Radio City (jamming w/live FM radio & tape loop)

video by poorness studios

"I decided to give this idea a try and I was fairly pleased with the results. I'm using a ByronStatics KCS-315 AM/FM radio and a Sony TCM-200DV variable-speed cassette player along with my Volca Bass, Volca Beats, and Microbrute synthesizers. The 7-second tape loop you hear was made by The Void Electronics in Ireland.

I made a playlist of other videos that involve cassettes: [below]

If you like tape loops, I highly recommend The Void Electronics on Etsy: https://www.etsy.com/shop/TheVoidElec..."



Playlist:

Cassette Soundscape 1 (TX Wiggles 47)
Cassette Soundscape 2 (TX Wiggles 48)
Still Here (jamming with a tape loop)
Radio City (jamming w/live FM radio & tape loop)

Synthesis Technology - E370 4 Voice Sample Player Techno

Published on Feb 9, 2018 DivKidVideo

"I posted a video with this patch on my Instagram - instagram.com/DivKidMusic - and I think people thought it was just the synth sound coming from the E370 ... but no! Kick, snare/percussion, open hat and synth sound. Each of the four voices are in sample player mode and I've used Wave Edit (software) to turn single shot sounds into samples. More videos with the E370 coming soon, include a deeper look at the sample player and the various FM options as well."

Jimmy and the Yamaha FX1

You are looking at the Yamaha FX1. The FX1 was a three manual FM based synthesizer under the Electone organ moniker, similar in look but not synthesis as the coveted analog GX1. GX1, FX1, get it? I have searched for images of the FX1 on the net and have come up empty.

Well.... Jimmy managed to run accross my site and informed me that he actually has one. To give you an idea of how rare the FX1 is, according to this Sound on Sound article there is only one in existence in the UK. The SOS article does not have an image of one. Think about that. This is about as rare as it gets folks. From the SOS article: "Lest you think that (other than the DX1) all FM synthesizers were small, neat affairs, let me tell you about the FX1. This was a huge three-manual beast very much in the mould of the GX1, but based entirely on FM synthesis. If you've never heard of it, I'm not surprised. Costing £36,000 in 1986, there's only one working example in the UK, and not many more elsewhere." Well, we now know there is at least one more working sample out there. Title link takes you to more shots sent my way via Jimmy. I need to stress how thankful I am that Jimmy took the time out to take pictures and share some of his story with me (during our conversations he stated that he would takes some shots and send them to when he had time. To my surprise that ended up being much sooner than later). I decided to include a bit of his story as well, as I found it fascinating. It also gives you a bit of this particular synthesizers' history and gives it context.

The following are excerpts from an email exchange I had with Jimmy:

"I do a single - organ, piano, sing, comedy, etc. One of the last night club entertainers left, I guess. I've been doing essentially the same type of show for the last forty-five years. I'm 65, but I'm going on 30. I definitely don't act my age, on or off stage. I still play a B-3 Hammond with two Leslie speakers. The B-3 I'm playing is the one I started playing in 1960, when I started in the night club business. I only play three nights a week. I really don't want to work more than that. I'm married and have raised two sons. I've met most of the musical stars through the years and have maintained a friendship with most of them."

"Back to the FX1, I tried to get it fixed one time (I spilled a coke into a small section to the left of the lower keyboard). Yamaha company said that they could replace the boards if I sent them to them one at a time. I really didn't know what was wrong with the organ at the time, so I sent one circuit board at a time and Yamaha replaced them, one at a time. Yamaha didn't even have a prototype of the FX1 in their repair facility so that they could compare the one I had with one in their shop. Sending parts to them really didn't solve the problem, because they didn't have a prototype in which to insert my parts to note a problem. I hadn't realized that the spilled drink was the problem. I brought the organ here from Florida and within a week, the repairman had diagnosed the problem and repaired it like new. It really is a workhorse piece of equipment. It will probably be around long after I'm gone."

"I wonder how many of these FX1s are left. I was told that there weren't too many of them to begin with. I'm not sure, but I had been told that there were twelve of them in the USA. I was told that Stevie Wonder owned one when they first came out. He has to have used it in studio. There was a train wreck (I believe) where all but a couple of them were destroyed. It was going from California to New York. Mine was one which survived the wreck. There is a corner of the keyboard where the edge is slightly bent. This supposedly happened in the accident. I don't know if this is true, Matrix, but that is what I was told (after I bought the organ!)"

"You asked how the FX1 plays, etc. It is a wild piece of history. It is the most powerful sound because of the huge external speakers. The speakers can be turned up so loud, that the sound can be deafening. I never really turned it up to max, but it is scary. The speakers are on wheels and they match the organ, which is an off-white. The organ as well as the speakers and the bench are extremely heavy - extremely. I thought that the B-3 Hammond was heavy. The organ itself weighs probably 300 pounds. The bench, alone, has to weigh 80 pounds. In order to get to the guts of the organ, you have to unscrew aload of screws and the whole front lifts up in two sections. The inside looks like the most complicated thing you've ever seen. It has six (I think) large circuit boards which pop out. It was way ahead of its time! When you change registrations, all of the sliders automatically move to the desired preset settings. It is quite amazing."

"You [Matrix] are a pretty crazy person [indeed ; )]. Very interesting that you have that site! I am really a collector of everything, so I guess I just never got rid of keyboards when I used them through the years. I also have a mini-moog that I've had for twenty five years. I'm not a great synthesizer player - I used the mini-moog for effects in my show. I should really use it for effects today. I'm trying to get informed enough to sample it down to my Kurzweil sampler. You see, on the job, there isn't a lot of time to play synthesizers, changing stops to be interesting, plus keep everyone's interest as a singer and comic. I'm a very busy guy on the stage. It's a very little one-man show that relies on personality as well as technical ability. I'm sort of the entertainer's entertainer. Andy Williams, Ray Stevens, Pet Clark, and the like, come out and watch me after their shows. Not much use for them with the type of shows here. They are playing pretty straight stuff. The town used to be known for country, but it is changing by the year. There are Beatles shows and good old Rock and Roll shows. Synthesizers are quite scarce in the shows. A bunch of my friends are into them, though, and have them at home. I am from the school of Earl Grant, Shay Torrent, Buddy Cole, Lenny Dee, Ethel Smith, Jimmy Smith, and the like. Most of them were personal friends. Petula Clark came in to see me on Saturday night. She sat in with me and sang a couple of old standards. It's a gas, because, I'm sort of a retro act. Although I have had some of these keyboards throughout the years, I am really not proficient in using them with any great knowledge of wave lengths, etc. I've been friends with a lot of the great players, and they think I'm a monster in my own way, but I've always been crazed with the way they play. I probably have thirty old keyboards - none of them are the ones mentioned in your blog - they are simple, usable keyboards that I've picked up in pawn shops, etc. I don't know if you knew who they were, but years ago, Joe Mooney, Del Statton, and Jocko Pastorius (and his dad, Jack) were good friends. Jocko was a mega monster on keyboards, as well as the bass. We were friends from the time he was 13. His dad was a good buddy. Jocko was the freak of all freaks. He would sit, as a kid, and watch me kick footpedals, without even looking up at the keyboards. I'm rattling on. I just wanted to fill you in."

Rattle on. : ) Again, I want to thank Jimmy immensely for taking the time out to share this with us. Folks, if you have any questions for Jimmy please feel free to post a comment and I'll make sure he gets it. Thank you more than words can say Jimmy. Wow!

Update: link to the manuals via hugo:
FX1E_1.pdf
FX1E_2.pdf
FX1E_3.pdf
FX1E_4.pdf
FX1E_5.pdf

Update via Jimmy in the comments: "The FX1 I have has a mini-disc recorder/playback unit attached to the underside near the right knee which can replay as though it were live. I think you can see it in the picture. Not bad for the time! I also have a second recorder. - J"

Update via the comments: More shots and info here

Update: be sure to check out the comments for more. The following via Jason:
"Add another FX1 to the list of found. This one was purchased new to be, of all things, a church organ! My father was a Yamaha dealer at the time and he was offered the chance to "test" a new model of the Electone series. It was actually purchased in 1982 (yep, before it was released). The serial number on it was "XXX" and there was nothing on the organ indicating it was an FX1. I always thought it was kind of strange Yamaha would send something like this to such a small town to be tested. Anyway, the organ is now gone after being struck by lightning in 1989. It sat out in an alley exposed to the elements for 7 years before it was finally hauled off to the dump. I tried to stop that, but I was only 15 when it was drug off, so I didn't have a choice.
I'll always remember that organ as being the "Star Trek" organ. The kids of the church would just sit at it and change the settings to make the sliders move on their own. Anyone else think it looked like a console out of Star Trek TNG? haha
btw, here's a link to an MP3 file of a demonstration of the organ playing."

Update via Andrew in the comments: "Yamaha made a promotional album for the FX-1 in 1983, you can grab it here"

Update via Rockstardave in the comments: "I did a write up on my FS-500, very similar to the FX-1, with some pictures and such:

http://freeorgansusa.blogspot.com/2010/03/yamaha-electone-fs-500.html

Come have a look at my "new" baby."

Technosaurus Selector Literature and a Selector "Review".

This one in via Mike Peake on AH:

"This may exist in other spots on the web. Good, the more the better. Not enough attention is paid to this machine, regardless of any complaints regarding no new modules etc. It's excellent as it is, as the Minimoog is, for those who can make music without the latest bells and whistles. Remembering that the VCF, with resonance at minimum, cuts very nearly as well as the Moog 904a.

VCO
VCF2
TRES
LFO/Noise
VCA
Cabinet
Technosaurus

This was just submitted to Harmony-Central but here it is for you.

Ease of Use:
This is a very easy to use synthesizer owing to clear descriptions and individual module delineation. It's rather more of an East Coast machine along the lines of the Moog Modular, being more of a keyboard player's instrument for jamming than the Buchla-style machines. If you know the Moog and Moog-based systems such as the Synthesizers.com, you'll have no trouble using the Selector.

Perhaps the only suprise is that some CV modulation values are bipolar, requiring a voltage that can swing to the negative, to access certain parameter ranges (very low oscillator frequencies and PW). This works well with the LFOs, which are bipolar, but the envelopes are unipolar (although they can be switched to negative-going, this is still unipolar but in the opposite direction).

I suggest using a Frostwave MIDI to CV converter to drive it, or of course the Technosaurus MIDI/CV module. This is because the oscillators and filters have an impedance that doesn't match the Encore Expressionist I'd planned to use it with.

Features:
Features are limited to the amount of available modules, which does not include a "control module" with manual voltage outs, offsets, etc. Don't worry about the lack of bells and whistles, there is plenty here to keep synthesists and musicians busy owing to the wonderful sonic character and ease of use.

Good features include the fastest (D)ADSRs on the planet (70uS minimum rise time on the Attack). The VCA is built to withstand such speed, and does not click and thump. Reference: The Minimoog will start to click with rise times faster then around 750uS, and the Mini and Modular envs are around 1ms as a result. Due to this, the Selector obviously allows for extreme percussion sounds. The ADSRs can also be switched to AD types as well. Very thoughtful, very handy. The VCA has extreme dynamic range and is very quiet, so you'll end up with powerful percussion and firm, quiet, very dark bass sounds.

The oscillators are very stable, perhaps too much for my ultra-sloppy vintage Moog pinings, but stand at attention when you switch octaves, etc. The hard synch is good-sounding, and there is a thoughtful output on each oscillator for driving others in HS, so that you don't have to mult out an audio waveform to attain it. The pulse waveforms are very stable, even at the extreme values.

The oscillators are similar to the Moog in that they are not incredibly loud, and as such, don't do extremely deep FM. I haven't using a VCA to try boosting the gain on one yet... The LFOs have high output levels, and go up to around 2KHz, so it's easy to use them for nice FM effects. They are also very wide-range, so you can cross-modulate their CVs from nearly standing still, up into the audio ranges. Very nice. I despise LFOs with "range" switching, which always seems to be right in the middle of a place I wish to modulate through, so these are very pleasing.

The Sample and Hold is extremely stable; I know that Jurg is very happy with it, if he'll pardon me for saying so. It features external and internal clock and sampling source. You can drive it with the LFOs and sample the LFO module based Noise source, and produce modulations that will vary across the entire audible range (very wide CV swings). You do not have to be polite here if you do not wish to be. The S/H module has a smooth random source which is nice to use as the sample input as well. It's not the Buchla SOU, but it's musical and useful (which is how I'd characterize this entire synth).

The envelopes may be driven from the LFOs. A varying trigger voltage produces varying envelope output levels (I used the SH output into the triggers for the amplitude-varying drum sounds in my track "Seance". Search Soundclick.com for that if you're intersted.).

The TRES is an excellent module, both sonically and functionally. Although each band is only variable from 32Hz through 8KHz, each is individually controlled by CV, has individual resonance up to and including self-oscillation, and individual volume. Then the overall volume may be modulated by CV if you wish. There is a handy On/Off switch if you want to tune your oscillators to intervals etc. in the midst of a complicated patch, then switch the RES back in.

The TRES is very musical. I love the way it sounds. I applaud Cwejman and others for their new multiple CV resonator modules, but I prefer the resonant character of the TRES over the MP3s that I've heard. It can sound woody, phasey, whispery, and outright nasty as well. It's the key to the male choral sound I like so much, which requires different CV modulation to two of the bands, as well as each band sitting right at the edge of self-oscillation (that magic place that the digital gear has yet to master).

Very nice are the mults on each module where there is space, such as the TRES. Also nice are the multiple inputs on the Filter and TRES, meant to use as unity-gain intput mixing (the oscillators waveforms have individual volumes!). Multiple outs on the TRES etc. are nice too, for easily patching to multiple destinations, ala' the Buchla!

Sound:
The sounds are very good, although the envelopes or the VCA slopes have their own character, a touch off of what I'm used to on the Moog. It's a very interesting instrument to play, and to find new characters in the filter and TRES. Note: The 12dB Filter 2, with the resonance down, cuts very nearly as well as the Moog 904a, which is my standard for happiness. The filter sounds great, and does very interesting audio-rate FM that sound like no other filter I've used (in a good way, of course).

It's a very responsive instrument. You'll need a CV converter with a built-in LFO, however, as it has no DC-capable VCA.

I am very happy with how easily musical it sounds, and knowing that there is much more there waiting to be found.

Reliability:
The envelopes had a mod, a small daughter board, to ease the load on the power supply. This is because they drain the power supplies... I chose a supply with plenty more amps than the system would require, being a believer in headroom anyway.

My fifth envelope has burned up two chips twice now. You cannot fire all five at once. To be very fair, Jurg has sent out replacement parts in no time flat when I've asked. I have full faith in him and the company in support of the product.

This is the only ugly aspect of this beautiful synth. However, I would not turn down a date with that supermodel, the one with the mole, whose name I can't remember, the smart one who was on Politically Incorrect with Bill Maher, just for the fact that she has a mole...

I bought the system knowing about this, and it's not a big problem. It's disappointing to not be able to fire all five envelopes at once, but I'll survive by creating two individual sounds on the one instrument, that fire individually. And I know that Jurg is there if the need should arise.

Otherwise, the machine has been absolutely brilliant. No bad jacks, no bad pots, no dirty pots after several years of use, etc. The Zebra patch cords I bought from him with the system have never worn out either.

There is an overall cage for the modules inside the case; each module slides in on guides and a socket seats at the rear; machining of the front panels is akin to the System 700, in that it's really good. Very tight. In comparison, the original Moog modules were sometimes as sloppy as their pitches. I don't worry that the PCBs would suffer injury unless the entire case were to be somehow crushed.

Customer support:
Jurg is one of the good guys and deserves your attention and respect. I'm happy to have chosen his synth, and having had contact with him.

Conclusion:
The TRES and filter self-oscillate but only if there is an audio input going on. This is a bit unusual, and limits certain things, however, that is very very minor. It would be nice if the TRES had additional 1V/8va inputs, to ease situations where you want instant keyboard tracking.

I'd certainly buy another, and would add to my current system given the chance. I recommend it to anyone who is into modular synthesis, as the filters and TRES are still unlike other systems.

Looking for a slightly different sonic character???
It's been here since 1996.

A note: System C and D owners know that the empty space in the middle rack can be filled with Eurack-compatible modules. Analogue Systems make a nice LFO/DC VCA keyboard module that would be quite nice in there. Also, a "control" module."

Yamaha DOM-30 Midi Player Module / Sequencer w/ FM TONES

Note: Auction links are affiliate links for which the site may be compensated.
The above is a playlist of videos featuring the Yamaha DOM30, starting with a circuit bent one from CBMods. Below is a listing for a non modded unit. I realize I haven't featured any demos of one on the site before now.

Mods for the first video:
8x switches
16x point patch bay
----
Remarkable disk drive sequencer / sound module, heavily modified and embroiled in a wonderful series of twists and bends.
----

via this auction

"Yamaha - Dom-30 - Disk Orchestra Module Midi Player - Sequencer

INTERESTING BOX OF TRICKS HERE..

SOME NICE FM TONES AND DECENT DRUM SOUNDS
MEANT FOR USE WITH CLAVINOVA BUT I'M JUST USING IT AS SYNTH MODULE. WORKS WELL
YOU CAN ASSIGN 10 CHANNELS VIA MIDI

MIDI IN/THRU/OUT

SOME VERY COOL SOUND FX TOO

PLUS REVERB / DELAY & COSMIC(!)"

CLICK FOR MORE »

100 Yamaha FS1R Sounds - Demo Videos

100 FS1R Sounds - part 1

Uploaded on Jul 19, 2010 stickyfox

2nd video below.

"I couldn't find a decent demo of the FS1R on here, so I figured I'd run through the sounds. These are the factory voices with no additional processing. My original intent was to do a voice-over as well, but you may have wanted to hear the sounds (go figure), and not my Ben Stein-esque drone of opinions of each sound, so I will put that in the annotations layer instead, where you can turn it off if you like.

The FS1R is an eight-operator FM synth, Yamaha's only as far as I know. The number of algorithms is increased to 88, and it retains compatibility with the DX7. Additionally, the "formant shaping" engine allows very intricate control of
the complex FM spectrum. It works something like a vocoder or a parametric EQ with knob automation. You can hear it in the "talking" voices.

When Tom Oberheim was showing off the reissued SEM, he surprised me when he qualified his demo with, "I'm not a keyboard player." Well, I'm not a -good- keyboard player. I design, repair, and modify synths. When I play, it is usually for my own enjoyment. But I will do the best I can to give you an idea of what this module sounds like in qualified hands.

There are 512 performances on this synth. I ran through them as fast as I could and managed to get about 50 into a ten-minute clip. Despite my expedient approach I still needed to clip out some of the silent parts to fit it into two videos, so you'll notice some jumpy editing.

The internal bank is about the least exciting one, so I think I'll do another video of the preset bank, but in a slightly different format to get the best parts into ten minutes.

Shouts out to Jexus and Dr. Squ; the inspiration for this project. Next time I promise more disturbing and/or off-beat imagery mixed in with the keyboard visuals."


100 FS1R Sounds - Part 2

Uploaded on Jul 19, 2010

"I couldn't find a decent demo of the FS1R on here, so I figured I'd run through the sounds. These are the factory voices with no additional processing.

By the halfway point I was getting better at cycling through the sounds, but I still had to cut a lot out to fit it all in less than ten minutes. The editing is not the smoothest here, but there it is.. a hundred FS1R sounds. Next video will just feature my favorites.

I've got a couple more underrepresented pieces here, so we'll see how my free time comes along with the new job.

Shouts out to Jexus and Dr. Squ; the inspiration for this project. Next time I promise more disturbing and/or off-beat imagery mixed in with the keyboard visuals."

via Computer Music Guide

Software synthesizer experiments: 幽霊楽団 ～ Phantom Ensemble (Touhou 7)

video upload by Rhokin321

"This is a software synthesizer and MIDI player of mine playing the original th07_09.mid from Touhou 7.

I’m using FM synthesis to generate the waveforms in a way vaguely inspired by old FM sound chips. It doesn’t have that many unique instruments right now, most of them are used in this song. I would like to add LFOs, better envelopes and possibly some basic signal filters eventually.

I did not compose or arrange any of this, I just made the synthesizer.

Composition/Arrangement: ZUN

#東方Project #VGM"

CLICK FOR MORE »

Lambda Synthetics PolyPulse Now on Kickstarter

introduction video upload by Lambda Synthetics

"Lambda Synthetics today launches their Kickstarter campaign for the PolyPulse, the algorithmic performance workstation which combines the playfulness and performability of physical instruments with the precision and sonic detail of digital music production techniques into a single package!"

PolyPulse workflow overview

Ward Slager performing live with the PolyPulse


You might remember Lambda's PolyPulse from SUPERBOOTH23. They are now on Kickstarter seeking funding.

Details captured for the archives:

The PolyPulse is an algorithmic performance workstation which combines the playfulness and performability of physical instruments with the precision and sonic detail of digital music production techniques into a single package!

Its 5 tracks each have an algorithmic sequencer, a polyphonic sound engine of your choice, customizable audio effects chain and morphing touch pad. The algorithmic sequencer allows you to easily create long evolving rhythms and melodies. With the touchpads you can fluently morph between four presets per track to create expressive and dynamic changes in sound and texture.

The PolyPulse has four audio inputs which can be sampled, and has eight audio outputs allowing for various routings including individual outputs per track or spatialized multi-speaker setups. It can be synced using MIDI, sample accurate clock signals and it even talks Open Sound Control. MIDI can be used to control sequence synthesizers and CC messages morph sounds on your favorite synthesizer module!

Key features

The PolyPulse can already do a lot! In the following section we're outlining what the current firmware is capable of, but we hope to be adding features in the years to come! Algorithmic sequencer

With the PolyPulse you create rhythms using an algorithmic sequencer controlled by a set of parameters. This allows you to quickly create a variation on a groove by turning just a single knob. Melodies are created using 'note lists'. When a note is triggered by the sequencer, it picks a pitch from the note list and sends that to the sound engine. Due to the separation between rhythms and melodies you can mix and match to try out new combinations and to discover wonderful sequences.

Morphing and mixing

With the touchpads you can have expressive control over all sound engine and audio effects parameters. On each corner of a touchpad a sound can be stored. These sounds can be modified on-the-fly, or prepared beforehand and stored in the project.

Each track also has a dedicated volume knob and effects sends knob. The effects send can be routed internally, or you can send signal to your favorite external effects processor!

CLICK FOR MORE »

Kilpatrick Audio K4815 Pattern Generator Back in Buchla & Mini 200e System

Note the K4815 on the left.  The mini system pictured features the K4816, 1979 Dao, and a Buchla 267e via Noisebug.

"In-stock now. Ships immediately.

Introductory Price: $950
(through 12/31/18)
2019 Retail Price: $1099

Building on the success of the K4815 Pattern Generator originally designed for Eurorack, the K4816 offers Buchla users this amazing module with a design optimised for this high-end format. The K4816 Pattern Generator by Kilpatrick Audio packs incredible power into a single space module. The K4816 can produce notes and varying control voltages for a wide range of musical and experimental sound applications. Its unique approach to music creation is sure to have you finding new melodies and rhythms never heard before. Unlike a step sequencer, where the player picks each note in a sequence, the K4816 creates sequences by combining a scale, a visual pattern (as shown on the display) and a sequence playback motion to determine the rhythms and notes that are actually played. Other parameters can adjust the note and sequence length, as well as the transposition, direction of playback, and so on.

CLICK FOR MORE »

Nanopolis Antigone - Eurorack 4 voices full poly synthesizer (Wavetable, FM, Algorithmic, Sample...)

video upload by nanopolis

"I will be at Superbooth'23 on Booth 0435 'Nanopolis'. FEZ-Berlin 11-13 May.

FX used on this video : tiptop ECHOz / ZERVBZ card.

00:00 - Dualité
00:59 - TBish
02:45 - Penta ramp bells
03:46 - Super Spread
04:57 - VA Pluck
06:01 - Night Guitar
07:07 - Belle
08:33 - Bright Pluck
09:34 - Cold Growl
10:52 - Pure VA
11:40 - Resonantas
12:53 - Moving FM

Full multi-machine 4 voices synthesizer (multi-timbral)

Software :

Audio engine 32bits 48khz

4 individual voices (link capability to work as monophonic, polyphonic, paraphonic), each voice are composed of one machine slot (an audio generator like wavetable, sample player ect...) + 4 modulations slots (adsr, lfo, s&h ect...)

When the voices are linked (for poly mode per example) voice 1 act as master, all other voices are replica of the voice 1, but you can offset all params on other voices !

Unlimited presets for projects and voices (saved on the SD card, limited by the SDCard capacity)

1 note processor slot per project (basic, chords, arp...)

4 global modulations slots per project

Mixer with routing & panning for the 4 voices

External clock / reset sync

All parameters are assignable to internal and/or external modulations (2 modulations per param)

Hardware :

4 individual 16-bit audio outputs (routable as 4 mono, or 2 stereo, or 1 stereo + 2 mono), AC-coupled, high end DAC & op-amp

6 CV inputs (-5V / +5V , assignable to almost any parameters)

4 Gate/Trig/Clock inputs

OLED Screen 256x64 pixels (4-bit greyscale - 16 levels), color : yellow or blue

MicroSD slot on the rear of the module (tested up to 128gb)

16mb of RAM to load samples & wavetables

4 smooth endless pots & 1 digital (quadrature) clickable encoder

Microcontroller board : removable teensy 4.1

Width : 26hp

Depth : 28mm from the back of the faceplate"

http://nanopol.is

YAMAHA CE20 FM Combo Ensemble

via this auction

"EXTREMELY RARE VINTAGE 1982 YAMAHA CE20 "COMBO ENSEMBLE" SYNTHESIZER (SERIAL #3642) WITH IT'S ORIGINAL CARRYING CASE, FULLY TESTED, IN GREAT WORKING CONDITION, AND NEARLY FLAWLESS COSMETICALLY! PURCHASED FROM A REPUTABLE TOKYO, JAPAN VINTAGE SYNTHESIZER DEALER AND HAND-CARRIED BACK TO THE U.S.A. (NOT CHECKED AS BAGGAGE).

ONLY PRODUCED FOR ONE YEAR, THIS KEYBOARD HOLDS A HISTORIC PLACE IN SYNTHESIZER HISTORY, AS IT IS THE PIVOTAL STEP IN THE DEVELOPMENT OF FM SYNTHESIS BETWEEN YAMAHA'S GS-1 AND THEIR LEGENDARY DX 7.

ONE PARTICULARLY UNUSUAL FEATURE OF THIS SYNTHESIZER IS THE "SLIDE CONTROL" TO THE LEFT OF THE KEYBOARD. I HAVE NEVER SEEN OR EVEN READ ABOUT A CONTROLLER LIKE THIS ON ANY OTHER SYNTHESIZER. WHEN PLAYING A MONO SOUND, THE "SLIDE CONTROL" BUTTON FUNCTIONS BOTH AS A "LEGATO" SWITCH (SO ATTACK ENVELOPES DO NOT RE-TRIGGER) AND ALSO ENABLES THE WHEEL, WHICH CONTROLS THE LENGTH OF THE "SLIDE". LIKE A "PORTAMENTO", THE CE20'S "SLIDE CONTROL" FEATURE ALLOWS THE PLAYER TO HOLD DOWN A NOTE AND ADJUST THE RATE OF GLIDE TO SUBSEQUENT NOTES IN "REAL TIME". IMAGINE BEING ABLE TO APPLY A CONSTANTLY CHANGING PORTAMENTO EFFECT, TO ONLY THOSE NOTES YOU CHOOSE, AS YOU PLAY!

ANOTHER GREAT FEATURE OF THIS SYNTHESIZER IS THE "SYMPHONIC" SWITCH WHICH ADDS A BEAUTIFUL EFFECT TO ANY OF THE VOICES THAT IS A CROSS BETWEEN A CHORUS, A PHASE SHIFTER, AND A LESLIE SPEAKER!

THE CE20 HAS TWENTY CLASSIC YAMAHA PRESET VOICES - FOURTEEN OF WHICH ARE MONOPHONIC: PICCOLO, FLUTE, OBOE, CLARINET, SAXOPHONE, TRUMPET 1, TRUMPET 2, TROMBONE, VIOLIN, CONTRABASS 1, CONTRABASS 2, ELECTRIC BASS 1 & ELECTRIC BASS 2. THE SIX POLYPHONIC PRESET ARE: BRASS, HORN, ORGAN, ELECTRIC PIANO, HARPSICHORD & STRINGS. ALTHOUGH NOT PROGRAMMABLE, THE CE20 OFFERS SOUND EDITING OF ANY OF IT'S PRESET VOICES WITH A "BRILLIANCE" SLIDER FOR TONE ADJUSTMENT, VIBRATO DEPTH, SPEED & DELAY SLIDERS, AND THREE "SENSITIVITY" SLIDERS - "TONE INITIAL", "TONE AFTER" & "VIBRATO AFTER" FOR INCREASING VELOCITY SENSITIVITY.

THE ORIGINAL VINYL/TOLEX COVERED CASE FASTENS WITH GOLD "GUITAR-CASE-STYLE" LATCHES AND BEARS A GOLD YAMAHA LOGO. THE CASE'S COPPER-COLORED FELT INTERIOR OFFERS TWO SIDE COMPARTMENTS OF IDENTICAL SIZE - ONE ON EITHER SIDE OF THE KEYBOARD COMPARTMENT. ONE OF THESE SIDE COMPARTMENTS WAS PRESUMABLY DESIGNED FOR A SUSTAIN PEDAL (WHICH IS NOT INCLUDED IN THIS AUCTION) AND THE OTHER COULD HOLD CABLES, ETC. WHILE THE CASE IS STURDIER THAN A "SOFT CASE" OR "GIG BAG", IT WOULD BE BEST CHARACTERIZED AS A CARRYING CASE."

New $155 Qun mk2 Synthesizer with Sequencer & Looper by Nunomo

video upload by Nunomo LLC

"This is the first demo of Qun mk2."

via Nunomo

"Qun mk2 is a powerful and unique pocket synthesizer with sequencer and looper.

Normally cheap synthesizers don't have full flexibility because of hardware limitations.

I was dreaming if I can get a small synth that has full flexibility of the real synth with an affordable price tag. Qun mk1 was the synth.

Mk2 receives big improvement from mk1 by adding LED buttons and external processor for UI processing. SD card support is added.

Once you get used to it, it will be so powerful and it will provide tons of flexibility. It is a real synth, not preset machine.

If you are looking for pocket music sketch tool, this is it."

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Introducing SUPER 8 | Native Instruments

Published on May 2, 2019 Native Instruments

"SUPER 8 is a modern take on classic analog polysynth instruments. Check out 350+ presets, then tweak all you want with the intuitive modern interface."

"Berlin, May 2nd, 2019 – Native Instruments today introduces SUPER 8, a new instrument that brings together vintage analog polysynth sounds with an intuitive modern interface. With more than 200 presets, SUPER 8 provides fast access to a diverse array of classic sounds and textures. The instrument also makes it simple to customize sounds while always keeping users within the instrument’s sweet spot. SUPER 8 runs in REAKTOR 6 and the free REAKTOR 6 PLAYER, and is available now at the NI Online Shop for 69€.

Extensive presets

With SUPER 8, users can start creating right away by choosing from 200+ presets – including rich analog strings, ethereal pads, deep basses, biting leads, electronic percussion, and unusual effects. Patches were inspired by iconic analog synths, but SUPER 8 has a character all its own. Modern presets provide combinations of oscillators, filters, and modulation settings that wouldn’t have been possible on original hardware.

Designed for tweaking

SUPER 8 makes it fun and easy to tweak sounds through a clean, next-generation interface. Simple sliders enable users to blend up to four waveforms for each of the two oscillators. They can mix the oscillators, sync them, and add FM oscillation for a digital edge. Users can also adjust low-pass, band-pass, or high-pass filtering, then move ASDR sliders to make quick changes to filter and amplifier envelopes.

The interface’s modulation section lets users easily add motion to sounds. They can choose one or more mod waveforms, then dial in speed and phase. For maximum creative flexibility, users can capitalize on mod routing to map almost any source to any destination.

Built to be played

Users can explore the full creative possibilities of SUPER 8 by controlling the instrument with a MIDI controller. Driving the SUPER 8 pitch wheel, mod wheel, and touch strip from a controller can produce expressive leads, shifting soundscapes, and evolving textures. Users can set parameters directly from the interface’s front page – or take advantage of automatic parameter mapping with a KOMPLETE KONTROL keyboard. Flexible mod routing enables users to adjust pitch, modulation, filtering, keytracking, and other parameters in real-time.

Pricing and availability

SUPER 8 runs in REAKTOR 6 and the free REAKTOR 6 PLAYER and is available now at the NI Online Shop for $69/ 69€ / ¥8780 / £59 / AU$99/ CA$89/ RMB 549"

::vtol:: Decimal DIY drum machine

::vtol:: Decimal DIY drum machine (DEMO 1) from ::vtol:: on Vimeo.

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Radical Frequencies Modular

"Happy New Year my modular friends with a Radical Frequencies modular 132bpm Psychedelic Techno jam! Patch: The Fm lead is a pulse wave from a RF dpvco with internal pwm and linear fm going into RF Scota vcf (alpha filter only) using band pass output and voltage controlled by RF vc adsr and lucky voltages randomizes the decay times . The Bass is another dpvco with 2 detuned saw waves into RF 12db multi vcf. The Drums are from iPad Launchpad . All sequences are trigged by Beatstep Pro that takes clock from iPad . All sounds are multi recorded into daw though apogee and mytek converters and the lead is mixed with reverb & delay. https://www.radicalfrequencies.com/in..."

Note the player above is a playlist of all videos by Radical Frequencies Modular starting with the New Years jam.

Spotted on discchord

Mamanunga Synth Jams

Published on Jun 16, 2016 MAMANUNGA Official

Seen notes below for what's featured in this playlist. Remember you can used the controls at the bottom of the player to forward back and forth through videos.

Playlist:
1. New Song Impro Synth - Minilogue - JX-03 - Streichfett - Push 2
Impro Electro - All sounds are made by the Korg Minilogue except drums.
No comp/FX - Just a little Reverb/Delay.
Recording with Ableton Push 2 - 44Khz/24bit

2. 100% Korg Minilogue Sound Test & Push 2
Same as above.

3. 100% Korg Minilogue Sound Test 2 - (Push 2)
Same as above.

4. 100% Korg Minilogue Drums Sound Test 3 - (Push2)
Same as above.

5. Short Synth Jam - Reface YC - Electribe Sampler - Minilogue - Streichfett - Bass Station 2
A short improvisation with the Yamaha Reface YC with hammond sound.
Drums : Electribe 2 Sampler
Bass : Bass Station 2
Drone : Streichfett
FX : Minilogue
Lead : Yamaha Reface YC

6. MAMANUNGA - " Solaris" - Relaxing Music 432 Hz - Analog Synth (Minilogue-Streichfett-BS2-VR09)
Non gear-spotting piece.

7. L.M Synth Jam - Minilogue - Bass Station 2 - Electribe 2 - Streichfett - VR09
Leyla of Mamanunga jamming on analog & VA synth and Electribe 2 Sampler.
Drums : Electribe 2 Sampler
Bass : Bass Station 2
Pad : Streichfett
FX : Minilogue
Lead/Organ : VR09

8. Mamanunga - Minilogue Mininova Bass Station Streichfett VR09
Bass Station 2 : Bass
Minilogue : Lead/Fx
Mininova : Arp
Streichfett : Pad
VR09 : Lead

9. Mamanunga - Volca FM BS2 Mininova Streichfett Minilogue VR09
Volca FM : Bass
Bass Station 2 : Bass
Minilogue : Lead/Fx
Mininova : Arp
Streichfett : Pad
VR09 : Lead

Clavia Nord Wave Synthesizer w/ Matching Red Roadie Case SN WA12416

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

via this auction

"When you first look at the Nord Wave Synthesizer, you might get the impression you are seeing a regular analog style synthesizer. Nothing could be more right - nothing could be more wrong. Based on a legacy of inventing virtual analog synthesizers, Clavia takes lead synthesizers to the next level. The Nord Wave gives you traditional analog sounds that interact and coexist with pretty much anything you want; by combining analog, FM synthesis, wavetable and sampled waveforms - you can use literally any standard audio file as a sound source. It is a great sample player and analog synthesizer and so much more.

By having two oscillators capable of producing a vast array of sounds from classic analog waveforms (with sync), FM synthesis, wavetables, sampled waves (single cycle waveforms with attack) as well as noise and other miscellaneous waveforms, the Nord Wave has an unprecedented pallet of sounds for you to use as foundation. Digital samples in an analog environment? TOTALLY. Discontinued by Clavia in 2013, The Nord Wave is getting harder to find."

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Yamaha Introduces Montage 2.0 OS Update Featuring MOTIF Compatibility & More

Published on Jan 25, 2018 Yamaha Corporation

"Yamaha MONTAGE OS Version 2.0 Adds MOTIF Compatibility, New Control and Workflow Enhancements

ANAHEIM (January 25, 2018) — Yamaha today released MONTAGE OS version 2.0, the fourth free firmware update to its flagship synthesizer line. Yamaha has continuously updated MONTAGE with new content as well as sound, control and workflow enhancements. Now, MONTAGE OS v2.0 adds full Voice and Performance compatibility with recent MOTIF series instruments, additional control and workflow improvements.

MONTAGE adds full Voice and Performance compatibility with the Yamaha MOTIF XF, MOTIF XS and MOXF music production synthesizers. The MOTIF family dominated the music production synthesizer world for over 15 years. Now, MOTIF users can have confidence that their favorite sounds will load seamlessly into MONTAGE and perform without a hitch.

MONTAGE users have always been able to employ the free FM Converter web app at yamahasynth.com/fmconverter to convert DX7, DX7II, TX816 and TX802 Voices and Performances to MONTAGE Performances. Coupled with the Advanced Wave Memory 2 sound engine in MONTAGE and compatibility with legacy MOTIF content, musicians now have access to the largest and most established hardware synthesizer sound library in the world — a sonic palette that has been expanding and developing for over 35 years.

User-friendliness is essential in both modern studio and live-gig rigs, and MONTAGE OS v2.0 makes it easier to assign synth parameters to controllers such as the knobs, faders and Super Knob. For example, moving any physical controller now immediately shows destinations on the Controller Overview page. Several other workflow enhancements make it easier for musicians to interact with the vast MONTAGE Motion Control Synthesis.

Additional new features include a global setting for the A/D (external audio) input, which overrides the setting at the Performance level. This is useful for gigs or sessions where the player is using the input for the same purpose across all Performances. MONTAGE OS v2.0 also adds 87 new Performances, further expanding the amazing onboard content.

'With its absolute realism across acoustic and electronic Voice categories, plus the FM-X engine and extensive control and modulation options rivaling modular synths, MONTAGE was already the most powerful and versatile synthesizer in the world when it launched,' said Nate Tschetter, marketing manager, Yamaha Music Production. 'With OS v2.0, MONTAGE advances even further ahead of any other synthesizer in terms of sound, control and workflow.'

Pricing and Availability

Yamaha MONTAGE OS v2.0 is a free update and will be available to all MONTAGE users February 07, 2018.

For more information, visit the Yamaha Booth at the 2018 NAMM Show in the Anaheim Marriott Hotel, Marquis Ballroom, January 25-28, 2018, or http://4wrd.it/MONTAGE"

Access Virus B versus TI

video upload by MIDERA

"I currently have both a Virus B (kb) and TI and thought I'd make a comparison video. I'm only going over simple waveforms and some filters, not equivalent patches to test (as I'm not exactly a skilled player, it's hard to demonstrate those differences well). Hope this is of some use to those who are wanting to buy a Virus or wanting to upgrade or downgrade.

0:00 Introduction
2:28 Saw wave
5:55 Pulse wave
7:35 PWM via LFO
8:20 PWM + Sub Osc
11:35 Frequency Modulation (FM)
14:54 Sine wave FM
16:22 Unison (3 voices stacked)
18:00 Filter introduction
19:20 Filter 1 LP cutoff sweep, 0% resonance
19:57 Filter 1 LP cutoff sweep, 50% resonance
20:33 Filter 1 LP cutoff sweep, 100% resonance
22:45 Filter 1 HP cutoff sweep, 0% resonance
23:10 Filter 1 HP cutoff sweep, 100% resonance
23:55 Reverb setup
25:53 Hall Reverb in action
27:05 Reverb color increase
28:09 Large Room reverb
29:22 Small Room reverb
30:52 Practical use patch setup with reverb
32:17 Virus B patch with reverb
33:04 Virus TI patch with reverb
34:25 Virus B patch with reverb and resonance
35:56 Virus TI patch with reverb and resonance
37:18 Internal clipping on the TI?
40:15 Simple delay comparison
42:24 Overview of differences
43:55 Hypersaw (TI only)
45:33 Chorus (no real comparison, sorry)
46:11 Final thoughts"

QUN synthesizer: PWM for SAW wave and Triangle

Published on May 28, 2020 Nunomo LLC

Follow-up to this post.

"The synth has a kind of unique PWM for SAW and TRIANGLE.
The product will be available soon."


Additional details via Nunomo:

"Based on ESP32 Lyrat development board, QUN synthesizer is one of the most powerful / versatile full-featured pocket sized synthesizer, with amazing pricing.

Connectivity: Standard MIDI(TRS A type), BLE MIDI, UART MIDI(Supports MAC OS X and Windows through my SerialMIDI.

ESP32 Lyrat

Originally designed for smart speaker.

Analog Modeling engine

The analog modeling engine is made from scratch.

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