Curetronic, Adrian Utley's theremin, Estradin 230, GTC Telefonfilter, Rozzbox, Persephone Deluxe, Springer 1950s time-stretcher, Vox Jaguar (Canada), Yamaha SS30, and plenty more besides. Some prices are high, some very high; some are surprisingly low. You can always just look at any pictures that interest you."

Pictured here is the MOOG Touchplate prototype #1.
"A fantastic and rare example of Bob Moog's own handiwork, serial number TP010. When he started back into music manufacture in the early eighties, the model 300 touch-plate was one of his first products. This is the prototype Synton received from Bob for demonstration purposes. It is extremely Moog-like in its characteristics. It has its own inbuilt power transformer, and the outputs are available on six 1/4in jack sockets, with good ol' Moog knobs for controlling sensitivity. It has a Synton sticker on the back, saying 'TOUCH PLATE USA'. Synton and Moog had a close relationship in the 80s, with reciprocal import/export. It is untested. This is from the collection amassed by Felix Visser, former head of Synton. All items were destined for a national technology museum project, many years in the planning, but finally cancelled by politicians and planners. They have mostly been stored unused for a number of years. Any items marked untested are untested, are sold as is, and could be fine or could need work. Wherever we have more information (good or bad news) it is mentioned in the item description."

Hataken Interview

Back on March 31, I put up a post on Hataken, a Japanese DJ artist who primarily uses analog synths. At the time, Shane Chisolm, the manager of Don Juan Dracula mentioned Hataken was working on a remix version of DJD's "Take Me Home". Shane asked me if I'd be interested in doing an interview with Hataken, and I thought why not. It would be interesting to hear his perspective on the world of synths as a live DJ artist. The following is the result of that interview. Note, this is a long one. You will want to use page down to scroll through. If it is too long for you, I recommend reading one or two questions each time you visit the site. Each DIY item below would typically have been a separate post. There is a lot of interesting stuff here. That said, I start with an introduction followed by asking Hataken how it all started for him. Note the focus is primarily on synths as this site is about everything synth, and Hataken delivers. The gear he has both worked with and designed to meet his specific needs is overwhelming. There's also an interesting interlude on experimenting with frequency counters to produce specific frequencies of sound known to have healing properties, and of course there is a bit of the age old discussion of digital and analog.

Before we start the interview, I want to thank Hataken for taking the time out for this, and I want to thank Shane for suggesting it. It's a fascinating history of a DJ synth artist with interesting perspectives that I'm sure I will come back to over time. Be sure to check out the video and link to more at the end. And of course be sure to check out Hataken's website.

1. Can you tell us a little bit about yourself?

CLICK FOR MORE »

CRB Computer Band 2000 Rhythmus Drum Keyboard

via this auction.
Details Google translated:
"As one such a thing exactly calls cannot unfortunately not say, one can thereby rhythm, Drum and Keyboad would sound produces. It is very high-quality verarbeited (metal/casting metal), it has very beautiful switches pressed the color to change (see photo). One can lautsärken e.g. thereby speed, switch and change einzele instruments or Schlagzeug voices on/out etc. It has various (5 pieces) connection types on the back. think it comes from/the 60's 70's?"
via Music Thing

Surge

Title link takes you there. Check out each demo at the bottom of the page. This one sounds really good. Via Moogulator.

Specifications (v1.1.0):

General
Synthesis method: Subtractive hybrid
Each patch contain two 'scenes' which are seperate instances of the enitre synthesis engine (except effects) that can be used for layering or split patches.
Category based patch-browser that is fast to use
Future proof, comes as both a 32 & 64-bit VST plugin

Factory sounds
681 patches
157 wavetables

Oscillators
3 oscillators/voice
5 versatile oscillator algorithms: Classic, Sinus, Wavetable, S/H Noise and Audio-input
The classic oscillator is a morphable pulse/saw/dualsaw oscillator with a sub-oscillator and self-sync.
Most algorithms (all except sinus and audio-input) offer up to 16-voice unison at the oscillator level.
Oscillator FM/ringmodulation
All oscillator algorithms are band-limited yet they still cover the entire audible spectrum.
Noise generator with variable spectrum

Filterblock
Two filter-units with arrangeable in 7 different configurations
Feedback loop
Available filter-algorithms: LP12, LP24, LP24L (ladder filter with 1-4 poles), HP12, HP24, BP, Notch, Comb (4 modes), S&H
Waveshaper (5 shapes)

Modulation
12 LFO-units available to each voice (6 are running on each voice and 6 are shared for the scene)
DAHDSR envelope generators on every LFO-unit
7 deformable LFO-waveforms + 1 drawable/stepsequencer waveform
LFO1 allows envelope retriggering when used as stepsequencer
Extremely fast and flexible modulation routing. Almost every continuous parameter can be modulated.

Effects
8 effect units arranged as 2 inserts/scene, 2 sends and 2 master effects
9 top-quality algorithms: Delay, Reverb, Chorus, Phaser, EQ, Distortion, Conditioner (EQ, stereo-image control & limiter), Rotary speaker, Frequency shifter

System Requirements
A computer running Windows 2000/2003/XP (32/64-bit) or newer
The computer's CPU must support the SSE instruction set. This is supported by Intel Pentium 3/4/M and AMD Athlon XP/64 (and newer) processors.
A VST-compatible Host application
An x64-compatible CPU, OS and Host is required to use the 64-bit version