SYNTOVOX 221 VOCODER

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

via this auction

"Vocoder built by the dutch high end synthesizer company Synton. Distributed in the USA by [Bob] Moog's Big Brair company.

This is the flagship vocoder from Synton, and is among the best vocoders of all time. It shares company with the EMS 5000 and the Sennheiser VSM-201 vocoder.

It's really rare, only 20 pieces was made.

One of the ultimate best vocoders in the universe, if not THE best. This is what Wendy Carlos said (on the web )- 'Question #4 -- What kind of vocoder do/did you prefer? Felix Visser made the best ones, for his long-gone (alas!) Synton company, all during the 80's. Some other fine devices exist, as the EMI/Synthi big one, and Sennheiser's expensive one, those and dear Harald Bode's design that Moog's good 16-band one was similar to. The ultra-basic analog units were generally mushy-sounding. Synton's had the best intelligibility on spoken words for their original 32-band device, .......' This is Felix's own machine, serial number 010, and was actually used extensively by Wendy Carlos - there's a typed note to her on the power supply saying it had been changed to 115V for her. It has now been changed back to 220V by Felix Visser. Unlike some models, it has a complete case. It will be sold fully working, and with a signed cerificate of provenance.

Synthovox 221 is a 20-channel vocoder system which has made its way to numerous recording studios, radio stations, composers and scientific institutions for its outstanding quality and its unexcelled intelligibility.

It includes 54 dB/octave filter, a feature not found in any other vocoder on the market. It also offers the versatility of a build-in pulse generator for direct speech sythesis and several control units for pitch modulation.

It features matrix patching for format shifting and a highly precise voiced/unvoiced detector system. And it offers extreme flexibility by the multiway connector which gives access to the analyzer and synthesizer sections and the control terminals of the voiced/unvoiced detector.

The Intelligible Machine has set standards in vocoder techniques.

High end model, attenuator per channel.

Only about 20 of these were made. Users include Wendy Carlos (who owns a 221 & SPX 216), various electronic studio's in Europe. Best suited for studio use due to complex control.

The 221 has a 50-pin connector on the back which provides CV in and out for each channel, and other functions as described above."

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The Untold Story of the Formanta Faemi 1-M: A Soviet Synthesizer Legend

video upload by DB Studios

Clacky keys.

"Welcome to the enchanting world of vintage synthesizers! Join us on an extraordinary journey through time as we unveil the captivating history of the Formanta Faemi 1-M, a rare gem of Soviet engineering.

In this video, we delve into the rich tapestry of the Soviet Union's musical landscape during the 1980s, where cutting-edge electronic instruments were a marvel to behold. We take a deep dive into the history and sound of this synthesizer.

The Formanta Faemi 1-M, known for it's polyphonic prowess, emerges as the centerpiece of this captivating tale. Explore its unique features, from the three oscillators with diverse waveforms to the enchanting filter section with its myriad sound-shaping possibilities.

While navigating the challenges of creating musical instruments under a planned economy, the Formanta Faemi 1-M triumphs as a true testament to ingenuity and creativity. Unveil its raw, bold, and characterful sound, and understand why it has earned its place in the hearts of musicians and collectors worldwide.

Join us for insightful interviews with individuals who share their firsthand experiences with this iconic synth. Discover the allure of the Faemi 1-M through their stories and see how its scarcity has transformed it into a coveted collector's item.

So, if you're a music enthusiast, history buff, or just someone seeking unique sonic adventures, hit that play button and immerse yourself in the compelling world of the Formanta Faemi 1-M."

XILS-lab Updates XILS 4 Matrix Modular Soft Synth to v1.5

The press release:

XILS-lab updates ultimate matrix modular soft synth with welcomed fanciful features added to XILS 4 v1.5

“My favourite analogue synth is probably the VCS3, so when I heard that a company was releasing a software version I was quite cautious; today, XILS 4 is one of my favourite plug-ins! Working with it gives me the same excitement as the original hardware, plus there are lots of extra features, since it is basically two VCS3s with an interconnected sequencer. The sound is great, and it is one of the best soft synths on the market for experimenting with new ways of creating sounds!”

- Jean-Michel Jarre (award-winning composer, performer, and record producer), April 2015


GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of XILS 4 v1.5 — a major update to its self-styled ultimate matrix modular soft synth, effectively emulating a conceptual ‘blend’ of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by British trailblazing entity EMS (Electronic Music Studios) back in 1969 but never commercially released, with pioneering British synthesist Tim Blake’s so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer) — with welcomed additional fanciful features including a powerful preset manager in a single window and new effects with semi-modular routing, as of November 30…

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Introducing the $40,000 Holland SM2000 Eurorack Modular Synthesizer

You might remember the Holland Synthesizer SM2014 Triple VCO Intro video previously posted here. At the time of the post the Holland Synthesizer website was not yet live and little was known about the full system. The site is now live and we have details.

Note Holland also offers DI Boxes, Rack Mount Mixers, Audio Consoles, and 500 Series modules.

The following is for the SM2000 modular system including a note on that price. Also note the jacks are 1/4" and not 1/8" or .35mm.

"The Holland Synthesizer Model SM2000 is a 3U Euro format* monophonic modular synthesizer. This is truly an aerospace quality musical instrument, designed for the most discriminating musicians, studios, and producers. The system uses a backplane that carries control voltages, triggers and audio signals to and from the various modules, however all patching can be overridden from the front panel. All jacks are Switchcraft 1/4" for ruggedness. The SM2000 is designed to be a standalone system, but being modular in nature allows for a high degree of customization.

The standard system contains the follow modules:

SM2014 Triple Voltage Controlled Oscillator/ Mixer Module. Each oscillator has six waveform outputs that can be mixed together. A fourth mixer combines the outputs of the three oscillators and an external signal source. Adjustable PWM and linear modulation. Coarse and fine tuning on each oscillator and a master tune for all 3 tracking together.

SM2051 Noise generator featuring white, pink, red and infrared sources.

SM2032 Multimode Voltage Controlled Filter. Has 8 outputs. Low Pass, High Pass, Band Pass and Band Reject (Notch). Each configuration has a 12dB and 24dB per octave mode. Four overlapping ranges with adjustable damping and manual frequency control.

SM2048A Dual Envelope Generator. Two independant envelope generators tied to the same trigger. Time at each stage adjustable from 1 millisecond to 18 seconds. Level attenuators for each output. 5 overlapping time ranges, and manual trigger. LEDs track stages through envelope. Generates true linear envelopes.

SM2022 Dual Log Voltage Controlled Amplifiers. Produces log output with linear input. Unheard of 118 dB dynamic range. Input and output level controls and CV attenuators. Manual offset controls for ease of setup and maximizing dynamic range.

SM2041 MIDI to CV and Trigger Interface.

SM2046 Control Voltage Processor. Takes in a control voltage and produces a copy and an inverted copy. Allows user to control offset, gain and slew rate. Also has two outputs for adjustable, attenuated versions of the outputs.

SM2063 Multiples, Voltage sources and Attenuators. Has 3 four point multiples, 4 adjustable DC voltage sources and 2 adjustable attenuators.

SM2012 Low Frequency Oscillator. Oscillator has two selectable ranges, high for modulation, and low for filters and amplitude modulation. Output waveforms are sine, triangle, square, pulse, positive ramp and negative ramp. Also has controls for tuning and fine tuning, pulse width, PWM attenuator, and two output level controls.

SM2035 Fixed Filter Bank. This module has 12 resonant filters spaced musically at about half octaves. Each filter has 10dB of boost and cut. The highest and lowest filters are shelving type.

SM2061 Buss Access, Power Monitor and Headphone Amplifier. Includes 4 volume controls for the audio output busses, and output jacks. Also includes jacks for the 4 trigger outputs and 4 control voltage outputs. Headpone output with level control. Power keyswitch and LED power indicators for each voltage.

*Our modules are actually much more compliant to Euro format than most other manufacturers. The Euro format (which is technically called DIN 41612) specifies that modules will be a minimum of 160 mm deep and use a 96 pin connector to get power and signals to and from a backplane. This is far too expensive for most manufacturers. We adhere to the majority of this mechanical specification, except for our backplane which is optimized for audio signals. Therefore, our modules are too deep to fit in our competitors racks. We also use higher supply voltages and different power connectors than most other companies. However, our audio inputs and outputs, control voltages and triggers are compatible with most other Euro format synthesizers.

Complete systems starting around $40,000.00 USD"

On that price from their FAQ page:

"Why are Holland Synthesizer products so expensive?

Unfortunately, there are many factors that contribute to this. Up until recently, all of our projects were 'One of a Kind', which means all of the development costs are rolled into the first unit. Secondly, all of our products are hand made, and built to rigorous aerospace quality guidelines, which is reflected in our product reliability. When you are not using mass production, costs go up dramatically. And lastly, we use very expensive components. We select each component to be the absolute best performing component, based on sound quality and reliability, without regard to price. This is one of the reasons we have audibly superior products. Let me use our SM2000 synthesizer modules as a concrete example. All of our modules have front panels that are machined, powder coated, engraved and filled with colored ink. Other manufacturers might pay $3.00 for a front panel where one of ours costs us $300.00. After 10 years of wear, ours still look the same. We also use brass collet knobs, Bourns pots, and Switchcraft jacks. Our competitors might pay 49 cents for a pot and knob, where our cost is $11.00. Multiply that by a hundred, and you see what happens."

Waldorf Product News 2015 - New Wavetable Eurorack Module, Attack Drum Synth for iPad & More

Published on Jan 19, 2015 WaldorfMusicChannel

Details on the nw1 eurorack module further below. Note the realtime wavetable sampling.

Brandnew products:
1) Nave VST-AU-AAX
2) nW1 Wavetable Module for Eurorack systems
3) Attack Drum Synthesizer & Sequencer for iPad [pics added here - Attack was originally a hardware rack synth]
4) Waldorf Edition 2 with new Attack, D-Pole & PPG Wave 2.V [pics added here]

Nave for VST / AU / AAX Sound Examples

Published on Jan 19, 2015 WaldorfMusicChannel

"Finally! Nave has moved from iOS to Windows/OS X.
Here are some sound examples - recorded directly from the plug-in with no additional effects."

Nave of course was originally released on iOS: Nave - Waldorf Music

"The nw1 Wavetable Module For Eurorack

Wavetable scanning is cyclic with optional modulation of travel speed, position, spectrum, and more besides. By providing the Waldorf wavetable set from the classic Microwave and Wave synthesizers, nw1 ‘will enrich your Eurorack modular system as a potently powerful sound source’.

The nw1 sound engine also allows for onboard creation of user wavetables via time domain multiple foldover analysis. All you need to do is connect any sound source to the nw1 to transfer audio into a wavetable. Or use the integrated speech synthesizer to translate typed text into wavetables.

Wavetable synthesis is an extremely powerful sound source suited to producing all kinds of vivid metallic hues and digital clangorous tones. It can create organic, bell-like timbres, as well as spectacular-sounding scans through various waveforms with truly ear-opening results. It was almost impossible to create these kinds of sharp-edged, digital sounds back before the invention of wavetable synthesis in the late-Seventies.

Specifications

nw 1 front21st century advanced wavetable engine
Cyclic wavetable scanning with modulatable position and travel speed
Control of spectral envelope independent of pitch
Adjustable periodicity up to noisy reproduction
Classic Waldorf wavetables included
Integrated speech synthesizer for wavetables
User-recordable wavetables
Connections

Gate input for triggering wavetable travel and recording
Main 1V/Oct CV input with trim for pitch control
3 additional CV inputs for modulation and realtime wavetable recording
Audio output
USB port with galvanic isolation for wavetable transfer and text input
Eurorack power connector
Power requirements

+/- 12V, 150mA
Interface

Powder coated metal surface with:
10 rotary knobs
1 wavetable select/encoder
1 2 x 7 segment display
6 x 3 position switches
Dimensions

Width: 32HP (162.6 mm)"

Update: and the official press release:

"Waldorf waves in new era of software and Eurorack hardware at Winter NAMM


REMAGEN, GERMANY: high-quality synthesizer developer Waldorf is proud to announce new software for Mac, PC, and iOS alongside its first Eurorack module at The NAMM Show 2015, January 22-25 in Anaheim, California...

Having seriously succeeded in changing perceptions of what a serious iOS instrument can be thanks to unique sounds simply unachievable with any other synthesizer, Waldorf has responded to requests to make its award-winning Nave advanced wavetable synthesizer available on other platforms by introducing Nave for VST/AU/RTAS. Now this new Nave brings that notable Nave sound engine to your favourite DAW. Designers have optimised its great graphical user interface to work with the tried-and-tested computer combo of keyboard and mouse (or track pad) rather than touch screen surface technology, though nothing has been lost in translation. The featured-packed Nave comes pre-packed with superb sounds, ranging from spatial pads to vivid wavetable scans and cutting leads to solid basses, but, above and beyond that, also an abundance of incredibly imaginative sound worlds — many of them professionally produced by some of the top sound designers around. As a synthesizer thoroughbred at heart, Nave really represents a phenomenal playground for sound creation creativity. Its oscillators offer expanded wavetable functionality with elaborate editing facilities and an extremely effective speech synthesizer. Anyone at all familiar with Waldorf software instruments will immediately feel right at home with the typical Waldorf workflow where sound shaping modules are always directly accessible and all arpeggiator, envelopes, effects (Phaser, Flanger, Chorus, Reverb, Equalizer, Compressor), and Modulation Matrix management controls are only one push of a virtual button away. Edited highlights include two independent advanced wavetable oscillators per voice with saw, triangle, PWM, white and pink noise (and up to eight-oscillator Überwave); two ring modulators; multimode filter (with LP/ BP/ HP, 12 dB, and 24 dB settings); three envelopes; two LFOs; and much more besides. And besides its standard yet classy chromatic keyboard, Nave also includes innovative ‘blades’ and pads to control the sound in different ways. Why restrict yourself to iOS? The new Nave now lets you work wherever and however you want. Whether you’re Mac- or PC- based, desktop-bound or laptop-mobile, Nave gives your professional productions a truly cutting-edge sound.

The nw1 Wavetable Module represents Waldorf’s grand entrance into the popular Eurorack modular synth system format. It includes an advanced wavetable engine with independent control of spectral envelope and noisiness — just like Nave. Wavetable scanning is cyclic with optional modulation of travel speed, position, spectrum, and more besides. By providing the worshipped Waldorf wavetable set from the company’s classic (discontinued) Microwave and Wave synthesizers, this powder-coated, metal surfaced module will easily enrich any Eurorack modular synth system as a potently powerful sound source. Shrewdly, the nw1 Wavetable Module’s sound engine also allows for onboard creation of user wavetables via time domain multiple foldover analysis. Any sound source can be connected to the nw1 Wavetable Module via the In 1 CV (Control Voltage) input to transfer audio into a wavetable. And if that’s left you speechless then how about using its integrated speech synthesizer to translate typed text into wavetables (via a USB port with galvanic isolation)! Speaking of communicating with the outside world, two further CV inputs are also provided alongside a Gate input (for triggering wavetable travel and recording) and a main 1V/Oct CV input with Trim (for pitch control). The 32HP-width nw1 Wavetable Module comes complete with a Eurorack power connector (+/- 12V, 150mA), so it’s ready for action. Simply slot the nw1 Wavetable Module into any available space in an appropriately-equipped Eurorack modular synth system to take it to a higher levels of synthesis than ever before. But be warned: you’ll want to shout from the rooftops!

Back in the wonderful world of iOS, Waldorf has masterfully migrated its long-running Attack virtual drum and percussion soft synth that took the VST world by storm back in early 2001 to iPad 3 (Retina), iPad mini (1 and 2), and iPad Air (1 and 2) as iOS Attack. Its impressive sound engine is cleverly complimented by an integrated 16-step sequencer that is as fun to use as it is useful. iOS Attack offers 24 instruments — each entirely programmable through a stunning, touch- optimised user interface. Its oscillators are fat, the filter flexible, and envelopes lightning fast. Each drum sound can be enriched with one of four independent insert multi-effects with Delay, Equalizer, Drive, Phaser, Flanger, Chorus, and Phrase Vocoder. Input lyrics, output song! Alter gender just as you’ve always wanted? Why not! Phrase vocoding technology apart, iOS Attack’s sound engine is also capable of producing powerful polyphonic synth/bass/lead sounds — perfect for creating full-blown backing sequences. Just like Nave, iOS Attack is a seriously in-depth musical instrument for iPads. It’s easy and fun for sure, but at its core it’s truly a sonic beast of an instrument, instrumental in inflicting out-and-out drum power — out of the tablet and into the walls!

Last but not least, tellingly, the classic Waldorf Edition has had a visual makeover, but its core values remain unchanged and unchallenged: the holy trinity of inspiring software instruments! PPG Wave 2.2V is a virtual reincarnation of its namesake cult classic, coming to prominence with the trailblazing PPG Wave series starting back in 1982. First resurrected in 1989 with the Waldorf Microwave, today it enjoys a new lease of life in virtual studios on Mac and PC computers. Classic wavetable synthesis is known for conjuring up the feisty analogue and digital hybrid sounds that have graced so many hit records over so many decades. Attack is a percussion synthesizer powered by an almighty analogue synth sound generator. It transports the trademark sounds of classic Eighties analogue drum machines and the progressive electronic club beats of the Nineties onwards and upwards into truly 21st Century production environments. As Attack computes all sounds in realtime, users can change any parameter directly. Aside from its radically revamped user interface, the new Waldorf Edition 2 version also brings an exceptionally expanded effects section (with Delay, Equalizer, Drive, Phaser, Flanger, Chorus, and Reverb) into play. D-Pole completes the Waldorf Edition 2 lineup as a very versatile filter plug-in with five filter types (lowpass, bandpass, high pass, notch, and resonator), SAMPLE RATE reduction, RING MOD, OVERDRIVE (ranging up to +52 dB), and stereo delay — all in wondrous Waldorf quality, of course... just like all of its new software and hardware products!

Nave for VST/AU/RTAS and Waldorf Edition 2 are expected to ship during the second quarter of 2015 when they will be available to buy online directly from Waldorf via the Waldorf Shop (www.waldorfmusic-shop.de) or through the company’s global network of dealers and retailers for €149.00 EUR (including tax) and €69.00 EUR (including tax), respectively. The nw1 Wavetable Module is also expected to ship during the second quarter of 2015 when it will be available to buy through the company’s global network of dealers and retailers for €329.00 EUR (including tax)."

OTO Machines Biscuit MIDI Effects Box / Der Oto Synthesizer / Sequencer

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

"Add depth, texture and organic behavior to synths, basslines, drum machines and virtual instruments from computers with BISCUIT ! Using true 8-bit converters, digital processing and analog resonant filters, Biscuit opens up a wide range of sounds from harsh distortion, digital and aliasing artifacts to warm and fat 8-bit sounds. Producers, deejays, musicians and sound lovers can use BISCUIT to extend their sound creation possibilties. BISCUIT will find its place in studios, on stages or even in clubs.
HAPPY USERS :

Air Alex Gopher Alf Briat (Air, Phoenix) Blumpy (Marylin Manson, NIN) Brian LeBarton (Beck, Charlotte Gainsbourg) Chloé Daft Punk Dave Cooley (Silversun Pickups, J Dilla, These New Puritans) Ethan Mates (Linkin Park) Etienne de Crécy Gilb’R Jamie Lidell Justin Meldal-Johnsen (Beck, NIN) Loïk Dury Martin Solveig Mike Skinner (The Streets) Sleazy (Coil, Throbbing Gristle) Rodaidh McDonald (The XX) Trent Reznor (NIN) Zdar (Cassius)


BISCUITING

Mute or invert each of the 8 bits of the digital signal by pressing one of the 8 rectangular switches, to generate strong distortions with an intense digital character. Lower the sample frequency down to 250 Hz for aliasing effects and use the multimode analog filter to get a warm and fat sound. You can mix this 8-bit sound with the direct signal via two separate knobs.

EFFECTS:

Add one of the following 8-bit effects to your bit modifications : Waveshaper, Delay, Pitchshifter, Step Filter Each effect contains one or several parameters to set.

PRESETS :

Save all the BISCUIT functions (bit status, knobs positions, effects and filter settings) to one of its 16 presets. You can also save as many presets as you like on your computer using the Preset Dump function (MIDI SysEx).

MIDI :

BISCUIT is MIDI compatible. Every pot, switch and effects setting can be sent or can be controlled by a continuous controller message (known as CC). BISCUIT accepts MIDI Clock messages to synchronize Delay and Step filter effects. BISCUIT firmware can be upgraded via a MIDI SysEx file.

FEATURES :

Stereo inputs and Outputs Input gain from -∞ & to 15 dB with diode clipping Real 8-bit Analog to Digital and Digital to Analog converters Unique capability of muting and inverting each of the 8 bits Variable sample clock from 250 Hz to 30 kHz True analog multimode filter with resonance control FX section : Waveshaper, Delay, Pitch Shifter and Step Filter Separate control of dry and 8-bit signals 16 presets MIDI : Continuous Controller, Beat Clock, Program Change and Sysex for presets True relay Bypass Rugged metallic Neutrik © jacks Built like a tank : Thick metal case and strong build Dimensions : 190mm x 60mm x 117mm / 7.48" x 2.36" x 4.60" (WxDxH) Weight : 580g / 1.27 lbs"

Moog Officially Goes Modular with the 500 Series Ladder Filter

Update: Not quite - no patch points.

"The Ladder brings new dimension to recording studios, stage and live performers alike. It smooth’s out the harshest of tracks, adds vibe and character to soft synths. It excites dull or lifeless and has the power to shape sound in a way that is excitingly unique.

The Ladder

Moog Music’s first 500 series module!

The Ladder is a Dynamic Transistor Ladder Filter

based on Bob Moog's original ladder filter design.

It is Moog Music’s highest quality filter SPECIFICALLY designed for use in the studio and on stage.

Step up with The Ladder

The Ladder is a Dynamic Transistor Ladder Filter that is based on Bob Moog's original ladder filter designs. Don't be fooled by it’s small size, The Ladder is a powerful and fantastic sound sculpting tool that allows for creative and unique sound shifting and shaping.

By design, The Ladder sports the smoothest all analog Low Pass and High Pass filter section. Simply adjust the Cutoff knob to add vibe, warmth or tonal adjustment. Choose LP to add analog vibe and warmth to a sound or select HP for sweetening and relieving the heft of a sound.

The Envelope section of The Ladder is where things get really cool:

- Variable Attack and Release controls allow you to perfectly dial in the behavior of The Ladder's envelope section. Use these controls to open and close the envelope as fast as lightning, or slow as molasses.

- Use the Amount control in Positive or Negative mode for mild to extreme sound shaping and manipulation. From slight timbral excitement and voicing to extreme compression-like behavior. Even reversed filter action is achievable!

- The Resonance control used with The Ladder’s other features allows for the creation of sweet, dynamic and even speech like behavior. Use it to tune The Ladder to a sound source… or not. You can excite or accentuate specific frequencies as well as create completely new unique and wild sounds.

NOTE: The Ladder's Resonance control will push the unit into self-oscillation. This can be used for effect if desired.

The 2Pole/4Pole switch allows you to select how aggressive your filter slope is. 2 pole is equal to 12db per octave which is smooth and sweet, while 4 pole is 24db per octave which is hard and aggressive.

You also have a hard wire Bypass for totally transparent routing and A/B comparison

The Ladder isn't your average filter. It's a big step up"

"Specifications

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Serge Modular Analog Synthesizer & Processor w 8 Preamp Detectors & N Comparator

via this auction
"Up for auction is a beautiful condition Serge Modular Fully Loaded Panel! As you can tell from the photographs, the synth is in immaculate shape and feels exactly like it did straight from Rex Probe at Sound Transform Systems! This Serge is a 1996 Serge and features the build quality and routing of the older more expensive (and expansive) Serge designs. For anyone looking to expand on their Serge rig or their current modular system, this is a great panel to buy. Because this panel features balanced line level inputs it can also be used as a standalone studio/live processors. It's particular strength in this arrangement is multichannel audio processing, but due to the versatility of the modules included, it could also be used for generative and trigger synthesis work. This Serge has had only one owner and I was in charge of maintaining and programming it while I worked for Asphodel Studios and Records/RML. I can assure you that you will not find a better Serge panel unless you order a new one straight from STS. Everything is in mint working order physically and electronically. Scroll towards the bottom to see a video in which the Serge made an appearance in ;-) Also, the information on each module below has been quoted from the original Serge product catalogue. One last important note is that there is no power supply included with this panel. One will have to be ordered from STS if the highest bidder does not already have one.

Preamp Detector:
The new Serge preamps and envelope detectors provide an exceptionally responsive link between external audio signals and the Serge synthesizer modules. The key to this responsivity comes from the fact that our detector was designed to respond to the POWER rather than to the AMPLITUDE of a sound. No other synthesizer system offers this sophisticated capability. Human perception of loudness is proportional to the POWER content of a wave, rather than to its AMPLITUDE. Detecting the AMPLITUDE of a signal produces an inaccurate envelope, sometimes too soft, and most of the time too loud. The new Serge detectors are exceptionally accurate, responsive devices which output a control voltage envelope that is directly proportional to the perceived loudness of an input signal. It operates over a very wide dynamic range, in excess of 70 db, (or the difference between a whisper and a subway train at IS feet!). The output is accurately log--linear at 12 .5 db per volt, a taper which mates perfectly with the. control characteristics of our newest VCA's. Thus it is possible, for example, to control the loudness of a synthesizer sound by the sound envelope of a locomotive, a dog barking, or a voice going from a whisper to a shout. The effect is especially remarkable because of the accuracy of the responses the whisper is really a whisper, and the shout a shout. The PREAMP DETECTOR (PRNV) allies a Serge detector with a multi - purpose preamp suitable for a wide variety of inputs. The LO - Z input accepts high output microphones in the 200 t o 1000 Ohms range (such as most electret microphones), with a sensitivity suited for close - mitring applications such as instrument or voice pickup. The H I - Z input accepts transducers such as guitar pick-ups and contact microphones. It is also suited for- amplifying low level signals from tape machines, tuners, etc. Detector and Preamp can be switched to work separately or Coupled. Sensitivity for the various microphones and audio sources can be adjusted over a very wide range using the Preamp's gain control. Please note that it will not cut the gain to zero. With the Dual Comparator Module, exceeding a pre-set loudness level can be used to provide a trigger pulse to initiate any number of activities within the synthesizer.

N Comparator and Voltage Divider:
The NCOMPARATOR (NCOM) consists of two sections: a comparator and a voltage-control led pulse divider. The divider section outputs a pulse once every "N" comparator pulse, where "N" is a number from 1 to 31, settable with a control voltage at the divider's VC input (or manually via the divider's control knob). Additionally, the Divider outputs a staircase wave with "N" steps. This will produce whole-tone steps when plugged into the 1 V/Oct input of a VCO. This module has two distinct areas of use (in addition to the normal functions of the comparator). For audio frequencies, the divider can be set to Output sub-divided frequencies with digital precision. Output frequency depends on "N". If "N"= ` . 3,4, etc., the output frequencies will be an octave, an octave and a fifth. Or two octaves below the input, respectively. Because "N" is voltage controllable, arpeggios and various melodies can easily be programmed. The nature of this type of division (integer division), results in frequencies that fal l along the sub--harmonic series, a series that has great tonal charm. For sub--audio frequencies, the divider acts like a counter, outputting a pulse only after "N" number of input Pulse. Input pulse's can be fairly random, or regular . This capability is especially powerful for determining tempos and rhythmic patterns when using several sequencers (especially if the "N" vc input is taken from one of a Sequencer's rows of controls). In a more random Situation, using a microphone preamp/detector as input, the divider might be set to count how many times a sound of a certain loudness will have occured, and be set to trigger an event upon reaching the count . Since the Count can be made variable (from 1 to 31), fairly complex and subtle interactions can be generated.

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Vermona ReTubeVerb

via Noisebug on Ebay

Note this is the new design and different from the one in this video. Big City Music currently has the older model listed here.

On the new model:
"Although spring reverbs have been built for more then five decades they are still highly desired because of their individualism and sound quality. They can almost be seen as standard for guitar amplifiers and can be found in a great number of studios around the world, as they are also a perfect choice for vocals, organs and synthesizers.

Once again VERMONA presents a tube spring reverb of it’s own class and once again the name is “ReTubeVerb”. Some details have been improved and there are also strongly requested features like balanced in- and outputs as well as the possibility to get it in a rack system. Uncompromising tube technology

The ReTubeVerb is build upon classical tube circuitry – you will not find a single semi-conductor in its signal flow. This uncompromising realization needs some efforts but the result justifies the concept! What you’ll get is the warm and slightly compressed tube sound without interferences and unpleasant coloration.

Spring tank
The deep and voluminously reverb effect comes out of a high quality six-spring reverb tank (three double-springs) made by the spring reverb pioneer ACCUTRONICS. Equalizer

We’ve chosen three very usable frequencies which makes it easy to form the reverb effect as you like without much efforts.

Balanced In- and Output
Beside the unbalanced instrumental- / line in- and outputs we’ve implemented a transformer-balanced input and output as well. It’s not that kind of feature that’s integrated just to have it, but with great attention towards sound quality. The audio transformers are made upon our specifications to perfectly fit for their purpose.

True Bypass
There’s a true bypass as well as the EFFECT STOP function. The latter allows refining the input signal by the tube preamp without reverberation.

The ReTubeVerb relies on traditional technology but also makes spring reverberation a cutting edge topic.

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KX77FREE - Free VSTs

via http://twitter.com/rekkerd
http://kx77free.free.fr/

The following is an excerpt from the site. Note these are not done with synthedit and note the description for KX-SYNTH-X16-V2 pictured. The site is a good resource on synthesis in general. Be sure to see the other instruments listed there.

"My work is maybe a little different than usual virtual synthesizers, but it is done for the attention of musicians who like to program their own sounds. Even if I explain clearly the KXMOD parameters use, you must have a minimum of knowledge of subtractive synthesis to appreciate them. The sounds provided with my plugins are examples but the presets of the Kxomni and the KX-MODULAD are really nice...

I started to work on KX77FREE plugins in October 2002. Comparing the sound obtained with Synthedit and with my SixTrack, I decided to do my own virtual instruments."

Pictured above and to the left: KX-SYNTH-X16-V2
Vintage modular polyphonic synthesizer.

A virtual analog based on the VCS3 structure.

Common features with the VCS3
Three variable shape oscillators,tweaked to simulate the color and bandwidth of Vcs3's oscillators.
16*16 pin matrix with feedback connections.
LP filter, 18 db per octave with self oscillating.
Noise generator with EQ.
Ring modulation.
Two external inputs.
XY joystick.

Added features

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EMS Synthi A with DK-1 Keyboard

Updated images for this auction. Click on each for the full size shot.

"This is something special! A good looking Synthi A from the Electronic Music Studios in London. Both the Synthi and the keyboard are recently serviced and there are a some very nice modifications on this one! The following modifications have been performed by a pro synth tech:

Osc-sync 2&3, filter keyb follow, filter slew/unslew, filter 18/24 dB. Also new internal trimmers and elco's have been installed. Oscillators 1 & 2 have the temperature compensation mod to make them more stable. These are the same mods as performed at EMS London.The 3 black (Serge) knobs: 2 are the sync-switches for the OSCs, the one near the filter controls the keyboard follow of the filter. Left of and above the Cutoff knob are the toggles for filter slew/unslew en 18/24dB"

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EMS Synthi A & DK-1 Keyb

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

via this auction "This is something special! A good looking Synthi A from the Electronic Music Studios in London. Both the Synthi and the keyboard are recently serviced and there are a some very nice modifications on this one! The following modifications have been performed by a pro synth tech: Osc-sync 2&3, filter keyb follow, filter slew/unslew, filter 18/24 dB. Also new internal trimmers and elco's have been installed. Oscillators 1 & 2 have the temperature compensation mod to make them more stable. These are the same mods as performed at EMS London. The 3 black (Serge) knobs: 2 are the sync-switches for the OSCs, the one near the filter controls the keyboard follow of the filter. Left of and above the Cutoff knob are the toggles for filter slew/unslew en 18/24dB"

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Spectral Audio Neptune

images via this auction
"Spectral Audio Neptune Analog Mono Synth & MIDI-CV converter
The Neptune is an all-analog mono synthesizer with plenty of features to keep the sonic explorer happy. Real knobs and switches make it a joy to work with live, and the inclusion of the built-in MIDI to CV converter means it can be used to interface modern MID gear to older analog equipment. The Neptune also includes an audio input for processing external signals (guitar, vocals, drum machines, etc.) through the Neputne's sound- shaping circuitry. This particular unit is gold-faced, and in like-new condition. Here is the conclusion from Sound On Sound magazine's review of the Neptune:

"The continuing popularity of analogue synths is founded on two main features: their sounds, and the immediacy with which those sounds can be created and tweaked. Spectral Audio's Neptune achieves pretty well in both respects. Sound-wise, it's a reasonably versatile monosynth with a few unusual features, which make it particularly suited to the production of weird noises. And although there are no patch memories, and the controls don't transmit MIDI data to be recorded in a sequencer, it's a breeze to use, what with every parameter having a dedicated (and clearly labelled!) knob, switch or button. Those seeking to add a bit of genuine analogue sparkle to their studios will not regret putting the Neptune on their auditioning list." (read the entire Sound on Sound review here)

Performance Features
Oscillators:
* 3 very stable VCOs; 1 & 2 offer Sawtooth and Pulse Waves
* 4 Octave Range Switch for VCO2
* Ring Modulation and Sync Features for VCO 1 & 2
* VCO 3 can be switched between LFO and Sub Oscillator Modes
* White Noise Generator
* Slide Function, switchable by MIDI Controller 65 (Portamento)
* External Signal Input

LFO:
* 5 Shapes; VCO 2 can also be a Modulation Source
* LFO MIDI Clock Sync
* 4 Modulation targets: VCO 1 and 2, Cutoff and Mixer

Filter:
* 24 dB MOOG Style, Self-resonant Filter with Highpass and Lowpass Modes

Envelopes:
* Dedicated ADSR Envelope for the Filter with Positive or Negative Modulation
* Second ADSR Envelope for VCA Volume

Effects:
* Distortion and ‘Fuzzer’ Effect

MIDI:
* 5 Octave Range MIDI-CV Converter
* MIDI controlled Cutoff and Modulation
* Velocity Sensitive
* CV and Gate In/Output (switchable)

General:
* Pure Analogue Technology
* 2 Unit Rackmount Enclosure
* Violet, Silver or Gold coloured Front Panel

Spectral Audio (click on the Neptune link to get to the audio demos)."

NEXT SPACEBASS 3.3

images via this auction

via Tuan c/o Drone Studios

Note the MIDI dip switch and VCF In.

"The Next! Spacebass 3.3 is the best Roland TB-303 clone there is! The analog circuitry is based almost entirely on single transistors which make these units sound absolutely authentic. The control interfaces are built around the original 303 design for easy on-the-fly use. The sounds generated by analog bass synths come from two types of waveforms, Saw and Square, which can be mixed for a large number of sound possibilities. The SpaceBass 3.3 features a 24 dB low pass filter, through which the sound passes to create various effects, can be modulated with Cutoff, Resonance, and Envelope Modulation. The decay time and accent are variable from 120 velocity. There is a separate VCF input for routing any audio signal through the filters...perfect for warming up drum loops! By the way the Next! Spacebass 3.3 was manufactured under several different names such as the FAT Freebass FB383 or the MAM MB33, but they are all the same synth with the same circuitry. They are all perfect TB-303 recreations and sound fat and acidy!"

You can find samples at the auction.

Marshall Time Modulator and the Marshall Tape Eliminator

"To my friends at Whatever Works:

I'm very pleased to announce that I've signed an agreement with the wife of the late Steven St. Croix to sell and service the Marshall Time Modulator and the Marshall Tape Eliminator.

Lots of engineers know these remarkable units, and I'll bet that some here bought their MTM decades ago. It certainly was a beloved piece of gear! Here's a brief history, and for those who don't know it, description of what the MTM does.

The MTM is an analog effects unit that Steve developed in the late 70's. It doesn't truly modulate time; you can't go back and buy Apple stock for $15. It does modulate and manipulate audio delay time, producing many unique and amazing effects. The input signal passes through two analog delay lines. The delay time is adjusted by manual control, a wide range LFO circuit, or (for most effects) a combination of the two. Dry and delayed signal are combined, with feedback added to taste.

This simplified description may sound quite dull, but the sounds produced by the MTM are utterly amazing. Effects include vibrato, positive flange, negative flange, cardboard tube echo, automatic double (and triple) tracking with pitch and delay dithering, resonant flange, circus vibrato, arpeggio, pitch quantizing, and many more. The MTM was used to create Darth Vader's voice in Star Wars, and was used on many hit records.

My understanding is that Steve developed the very first prototype in 1975, to win a bet. He brought it into a studio to try it out in session, and everyone was blown away. The AES Convention happened to be a few days away, and everyone encouraged Steve to produce a finished demo model and show it, which he did. His booth was mobbed at the AES and the Time Modulator instantly got lots of great press. Initial prototype runs were produced, with early batches going to Stevie Wonder and Sound 80 Studios in Minneapolis. Wrestling with improvements and tweaks, it was another two years or so to before Steve went into production. But when the 5002 Time Modulator was finally released, it scored rave reviews in Studio Sound, REP, and Modern Recording, and sales took off.

The 5002 was followed by the 5402, which featured a new control set and greatly extended delay times. Steve also developed the AR-300 Tape Eliminator, which simulated delay at various tape "speeds". It included a tape-like EQ curve and natural sounding tape compression -- just like the boxes released today. Of course, he beat all the new guys to it, by 20 years or so!

It's worth repeating that these were analog boxes, totally free of quantization noise and other digital artifacts. The MTM had a signal to noise ratio of 95 db! This was an amazing and unheard of feat, that most modern gear still can't equal. Steve was a real perfectionist. Plug in a Time Modulator, turn the monitors all the way up and you hear...nothing. No background noise.

Mr. St. Croix also authored the Fast Lane column in Mix Magazine for 18 years. I understand that a book featuring some of the best columns is in the works. He proposed a device to make legible the "erased" Nixon tapes after Watergate, and later founded Intelligent Devices. I.D. produces hardware and software for forensic audio and law enforcement applications. The company has been very successful and is still active.

Steve was truly a renaissance man, surely a genius. This brief description barely scratches the surface of his accomplishments. I've copied over a thousand pages of original documentation, and will be adding extensive historical info about the man and these products to my site.

Steve's tech room contained a large number of Time Modulators and other products. We will be servicing and completing these units, offering both repaired units and brand new ones for sale. We intend to stock all the parts used in these models, and will be glad to service and calibrate these Marshall products to their original specs.

Steve created a 15 minute Time Modulator demo record, which was pressed on Evatone Sound Sheets. Last year I created an MP3 of this recording. Here's the link.

There's much more that I'd like to say about Mr. St. Croix and the amazing Time Modulators, but I wanted to keep this initial post on the short side. I'll do my best to answer any technical or historical questions. I'm very grateful to Steve's wife -- a very cool lady who is utterly dedicated to doing Steve's memory right -- for allowing me to help carry on the legacy for these amazing products."

Filing this one under effects. via the PSW Recording Forums where you will find more discussion.